Favorite Games I Played in 2016December 30th, 2016
Year end wrap-up time, so lemme make a post like everyone else where I talk about my favorite games I played this year. As with every time I do this, I am ignoring multiplayer games and also ignoring release dates. I’m not a ‘zeitgeist’ gamer and I don’t put much importance on staying fresh with what just came out. I’m sure there are a lot of great games that came out this year that I will eventually play but I like bouncing around so for me, most of my favorite games in the years are games I discovered or just gotten around to. I also tend to play multiple entries in a series in a row, so to keep the list from being all King’s Field and Shadow Tower games I am going to block certain games up as one pick. Also no order outside that this a “Top 10”.
A game with just an absurd content to fun ratio to me. After 50 hours forcing myself to play Gungeon, playing Devil Daggers again was like reaching the surface after suffocating under water. The rush, the speed, THE AESTHETIC. Devil Daggers does not waste my time and hits all my buttons for iteration and improvement. The only problem with it is it is hard to play while doing other stuff. Back during spelunky I would pause the game constantly to do other things but Devil Daggers, like playing TGM tetris, is hard to go back to midway. The game needs your undivided attention. It also does get repetitious so its best as a ‘game between’ games but every time I load up Devil Daggers its like “Why don’t I play this more?”
Front Mission: Gunhazard
A lovely SNES gem that I would have adored as a child. Not as mechanically clever or with as good levels as Metal Warriors, Gunhazard still has an amazing feel to it, despite its repetitious nature and overstaying its welcome a bit. It feels a bit like a better EVO: Search for Eden. Even though I’d say Gunhazard is a good game while EVO isn’t (even if I still love it), it does have some of that samey grindiness. But the world and aesthetic and story and growth is awesome. Also its set piece moments are delightful. Really adored finding this game. Its high points were high even if its low points were low… but never so low as to push me away.
Infinifactory (As well as Shenzhen IO and TIS-100)
Usually I tell people I don’t like puzzle games that much. Especially hard puzzle games. A cute puzzle platformer can be fun and not overstay its welcome but stuff like the Witness where I’m trying to reverse solve an obtuse puzzle? I really could care less. But Zachtronics doesn’t make those kinds of puzzle games. His games remind me of The Incredible Machine, or bridge builders or, in a sense, Carnage Hearts. Puzzles where there is no ‘trick’ and no ‘the solution’. Puzzles which are about creativity and expression. I actually adore those kinds of Puzzle Games and in fact, that’s part of what I like about making games. So when I played Shenzhen IO I went back to play a bunch of Zachtronics offerings (no Spacechem yet, but I’ll get to it). Shenzhen and TIS-100 like like series of those rewarding “Ah-ha!” moments of fixing my games but without the same stress or stakes. Infinifactory appealed deeply to my love of spacial interactions. I wish I could do this in something like minecraft and have the things I make actually matter. I loved going back in all these games to just do better and beat my friends.
Infinifactory also had the most developed story and progression through the games I played. Its surprisingly interesting and fleshed out and the themes the games areas have match perfectly with whats going on in the story. Perfectly put together and wonderful to play.
Klonoa 2 (and also Klonoa)
What a wonderful pair of games! Klonoa 1 was delightful if a bit ages but Klonoa 2 was just… better in every possible level? The way the mechanics ramp up up, the way the level design was perfect, the art style, just… everything. There isn’t even much to even say. Klonoa isn’t one of those games that does something novelly or has something that makes it stand out. Klonoa and Klonoa 2 are just amazingly solid platformers and perhaps the only “Mascot Platformers” besides Mario that don’t suck. Why must I live in the Dark Timeline where people think Sonic games were ever good, but few people have played Klonoa?
Inside is on a lot of peoples lists! This is just a wonderful, solid, well put together game that shows a ton of craft while also being a much better execution of the gameplay found in Limbo. Inside builds up its world, it builds up its mechanics, it ramps up its puzzles in ALL the right ways. Appreciation of Inside is like the appreciation of pure craft in a game. It’s not the most interesting, its not the most that filled me with the most wonder or made me feel the most accomplished or anything, but it’s just GREAT. Also as a fan of atmospheric story telling, especially in a platformer, this game shines. Also has one of the best surprises I ever had in a game — so maybe thats its best trait. Still, wonderful title.
Ori and The Blind Forest: Definitive Edition
A wonderful openworld platformer. I’d call it, more like Guacamelee, more of a ‘platforming Zelda’ than a Metroidvania, but I liked it a whole WHOLE lot more. Delightfully fast moving with awesome mobility options, great art and music and great setpieces. Amazing quality for what is technically an Indie game. My friend Matt tried to get me to play this FOREVER and it took forever but eventually it happened. Only complaint is I think in some of the setpiece moments were a little too Trial and Error-y for how the game felt like it should be? In fact, the game in general felt like it was a bit harder than necessary. Which was fine for me, only a few segments irked me, but I feel like my sister might get stuck on a number of parts even if she’d like every other part of this game.
I never thought there would be a time when there was a lack of good, dumb FPSs but here we are and here is Doom. Doom was exactly everything it needed to be, fun and actiony with ridiculous weapons and hordes of enemies. The aesthetic managed to be dark or hellish without being grimdark or lightless. One sad bit for me, though not THAT sad is the game has more of a… Serious Sam model than a classic Doom model. In most cases, enemy positioning doesn’t matter because they’re all so mobile, so much fewer areas have interesting usage of enemy placement or just ‘hallway enemies’, which is apparently for a number of technical reasons. But that’s fine, because they still managed to make a great game and the times they did work out smaller encounters or interesting enemy placements, it felt great.
One minor complaint, even though it’s not terrible in this game… I’m sick of weapon upgrades and trees and stuff? Doom gives you enough stuff to max everything out but still, I hate making blind choices for skills and weapons when I’d rather just be given cool toys to play with when the designer thinks I should have them. Again, wasn’t a huge distraction since Doom was generous about it, but it just also felt completely unnecessary.
Shadow of the Colossus (And Ico)
Finally got around to playing these on the PS3 and both were just wonderful. They had their rough points but I was engrossed in both. Ico in particular had some puzzles and timing things which were like… man… who let this happen? Who thought the water wheel was okay? Probably rushes with development or something. Ueda’s game just make you feel so.. intimate with everything in the world that despite all the rough edges, they’re delightful.
Shadow of the Colossus was my favorite of the two. The port had some rough edges — mostly making the overworld look like ass and ‘european’ shaky difficulty — but even when the game frustrated me or felt a little like a chore, I was still hungry to always go back to it. If a colossus wasn’t fun, perhaps the next one would be (and usually was). The weight of your actions in the game, both gamefeel wise and thematically just made it all have an impression on me. The fact you had to hit the button twice to stab something just screamed ARE YOU SURE? Even when the controls frustrated me I felt like they were how they were for a reason. Agro felt like my buddy, not a vehicle, and that feeling was more important than my ability to drive him around like a racecar.
I look forward to finishing BEP, getting a PS4 and catching up on a lot of modern games. One of those is definitely The Last Guardian.
Shadow Tower Abyss (and all of From’s older King’s Field-esque games)
I can’t believe I liked all these games as much as I did. You can read those earlier in my blog. But the game that surprised me the most was Shadow Tower. Shadow Tower had some weird magic to it and while it had its problems (desperately needed an Auto Map) it captivated me. Shadow Tower Abyss just went totally wild though. Running around with an AK-47 while wearing a roman legionary helmet and samurai armor withe a boardsword on your pack was just wild. The aesthetic of the game is strange and alien. The gamefeel for first person melee was INCREDIBLE. King’s Field 4 finally made FPS melee tolerable, Abyss made it WONDERFUL. The only problem with Abyss for me is it ends very weakly. The game felt a bit unfinished at the end. Also the translation is terrible… though on the other hand, maybe the terrible translation adds to the alien feel of the game?
Anyways these games surprised me in so many ways and Abyss surprised me the most.
If I had to say something was my Game of the Year, well… it has to be Nuclear Throne. Just by sheer playtime it has to be. Nuclear Throne is a game that knows what its about. It’s a game that knows what an interesting character mechanic is and how interesting mechanics can chain together. It understands how to make content that new players will approach cautiously and experienced players can play through like a bat out of hell. After my Gungeon rants, it kills me that it was inspired by Nuclear Throne because Nuclear Throne GETS player engagement and it gets scaling difficulty and it gets game feel and it gets respecting the players time. It gets that there is more to enemy design than rings of bullet hell projectiles. It gets that the layout of an arena can lead to real strategic choices.
Nuclear Throne is like an F1 Racer where you can play so fast and so hard and so aggressively that you can blow yourself to bits if you don’t know how to control yourself. The only bad thing about Nuclear Throne is I DESPERATELY WANT TO GIVE YOU MORE MONEY FOR AN EXPANSION PACK WHY — WHY WON’T YOU DO THIS TO ME I LOVE THIS GAME SO MUCH
Games I Played in 2016 that I have like… a thought about?
Downwell: I wish this game had more to it because it was great until I beat hard with every style and then it was boring. :(
Super Mario Galaxy: This game was way less good than people lead me to believe though I guess it was alright.
Enter the Gungeon: I now know its not the worst games that make me the maddest but the games that brush so close with greatness
Battle Garegga: I don’t know why I’m still trying to learn this game
Battle Arena Toshinden on the Gameboy: This game is stupidly fun for no reason and has a great ringout mechanic
Pokemon Go: I haven’t played this in a month and I feel like a weight was lifted off my shoulders. Actually maybe what makes me the maddest is successful games with REAAAAALLY talentless game designers?
Mario Run: Like… this was pretty good? More levels pls?
Besiege: I hooked my joystick and a mod to it and then I made an airplane with proper control surfaces and tried to beat every stage with it despite the awkwardness in trying to do so and mostly just ended up crashing over and over again. 10/10
Owlia: An actual NES game to play on my actual NES! Was a real sweet, cute game with just a few dumb puzzles that made me mad.
Pico-8: This is my new ‘happy wheels’ and I really should make something on it.
Big Sky Troopers: This game is also like EVO in that its complete horse shit only I still liked it in fact it’s more EVO than EVO because its EVEN MORE HORSEHIT but something was charming about it and I finished it because I’m dumb?
Glittermitten Grove: I like fairies okay
King’s Field: The Ancient City
This probably the most fondly enjoyed and remembered of the old King’s Field games… and in a lot of ways it is probably the best one, but there was something lost in transition from the ps1 to ps2. The PS1 King’s Field had a strong, weird aesthetic. Even if that aesthetic was driven by their sheer ugliness and weirdness, they had them. Shadow Tower had a great aesthetic, period. KF:TAC has no aesthetic. It’s amazing to compare the visual look of this game to Demon’s Souls to see what a little bit of ‘aesthetic’ can make. The game, if not for the consistency of the look, would be almost ‘asset store’ levels of generic. I would say monster design was never From’s strength in the early days, but Shadow Tower as loaded to the brim with the type of unique and interesting enemies that’d you’d see in later From games. Instead KFTAC are is loaded with ‘elemental xenomorphs’, probably a low point in their design for these types of games. Something about that and starting in an area filled with lava seemed like a ‘lets try and be cool for once’ thing that totally fell flat for me. Some enemies are kinda cool, some areas look all right, but nothing in the game ‘wows’. Only one point in the game was I ever like ‘THIS LOOKS SCARY I DON’T WANT TO GO THIS WAY’. The game was a consistent, flat tone most of the way through and make it abundantly clear to me how important those ‘wow’ moments are.
So why do people like this game? Well, the consistent, flat tone is pretty good! The game looks generic, but the details are there. Care for the world is there. The map for the world is -great-. This is definitely a game where I did not need a map to get around most of the time and when I did, the maps provided were… awfully flavourful and cool. You had what you needed to get around as you needed and basic navigation is simple. The “Central Tower” made for a great way to unify the map and the ways you slowly make your way down the tower made it feel less… contrived than Shadow Tower? Like all good Fromsoftware worlds, it felt like a place, not a level of a video game. Then you have all your interesting details. Zombie like enemies that release dark bugs as you kill them that scurry around the floor to hide… Heavily implied cannibalism… all sorts of warnings for traps with corpses and stuff. The type of stuff you’d expect out of a Fromsoftware game.
Combat is much better too. Enemies almost always flinch from attacks in KFTAC and your hitbox on your swings is huge. Larger weapons seem to have more range. Generally in this game, if you feel like you’re going to hit something, usually you do and then you get a good bit of feedback that you did. The old ‘circle and attack from behind’ strategy is not as braindead as it once was and not for any one reason. Enemies are designed with behaviors that let them move around quickly, or attack around them. So sometimes you’re trying to find an in so you can do the old ‘circle and stab’ strategy, other times you’re moving in and out and actively dodging attacks (something that works far more reliably in this game than previous games) and other times you’re scrambling around. Probably part of the reason you’re walk speed and turn speed are a little weak compared to other games. Combat in KFTAC seemed the first step in Fromsoftware figuring out a combat system with actual game feel and it helps the game A LOT.
The game has some annoying bits. It has the KFTAC teleportation system, but now you can only teleport on certain spots and they’re often decoupled from save points or even warp ports and it’s like…. I GUESS this could be interesting but usually it’s just annoying? You have a blacksmith that repairs equipment for free but with a REAL TIME wait like come on wtf, game. Also upgrades! Lets wait 2 minutes and use a rare rock to raise an attack stat by -1-. This game might have the most irritating ‘start’ of a King’s Field game, and no i don’t mean MINOR-SPOILERS which no, I did not MINOR-SPOILERS. The mine cave and the poison and the limited healing that early in the game. It’s not hard, it’s just… not fun. Also I never got to play around with sword magic because it all required you to get to ‘level 3 experience’ with a weapon which… doesn’t seem like something that’d happen in regular gameplay? Seems like a bummer to me.
So would I recommend this game? It ranks somewhat over King’s Field 3 for me, but it’s probably one of the most accessible, tolerable King’s Field games. It’s a King’s Field game I could recommend to people who aren’t crazypeople. It’s a game that pulls back from the excess and high fantasy of King’s Field 3 and creates something more intimate like King’s Field 2, just without the same charm. And, let me be real, as much as I love King’s Field 2, KFTAC is going to be a more enjoyable game to far more people.
Shadow Tower: Abyss
The fact this game was never released in the US despite the localization almost being complete has to be one of the biggest crimes ever committed by SCOA. Man, the American side of Sony was such a pack of assholes during the PS2 era. When I started doing these playthroughs, the Shadow Tower games were the games I was least excited about. Now they’re my favorites. THIS GAME IS AWESOME and bless whoever made this horridly translated fan patch with weapons like “high swords” and “low swords”. It’s so awkward at times it kinda rolls around into being cool and adding something to the game.
I feel like there is a very visible story told by From’s first person RPGs about their development. KF2 tried to give KF1 a more tangible world. KF3, after the success of KF2 aimed for grandeur and lost some of it’s intangible ‘special’ quality. Shadow Tower was practically a ‘study’ game to do the opposite of King’s Field 3 — do a lot with a little. King’s Field: The Ancient City executed on all of these lessons but became aesthetically lost in this new PS2 era… Shadow Tower: Abyss is the game that both is From discovering how to execute an aesthetic on higher fidelity systems as well as being the game where they finally refine their combat past ‘acceptable’ to actively fun.
While maintaining the same survival-horror systems of the original, visually, Shadow Tower: Abyss is far different beast. Trading the bleak aesthetic of a proto-Demon’s Souls for a weird, alien… almost naturalistic/tribal feel? The game has weird but awesome sound design — a weird blend of naturalistic and technological sounds put together in offputting ways. A lot of enemies can be really easy to id due to very distinctive and weird sounds. The worst thing I can say about the aesthetic of Abyss is that it feels distinctly ‘early 2000s’. It’s the only one of the From first person RPGs that has a style that feels like that. But it is still awesome, and weird and constantly had me going “What the fuck is THIS place?!”. The monsters were strange and worrying — maybe not as strange as some of Shadow Tower’s weirdest, but Abyss is pretty weird. Another fun thing is the sheer anachronism of the game. The game takes place long after the original Shadow Tower, as you and a bunch of researchers go down it to explore and find the spear that grants wishes turned the last protagonist into a king. Somehow you all end up at the bottom and unlike the first game, have to work your way back up to escape. And you have GUNS. Guns with very limited ammo. By the midpoint of the game I am finding myself walking around in ancient magical armor with a gasmask on my head and when I see an enemy in the distance, I trade my double handed axe for a sniper rifle. It’s bizarre to open a treasure chest and see a revolver laying there as an object of reverence to whoever found it and put it there. You feel like Lord Humungus from Mad Max. An ancient demon wants to fight you, so you decide now is the time to spend some of your precious shotgun ammo, killing him in a way that, to him, would seem no different from being blasted by a magician. All the old Fromsoft games have this sense of nebulous time, but this one embraces it. You find an ancient tribal warrior who was killing bugs for probably thousands of years along with other researchers or my fav demon lady from the first game.
Combat is great. It is extremely rare for an attack to not make an enemy flinch and when they don’t it’s a big deal. When you hit things hard, they don’t flinch, they REEL. Limbs fly off. Chopping and shooting off limbs becomes part of the strategy. “Hey if I chop off this guy’s weapon arm, his attacks are easier to deal with”. It also just feels GREAT. In the middle of a battle with an ancient knight, things were going against me and my equipment was breaking so I pulled out my shotgun and shot him, blowing off both his arms in a Monty Python-esque fashion. I blew up another giant demon with a PANZERFAUST. The intense resource management makes these moments fun and satisfying in a way that never gets old. Also unlike KFTAC you move and turn FAST and can use the analog, moving around like a traditional console FPS. Enemies are more deadily to compensate, leading the most varied and fun combat I’ve experienced in this group of games.
It’s hard for me to even think of things to say… It’s… Shadow Tower by weird and great? It’s hard to even think of how to sell this weird gem. This is the type of game where if it sounds VAGUELY interesting I’d say ‘just play it’.
But I guess I can at least talk about its problems and disappointments. Healing and repairing is a bit more of a pain early on. Topping off equipment is wasteful — everything has a base repair cost no matter how damaged it is (unless it’s broke, then it’s even more). You have encumbrance in the game for your whole inventory. You can store items at shop crystals to elevate this but I felt it did nothing but make the game less enjoyable. I never felt like I was making interesting decisions on what weapons to take with me and on the rare chance I wanted to use an odd weapon for a specific situation, it seems like it would have been better if I had it in my inventory rather than have it unused in a box somewhere. The shops/healing places are more boring — just glowing crystals connected to menus, lacking the weird personality of their Shadow Tower predecessors. No weird naga-witch selling you swords. There are also way more cunes which is… fine, I guess? But it felt weird to max out my cunes at one point. I guess it was necessary with the need to buy ammo, but there was a charm to a currency where there was only 100 in the whole world back in Shadow Tower. The game gets a little monotonous with it’s gimmick levels. By the late game I was praying for an area where I just kicked the shit out of a lot of tough stuff but it never quite came. In fact, the end part of the game is the biggest letdown. It reminds me of playing through Demon’s Souls and finishing my playthrough on Stormking before killing True Allant. It just felt like there was no release. Just ‘hey the game is over’. At least in DeS you can save the last Boletaria stage as ‘the end’ but Abyss has nothing like that. The ending felt disappointed both gameplay wise and thematically. If I were to guess, there probably was going to be more to the boss and maybe more to the last area. The last thing you fight is basically an armored copy of Rurufon and her AI and it’s… not much.
I also didn’t feel like I had a sense of the tower in Abyss as I did in Shadow Tower. The maps themselves are WAY better but Shadow Tower felt interconnected. Abyss has a hubworld that you travel up and down by way of elevator which is…. really lame? The hub area looks cool, it never changes in a way that made me feel like I was making any progress. It didn’t change in Shadow Tower either but at least in that, I was literally moving down it. Abyss is a game in dire need of a good final act, something all the King’s Field games and Shadow Tower managed to do better. Not GREAT, but much better. But none of these flaws really deeply effect the joy of the game while you’re in the middle of an area, playing it. But keep in mind, when it’s time to end the game, the game wraps up fast.
A good point is that New Game+, which Shadow Tower also had, seems to be improved. Unlike Shadow Tower which was more “go back to the top so you can finish killing and finding everything”, starts the game over, sans some of the stuff you already found, but giving you more potions and ammo and new weapons. I don’t know if it ever gets harder like a Souls NG+, but I guess I’ll see, as I’m curious if the game is different in other ways the second time through (and I feel like such a beast by the end of the game that a second pass through the game doesn’t seem very time consuming). Either way I highly recommend checking out this game. The translation works fine if you can run burnt or HDLoader games on your PS2 and it emulates pretty well (Some texture flickers with hardware acceleration but I found it to usually be tolerable). I know there will never be a Shadow Tower 3 by name, but I aware the soulslike (even if they claim they’re done) that captures a similarly weird, alien look.
In closing, my tierlist, worst the best:
KF3 -> KFTAC -> Shadow Tower =/-> KF2 -> Shadow Tower Abyss
So when I hang out with my friends, I usually waste time in between chatter playing old games. Often odd or old things I wouldn’t normally bother which but might be of some interest to me from a more… academic perspective. And this usually ends up with me finding new games to love too.
So when I loaded King’s Field up, I expected to be put off by it’s horrible combat and ugly aesthetics immediately. Instead I found myself immediately compelled. I find myself now, having worked all the way up to King’s Field: The Ancient City on the PS2, with a translated copy of Shadow Tower: Abyss waiting to be played after it. So here are my thoughts on these crazy games that I didn’t expect to enjoy as much as I did. RPGs aren’t really my thing anymore but the first person movement gave me just enough tactile feedback to get really into these games.
As usual with these kinds of reviews I do, I’m not going to summarize stuff like the basic plot or how the game works. You can use wikipedia or youtube for that. I’m mostly just gonna focus on the stuff I have thoughts about.
King’s field 2
I’m going to be using the Japanese numbering for this (basically KF2 is KF1 in US and thus 3 is 2 and so on and so forth), even though I didn’t bother to play King’s Field 1. A cursory reading about King’s Field 1 made it clear to me that King’s Field 2 was the best of the PS1 offerings and that it pretty much did everything the original did better.
King’s Field 2 is an ass ugly game. The biggest visual improvement from KF1 seems to be the use of different floor textures…. most of the time. Still, the game was immediately compelling. You start out shipwrecked on the island of Melanat and despite the game the crude graphics. The sharp outlines of everything tried their damnedest to convey the sense of A PLACE. Right from the start you have watery pits to fall in, a huge boss kraken thing you won’t fight for another boss or two, a waterfall and cave filled with skeletons, a lighthouse powered by fire magic, some creepy looking fisherman NPC, a pirate cove filled with traps and treasures and a more forgiving cave.
The combat is terrible but somehow works. You circle around things to avoid the attack and hit them with your slow moving first person sword swing. Positioning and enemy management matters a lot in this. The attacks FEEL awful but the amount of interaction makes it tolerable. Magic also helps a tad. MP starts out as an incredibly rare, precious resource to the backbone of your offense.
The enemies in this game look unbelievably stupid and crude, but somehow in a way that captures the awkward weird joy of later Souls games. By the end of King’s Field 2, I found my self in love with those stupid looking Watermelon Head Eater Things. It’s infectious. The whole game is infectious. While technically a dungeon crawler, I feel the need to reject the label. Far from the more abstract dungeons of most games like this, Melanat. It has personality. It’s internals wind together and intersect. The more you play the game the more you feel that you understand it. In game maps were useful for exploring new areas, while old areas were almost immediately committed to memory. In many ways, it’s stage design was mimicked by the original Dark Souls, constantly surprising you with how areas intersect and being navigable by memorable rooms. Given the rough nature of the graphics, memorable could be anything from “Cool castle entrance” to “There is a hole”. But it all works.
“It works” Describes a lot of the game and it’s aesthetic. Crude NPCs lend a creepy atmosphere to the game, their textureless heads turning slowly to speak with you. It’s unnerving but the mood of the game is unnerving. The music is… strangely offputting, but in a good way. Like Demon’s Souls, the game’s ugliness becomes part of its charm. This is a game that should be tedious and boring yet it dragged me through it’s entirety with excitement. While not a game I would recommend without warning, it became a game I unabashedly love. Beautifully thought out world design is my jam and this game has tons of it.
The game has some fascinating mechanics, many you see show up in later games. Crystal Flasks might as well be estus. You find them or construct them out of crystals and fill them up with wells. You eventually find wells that heal MP instead and eventually find both (which seems to be something that shows up in DS3 from what I’ve heard?). The warping mechanic is great. Instead of having fixed warp points, you can leave a ‘key’ at a save to use a corresponding ‘gate’ item to teleport to. You find up to 3 sets of these by the end of the game. The flexibility to set your own warp points allowed for just the right amount of backtracking to make me love and understand the world. You could balance convenience against repetition and by the time you have all 3 sets and understand the island, it becomes a non issue. The perfect flow. There are weird things in the game, like an NPC who magically pops up in random places from time to time who identifies your items. You can’t know when she’ll appear. Maybe not the best choice, but an interesting one. Many doors are textured like walls. They have frames to tell you they’re there but it makes it easy to miss stuff. This is something that fortunately goes away in King’s Field 3. Oh yeah there is also a minecart ride that kills you 90% of the time and rewards you with basically nothing if you survive. Which is… odd.
There seems to be a decent about of lore, but I couldn’t say much about it. The last boss, Guyra, a one eyed black dragon, is clearly the inspiration for Kalameet. Seath is treated like a holy figure in this. Granted, it’s not the same Seath, but it’s interesting to see these ideas revisited and adapted.
In the end, it’s hard to even say why King’s Field 2 is great. So much of it is crude as hell and really shows it’s age. But there is just a lot of brilliance in the game too. I’m left with a fondness for Melanat that mirrors my love of Lordran. By the end it kinda… feels like home?
King’s Field 3
King’s Field 3 is like the Dark Souls 2 of King’s Field. It improves the game in so many ways and is far FAR more ambitious. You start out with a giant field, filled with buildings and NPCs. The Headeaters are now venus fly traps. That made me sad! Fortunately the old ugly ones return later on. Anyways the game is now sprawling and its level design more literal and sensible. The game looks infinitely better. Screenshots might not truly capture it but the environments look so much more involved and the enemies look… Still ugly but much much less so. It’s also important to remember for this and KF2 — these are seamless games with no load times. So some ugliness is to still be expected.
The game gives you an automapper somewhat early on. While not necessary for KF2, this is much more necessary for the sprawling maze like levels of KF3. KF3 gets even closer to the dreaded “Dungeon Crawler” level design and dungeons play more like Legend of Zelda-esque areas than actual parts of the world. You go in, you clear the area, you leave. Compared to the interconnected nature of KF2, this was a huge let down to me. Verdite lacked the sense of “place” that Melanat had, despite having much better visuals. The music too is a lot more… on the nose. Not bad, but lacking the same personality.
Combat feels better. You know more clearly if you hit something and enemies at least TRY to counteract you spinning around them. You get magic faster too, which gives you much better options faster. Warping is greatly simplified, with 4 items to find for 4 preset gates before allowing you to warp everywhere by the end. Warping everywhere by the end is good but it was sad to see the system from KF2 leave, even if it would have been terrible in a map this big.
The game has a ton of lore and I couldn’t even begin to explore it. You get an mirror item that tells you about every area, every enemy and every NPC. All lines of dialog are saved for viewing in the menu. So you could comb through this game for tons of info if you wanted.
The game has some cool, crude visuals and works FMV cutscenes in it, sometime on top of gameplay (where you’re few will suddenly have compression artifacts because it switched to a video). You could tell with this game they were trying to go all out.
In the end the game is way way more playable than KF2 and has many clever ideas, but it just missed the same spark. It felt more… typical. Much like Dark Souls 2, it spreads itself out and tries to be grand but that grandness makes it ultimately more ordinary.
But hey at the end you get to fight Giant Gundam Seath and that’s pretty cool?
OH BOY SHADOW TOWER. This might be the most interesting game of the three. KF2 might still be my favorite Shadow tower is a fucking slog of a game, especially early on. It’s also d
eeply miserable without maps. And there are no in game maps. But with them, the game and it’s horrendous draw distance becomes playable. Because the game is dark. Darker than it even needs to be. But god damn does it look better. There is a color scheme to things. and the textures play nice and the enemies look great. And there are so many of them. This game has 160 monsters and they almost all have absolutely crazy designs. This is the true start of the Demon’s Souls aesthetic. Dark, grimy and depressing with awkward looking monsters that are so goofy they roll around to scary. Demons that hop on their tongues, weird wiggly glow in the dark tree plants, muscular monsters with heads that are like blooming meat flowers. They’re great.
The game has no music. Silence. It’s off putting. The visuals are often bleak. You start on ‘top’ of the shadow tower, a tower that has sunken into the ground. The areas of the game have ominous names. “Human World: The Forgotten Region” or “Death World: The Lingering Curse Layer” or “Beast World: THE SCREECHING AREA” (these are area names you do not want to see). The visuals area bleak. This clean, brind cylinder extending up and down seemingly into infinity. You see stairs and can make your way to a number of doors into areas around the tower that have sunken underground. But you keep coming back to the tower, lower and lower. The map design is at its weakest here overall, but the constant return to the Shadow Tower gives the game the hold it needs to give a sense of progression.
The survival aspect horrors of the game are strong. Weapons degrade, and fast. The items to repair them are rare. Smithys are also rare. The currency they use to repair? Your health. Health Potions? Also a finite resource. Fortunately you can trade broken or obsolete items for them. And thankfully they always grant full health. There is a very clear economic circle here and it is a tense one early in the game. Nothing is renewable until much later in the game so you constantly feel like you’re falling to pieces. There is another currency, cunes. Also a rare item — there are, as I understand, 99 in the whole game? And the shop is the same shop everywhere, so the items you see at the start are the items you see at the end. I saved up for a helmet that restored MP over time early on and it was game changing. “Infinite magic!” I thought, until I realized casting spells degraded my rings. Oh well, can’t have everything.
The NPC interactions feel very Demon’s Soulsy. A demon in a doll body asks you to kill a man who trapped her. a knight being crushed by a boulder begs you to sacrifice a sword to save his life (and remember, SWORDS ARE IMPORTANT AND LIMITED). Some gnome things curses you over and over and begs for his life like a coward when you corner him. Also there is a fat mole who is totally your bro.
As you go from the more human world to elemental planes the game starts feeling real surreal. There is just tons of atmosphere. It just suffers from the fact that the game is so initially impenetrable and the map design that doesn’t work with the super dark game. Getting around without a map is an almost impossible chore. I’m not sure even KF2’s map would have worked under these lighting conditions. The automapper from KF3 would have been a massive improvement, where you could know where you were going while not quite spoiling areas immediately by checking maps.
Funny thing is when you beat an area, it lightens up. So they could have gotten away with it. I assume the darkness was to mask enemies spawning in (which they do, unlike in the KF games). This looks weird in illuminated areas, but not so weird as to be a bad tradeoff. The enemy spawning is interesting though. There are a finite amount of enemies in the game. As you kill enemies in a room, replacement spawn elsewhere, often in the same room, but sometimes not. You’ll return to an area you thought you cleared out, sometimes to find a horrific surprise. Often this can lead to cool items being dropped though, so you have an incentive to clear things out. Killing enemies also I think… basically IV trains you, like pokemon? There is no leveling in the game. Beating stuff up and killing certain enemies raises your stats. It’s interesting and kinda works?
The game is linear in nature but it does some clever things to disguise it. There are sometimes multiple ways to get down the tower and sometimes you can even jump down to a set of stairs you can only barely see. You often still end up covering the same areas or coming back later, but it makes the tower feel more like a space you’re trying to conquer than a completely abstract area.
The game also has NG+ (I think? Or maybe you’re just back at the top of the tower to clear it out?) and a rather… Soulsy ending. A flawed gem that was only a few changes away from being truly great. and the game with the strongest aesthetic ties to the Souls series. It makes me more excited for Shadow Tower Abyss than King’s Field 4 and I hear KF4 is AWESOME.
While I can only recommend KF2 with some reservations, I can only recommend Shadow Tower with a LOT of reservations. But it’s interesting and if you want to play a game as a curiosity and see some of the evolution of the Souls series, Shadow Tower is AWESOME.
Mechanical Irony and the Suspension of DisbeliefApril 2nd, 2014
This kills me. This is right by the Shrine of Winter in Dark Souls 2. This tiny bit of rubble — one that would take two big steps to clear — is responsible for half of your epic journey. You spend hours tracking down powerful souls and risking your life, rather than just finding a stool.
I call this mechanical irony. Mechanical irony is when the limitations in control we have over our character become all too real. “If only I could climb over that” or “if only I could jump off this ladder” or “if only I could step over this gap”. or whatever. When the sensible, real life to a video game problem becomes obvious, it becomes difficult to sustain immersion and the suspension of disbelief. To an extent this is unavoidable. We’re making games and not simulations. We don’t want to give the players the ability to do all these things, we want to convince them to think in the verbs we’ve given them. We want the player to trust us and give we get that, they will give us a lot of leeway.
Bionic Commando for the NES is very good at this. The game requires a large conceit (.. can you even use that word like that?when talking about mechanics?) from the player. You can’t jump. You have to move around with your bionic arm. You’d think the game would be litered with moments of “if only I could jump, I wouldn’t have to go through all this hassle”, but it’s surprisingly not. Every situation where you wish you could jump is quickly solvable with the mechanics the game provide. The game doesn’t want to remind you that you can’t jump, it wants you to focus on swinging around. To a degree, new players still get frustrated with the inability to jump, but when you consider what a huge concession that is, the game does an amazing job of making the player think about it’s core mechanics.
The Shrine of Winter in Dark Souls 2 does not do that. It’s downright taunting. It could possibly be ignored as a dead end, except for the item on the other end. While many areas of souls games could be destroyed with climbing skills, you generally don’t think about it (though probably also in Belfry Sol!). Here, it’s preposterous. Here it looks like, without invisible walls, you could possibly even jump over it with the mechanics given to you in the game. It could even get you to think about other things. Like, what is that shrine even for if it would be so easy to walk around in real life? Little stuff exists like this every where (welp, fell down, time to walk all the way back to the stair case instead of pulling my self up from the edge) but usually those are so minor, people don’t notice. Here? It’s HALF THE GAME and totally avoidable. No one looks at the Lordvessel door and goes Well you know, if I had some TNT or a hammer…”. People just go with it. If the Shrine of Winter blocked a bridge, most people wouldn’t think about “simply getting rope”. That’s because they’re not having their face rubbed in it. They’re not being taunted. The players want to be immersed. Not everyone is going to fall down little thought-holes like this, but they’re best to avoid when possible, especially when trying to construct games with structurally sound worlds.
Now, taunting isn’t always bad. Dark Souls taunts all the time (though usually not in ways that damage the integrity of the world). A good example of this is Vini Vidi Vici in VVVVVV, where the character, who can’t “jump” is forced to reverse gravity and fall through several screens of spikes to get around an ankle high block. VVVVVV has little “immersion” to speak of and it serves as an excellent gag for an excellent challenge. You could even argue for this in more serious games. Again, the Belfry Sol is an annoying taunt, but it’s repercussions are mild. Is it a good gag? I personally wouldn’t do it, but I could fancy an argument for it. In most cases though, if you’re making a game with any kind of “world” you want to avoid bringing attention to aspects like this.
NES VRC6 mod with CV3/Akumajou Densetsu cartJanuary 27th, 2014
So this all started with reading about how gyromites occasionally containing famicom converters. Due to early supply constraints during the NA release, the first run of gyromite carts all contained these funky little adaptor, which allowed them to resell famicom gyromite in the US. So I tracked down my gryomite cart, felt it was clearly super heavy and cracked it open.
A converter! Hooray! So immediately I decided I wanted to make my self an Akumajou Densetsu cart. CV3 is my favorite castlevania, and I much prefer the Japanese version to the US version (mostly due to the music, but also because I hate level based damage scaling). So I went and google and found this cute mod. Now I REALLY needed to make that cart. So I ordered an Akumajou Densetsu famicom cart and began planning out the rest of the mod. I didn’t wanna do the wire-out-of-cart mod — that’s cute but kinda ugly. So I began researching how I’d do the console mod. Turns out there are like a million small variations on how to do this, so that took me forever to work out.
Also had to take the time to do my version of the cover. Callan’s nice looking and was the basis for mine, but certain elements, like weirdly cropped art and the logo didn’t work for me. Since there was no good scans of the CV3 splash art, I had to sorta rebuild the logo. In the end, I did the label with photo paper and some glue. Worked much better than the ‘label’ method. Label method gets the label thickness right, but lacks the clarity of a nice print.
Anyways eventually I got all my components and decided my course of action. One source of confusion for this mod was the resistors. Resistors are required to balance the audio of the VRC6 with the NES, else the VRC instruments will overpower everything. Most recommend 47k resistors, but other recommendations, especially with famicom carts, went up to 100k resistors. So instead I just got a 100k pot. There were also several different unused pins you could use on the nes for this mod and I decided to use the same one as the powerpak. I doubt I’ll be buying a 120$ powerpak any time soon, but hey, best to be careful. Then I could also adjust the volume accordingly.
The annoying thing with the powerpak pin is it required me to wrap a wire around the converter. It also sucked because that pin was harder to solder without interfering with the contacts. Worked out fine in the end. The internal mod on the NES was much simplier. The NES has extended audio capables, but they were only made to work through the expansion port on the bottom of the NES. Soldering the pot between expansion port 9 (the expansion music min) and port 3 (audio out) was all that was needed to get the mod working. The pins didn’t take solder well, so it was a bit of a pain, but working on those pins felt less risky, so it wasn’t that big a deal.
Anyways here’s a little peak at the mod. Sorry for the poor quality and rotated video. I’ll probably stream the game tomorrow.