Tag Archives: PS1

Puzzler Essentials: Cleopatra Fortune

Cleopatra Fortune is an arcade game from 1997, developed as a collaborative effort between Taito and Natsume.

It’s a falling block puzzle of the type that was fashionable throughout the 16- and 32-bit eras in the mid-to-late ’90s. But despite having a touch of Tetris about some of its mechanics, it’s an altogether unique experience. And, moreover, unlike some of the more well-known names in the puzzle genre, particularly in recent years, it’s not one that’s been endlessly cloned, reskinned and recycled.

It is, however, brilliant.

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Puzzler Essentials: Starsweep

Although the abstract nature of the puzzle game genre makes it theoretically possible to make a game out of pretty much anything, we tend to see a lot of the same sort of thing.

In particular, over the years, we’ve seen a lot of “match dropping things so that their colours match”, “swap things around to make lines of three like-coloured doohickies” and “shoot bubbles at precarious arrangements to make groups of three like-coloured blobs”. As such, it’s always rather pleasing to come across a game that does something a little different from one of these common conventions favoured by the most popular titles in the genre.

Starsweep, a game that originated in Japanese arcades and was subsequently ported to PlayStation and Game Boy, is just the ticket to refresh the jaded puzzle fan.

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From the Archives: On Two Working Designs Classics

If you’ve been gaming as long as I have, you probably remember an outfit called Working Designs.

Working Designs was an American publisher from the PS1 era that specialized in the localization of Japanese games — particularly RPGs, strategy games and shmups — and quickly gained a reputation at the time for being one of the best in the business.

The primary reason for this reputation was the fact that Working Designs’ Western releases of Japanese hits weren’t just straight word-for-word literal translations — rather, they were genuine localisations that made appropriate use of Western slang, turns of phrase and even popular culture references to give them a unique feel all of their own.

While opinions on this approach to localisation vary today, the effort the team made to make these games as approachable as possible was very much appreciated by the audience of the time.

This article was originally published on Games Are Evil in 2013 as part of the site’s regular Swords and Zippers column on JRPGs. It has been edited and republished here due to Games Are Evil no longer existing in its original form.

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Some Thoughts on Localisation

Localisation is, it seems, a somewhat thorny issue these days — but it’s one worth discussing.

Before I begin today, I’d like to emphasise that by no means am I attempting to present a “definitive” opinion here. By its very nature, this is a topic that is highly subjective and a matter of opinion, and that means you may not agree with my views. And that is, of course, fine; all I’m attempting to do here is to highlight one possible perspective and provide some food for thought on a complex issue with no “right” answers.

Preamble over and done with, then; let’s talk about localisation, beginning with a little personal context that may go some distance towards explaining why I feel the way I do about all this.

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From the Archives: Shaking Up the Formula

One of the most common criticisms levelled at the JRPG genre — usually by those who don’t play them much — is that they are bland, formulaic and predictable.

And while in some cases developers do fall back on the same conventions we’ve been using for over twenty years now — often with good reason: they work! — there are just as many titles out there that buck the trend and do something completely original.

Even the Final Fantasy series, regarded by many as the poster child of Japanese gaming’s stagnation, has reinvented itself with every single installment over its entire lifetime, as we discussed a while ago.

This week I wanted to talk a bit about a game from the PS1 era that I remember enormously fondly. It subsequently spawned a whole series of successors — none of which I’ve played at the time of writing, regrettably — but it was striking from the get-go for me, largely because it refused to follow the trends of the time and instead provided its players with a highly distinctive experience.

That game was Wild Arms from Media.Vision and Contrail.

This article was originally published on Games Are Evil in 2013 as part of the site’s regular Swords and Zippers column on JRPGs. It has been republished here due to Games Are Evil no longer existing in its original form.

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From the Archives: Battle Systems I Have Loved

Given the amount of time you spend kicking the crap out of everything from small woodland creatures to skyscraper-sized giant robots in JRPGs, it’s fair to say that the battle system is one of the most important aspects of the game.

It’s also one of the most commonly-cited reasons for the genre’s supposed stagnation, as many assume that modern JRPGs still make use of the old Final Fantasy/Dragon Quest-style “Attack, Magic, Item” menu systems rather than doing something a bit more interesting.

While many JRPGs certainly do still make use of simple turn-based menu systems, there are just as many out there that either put an interesting twist on this basic formula or mix things up entirely with something completely wild.

This article was originally published on Games Are Evil in 2012 as part of the site’s regular Swords and Zippers column on JRPGs. It has been republished here due to Games Are Evil no longer existing in its original form.

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