Name: Naomi Isabella Victoria vos Cruz Age: 17 Race/Nationality: Aistorian Human Height: 5’9 Occupation: Knight Cadet of the Holy Order of Saint Alistair
Offense: Strong Defense: Average Range: Average Speed: Average Mobility: Low
Now that Brave Earth: Prologue is getting closer to release I figured it’d be time to repost some old posts, only to update them to better represent the current state of the game and world.
Naomi vos Cruz is a young Aistorian noble woman, born the second and youngest child of the Duke of Leone. While outwardly a friendly, kind person, Naomi is both competitive and zealous, quick to give into impulsiveness and anger.
Tomboyish by nature and born a gifted athlete, Naomi soon followed in the footprints of her mother and joined the Sacred Order of Saint Alistair. While formerly a respected military force noted for it’s gifted women knights, time and attrition has left The Order a shadow of its former self, its remnants serving a more ceremonial role. While The Order’s few surviving veterans still dream of rebuilding it to its former glory, with most of the younger recruits being nobles sent there for safe yet prestigious military service, restoring The Order seems almost impossible.
Still, The Order was not without its serious recruits and pressure from them, as well as from their commander (and Naomi’s Aunt), Sabrina Brandt has lead to some concessions from The Church. Due to her family connection and natural skill, Naomi has been chosen as the first to go on a simple mission as one small test in evaluating The Order’s combat readiness. While the mission, the solo retrieval of an outpost report, is not much, it is an important first step.
Of course, once Naomi sees the Outpost burning in the distance, things quickly escalate.
Naomi’s weapons of choice is her mother’s bastard sword, a heirloom of the Brandt family, and a large kite shield. She is armored and durable, but is a bit lacking in mobility. Naomi moves at a steady, patient pace and has no directional control when in the air. She must move and attack cautiously.
Fortunately she has rather strong offensive abilities. Her basic attack is a relatively far reach slash with good damage and speed, but lacks any vertical coverage. While she can dish out high damage against a stationary foe, her basic attack leaves a lot to be desired. To compensate, Naomi has a special attack button which can be used to access 4 different attacks. By pressing the (C) button and a direction (Up, down, Left/Right or no direction). Naomi can unleash a variety of special moves, assuming she has enough energy.
Naomi can have a maximum of 20 units of energy, which she can gain by either killing enemies, or picking up energy gems. She may also find “Ex Orbs”. These orbs, which Naomi may only carry one of at a time, will power up one of her special moves, giving it new properties and allowing her to perform a special air attack. The nature of the orb can be determined by treating the individual symbol as an arrow (figure to the right), making sure you know which move is powered up.
Her attacks, in detail, can be found below.
Radiant Wave: Forward + (C)
Naomi’s Forward+C attack is a low powered, long range projectile While it does half the damage of her normal attack, it is relatively cheap and has a lot of range.
With the appropriate EX Orb, Naomi’s projectiles get cheaper, can be shot faster and can be charged up for large damage. She also possesses an air fireball that goes down at roughly a 45 degree angle. The attack’s recoil can be used to get Naomi to higher ledges.
Dust Striker: Down + (C)
Naomi’s Down+C attack is a ground slide. It is relatively slow, but has a large hitbox that stays out for the entire duration of the move, making it easy to time attacks with. It can also be used to slide under small gaps or under some projectiles.
With the appropriate EX Orb, Naomi’s Slide goes much farther, much faster and much lower. Her hittable area is greatly reduced and she can slide under many enemy attacks and through multiple enemies at once. Her air attack is a dive kick that does as much damage as her basic attack. When she hits an enemy, depending on the direction held she can either jump off and change direction. If she dives into the ground, her dive kick becomes a slide without costing additional energy.
Arc Divider: Up + (C)
Naomi’s Down+C Is an ‘uppercut’ style attack that hits a huge area above her. It’s slightly slow to come out, but hits an area that she could not normally attack otherwise.
With the appropriate EX Orb, Naomi’s Uppercut comes out near instantly. It also throws out a spinning projectile that flies in a parabolic arc as a secondary effect of the attack. In the air, Naomi somersaults rapidly with her sword out, dealing damage to anything that comes close to her, as well as giving her a slight boost in jump height.
Shield: Neutral + (C)
If Naomi presses the C button and no direction, she puts her shield up. Pulling the shield up costs energy, but it can be held out indefinitely. Absorbing projectiles with the shield causes fatigue though, with each shot slightly draining the energy gauge.
With the appropriate Ex Orb, Naomi’s shield becomes a parry. Instead of being able to hold her shield, Naomi must specifically time her parry. The benefit is that she can parry almost any damage source and is rewarded by recouping some energy as well as a long period of invulnerability. The parry might seem weak to the beginning player, but should be extremely powerful in the hands of an experienced player.
Overall, Naomi is Brave Earth: Prologue’s most balanced character. While she lacks the extreme strength the two other main characters have, she also lacks their extreme weakness and a very robust and flexible movelist.
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.
My recent rants about some of the character design in Overwatch has gotten me to think about some new… design terminology. I kept using the word ‘lateral’ in reference to character design and people didn’t get what that means. So I want to try and explain this because it’s helped me think about designing certain things a little different. So first, lets talk about DESIGN LITERALISM.
This is McCree. I hate McCree. I have issues with other characters, but I am EMBARRASSED by McCree. I’ve spent a lot of words picking on Overwatch on Twitter and Tumblr, but since I actively want to like most of those characters I criticize, I’m going to ease up and focus on McCree. Because I won’t feel bad in the least.
I’m still not sure anyone actually did any actual designing with McCree. You say “Space Cowboy” and this guy is basically what most people would have pop into their head. You’re either going to have a Cyber Clint Eastwood/Stranger or a Cyber John Wayne. Maybe if you’re a special soul you’d imagine that totally sweet Kung Fu Cowboy on Mars from that Muse video. McCree is about a literal a design as you can have. You have two descriptors and you receive exactly what it says on the tin. Besides the stupid ‘BAMF’ on his belt, there is not a single unexpected, clever or interesting design element to this character. I did a google image search for ‘Space Cowboy’ and got close to the same design. Different style, obviously, but still.
The sad thing is, this design with it’s dorky but interesting astronaut head bubble and the others I saw were often at least a little bit more interesting. Not necessarily as good or well executed (McCree, if nothing else, is refined, polished genericness) but having thought into what western tropes could be converted sensibly into science fiction themes… and not just… a cowboy with some cybery bits.
Literalism isn’t always bad. Sometimes it’s appropriate. Sometimes you’re making an NPC! Sometimes you’re aiming for realism. Red Dead Redemption’s protagonist isn’t particularly out there in his design, but like costuming for a movie, there is almost so much you can do. A lot of the armors in Dark and Demon’s Souls are very literal to historic armor, often to the point of becoming their own awkward aesthetic. But in the case of someone like McCree where you’re still making up elements because you are, in theory, concocting something new in a new setting, there is little excuse for not having a bit of lateralism. But what IS lateralism?
Lateralism is divergence from the expected interpretation. When you lay out the basic description of a character like say “Cyber Cowboy”, how different is it from the tropey image that conjures. It’s not about being complicated. It’s not about necessarily adding detail. It’s about interpretation. Like you can’t go A “CYBER COWBOY… BUT HE’S A NINJA”, because you’re just adding ninja to the description.
Bayonetta is like the queen of design lateralism. “Sexy witch” …. “Sexy moon witch”? … “Sexy Gun witch”? “Sexy ELEGENT gun witch”? Does any one sentence properly describe or capture the essence of Bayonetta’s design? Bayonetta has very little to do with a witch, but none the less is very witchy. The beehive hair as a cover for the a pointy cap… the arcane baubles covering her body, the subtle gold trim, the look of her guns… She’s just WITCHY… While not at all being what you’d imagine when someone said ‘sexy witch’. Well, besides the fact you KNOW Bayonetta now and of COURSE think of her when someone says ‘sexy witch’ because you have good taste. Bayonetta is an amazingly awesome design that does a lot of work. She’s also absolutely layered with detail, down to embossed runes down the seam lines of her hair-leather outfit. Does lateral have to be crazy and complex?
Lets talk about Sam from Metal Gear Rising. I love Sam because his design is very simple, let very complicated. How would you describe Sam…? Future South American Samurai? Sam comes off as Samurai-y but it’s subtle. The facial hair and top knottish pony tail. The beefed up legs of his suit which have that ‘tucked hakama’ feel without actually being that. And of course a katana. And then the details like the severed arm that isn’t obvious and IS THAT A GUN SHEATH? And that’s a detail that isn’t just ‘lets slap future stuff on old stuff’ it’s a design element that plays into how he moves and operates and uses quickdraws. Sam is super simple but every part of his design involved someone stopping for a second and considering “How should this look”. Not taking the obvious road isn’t about being difficult or being different for the sake of being different, it’s because there is almost always a BETTER answer than what is immediately obvious. You’re not stepping laterally to disguise your design, you’re stepping laterally to escape your own assumptions about how something should be.
Johnny is a character I think about a lot. Because Johnny is great. But then I look at him and it’s like “isn’t this some bottom of the barrel character design? Why is it okay?” But when you think about what Johnny is, he’s actually… not quite any of that. A cool sky pirate captain? To quote a friend “he doesn’t even have goggles”. What makes Johnny interesting is he’s TROPEY and SIMPLE but he’s not literal. The hat invokes some western vibes which can invoke some outlaw vibes. Having a katana that’s in a shirasaya housing kinda has a sense of austerity. It can also be bandity (I could afford a blade not not a real housing). The duster is also very western but the pants and boots and glaces are more fitted, modern and stylish. Johnny is a THOUGHT OUT BAG OF TROPES. You can be SUPER DUPER SIMPLE AND TROPEY AND CHEESE BALL and STILL have levels of sophistication and lateralism in your design.
Megaten games are LITTERED with lateral design. Depicting the Buddhist character of Mara, a representation of self destructive lust and desire as a dick on a chariot? It’s strange and very direct in it’s symbolism.
Caesar is one of my favorite designs for a persona. Like “oh it’s just a roman soldier with a globe” but the man inside, who is basically controlling an anthropomorphized Rome is super interesting. It’s a detail that rewards attention. You can grasp the design at a glance but really looking at those elements really helps. You are REWARDED for putting your eyes Megaten designs, because they are so well thought out. And again, it’s not a COMPLICATED design.
Dark Soul’s basilisks are another great example. From likes to use very literal designs next to very lateral ones. You can wear “basically real historic armor” vs what is basically a straight forward minotaur demon but then you get shit like this. No interpretation of a basilisk looks anything like this, outside of the vague lizardiness. The eyes are alarming, the frog like…. sac thing is perfect for communicating that this thing blows a projectile. You can look close at it and see that it as actual real, small eyes and it’s beak looking thing is its actual head. It’s weird and alarming looking while being dorky. The LITERAL thing to do for most monster designs is to make them look as scary as possible, but From is good at realizing that “weird” is unnerving.
Locations and other elements of design can also be lateral. A lot of European board games for example are SUPER lateral (have a theme for a game and then have rules that I GUESS KINDA SORTA ARE LIKE THAT THEME). But Ash Lake is a good example of a location like that. Not an obvious sight for ‘bottom of the world’. The opposite of the very literal ‘abyss’ that is also in the game. I could probably think of a better example, but right now DS is on my mind, so it’s the first place my mind went.
Now before I close up, I want to be clear on a few things…
First: It’s not necessarily important to be lateral or to avoid being literal. Often using these elements in contrast is important! Having a totally typical person in historic full plate with a totally modern SMG is not very lateral for example but the clean juxtaposition of something like that can be effective (see: Shadow Tower Abyss). But even when you are being literal you should still arrive there in the same way that leads to good lateral design — consider all the elements and why you designed them the way you did. A lot of the BEP characters are not really lateral but they’re elements are considered (little things like ‘try to invoke a football player silhouette’ ‘mix materials intentionally anachronistically’ blahblahblah). And being the game has been in the works for so long, I kinda wish I did some things differently anyways (I might still try and get a sorta redesign of Naomi’s armor since the small resolution of the sprites makes that a think I can get away with). And don’t get me started on ‘lateral color choices’ for limited palette games!
Second: Context matters. Back when no one had made any fighting games, just having KARATE MAN and SUMO MAN was fine. Then SNK tried to do the same thing and everyone was like “bro that’s lame”, leading them to go crazy with their designs to compensate. Bayonetta is very lateral but a lot of witchy stuff has drawn from her design pool, diluting the lateralness of certain elements. If you say “witchy guns” I’m gonna think Bayonetta’s gones at this point, just like if you say ‘energy sword’ I’m going to think of a light saber. ‘Lateral’ changes with the times.
Third: If you like a character, you a design, it doesn’t matter of they’re literal or lateral or whatever. but it’s a.. .potentially interesting way to think about things
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.
I hate that saying. Hate hate hate hate. Right up there with the very similar “Video Games should be FUN”. Not because I think games should be work or should be unfun. But because it makes some big assumption about leisure time.
There are people in this world, who work full time jobs, go home, go into their work room and build furniture -for fun-. They are being carpenters. Often amazing, meticulous carpenters doing something that is someone else’s full time job. This is their leisure time.
When I hear about people grinding in MMOs or in pokemon or whatever, I’ll be honest. That sounds like work to me. But for other people, it’s their chance to shut off and just relax. When I tell people getting into Fighting Games that they need to go into training mode, they complain that they don’t want a second job. They’re not wrong to feel like that, but for a lot of us, that IS fun. That’s super fun. It’s almost like the skill building version of grinding. Low stress repetition. Some people want hobbies, some people want their media to be consumable. Some get off on being in that ‘flow’ state and enjoy intense, skill building activities, some want relaxation. And some of these might sound more virtuous than others, but that’s a silly way to look at it too. Different people might need different things in their life. Someone working a rote, boring 9-5 might desperately want challenge and excitement in their life and a brain surgeon might just want to relax playing Candy Crush. They have enough stress in their life.
When you say “games shouldn’t be work” or “games should be fun”, what you’re actually doing is chastising people for how they choose to enjoy themselves. “Oh I don’t get it, so it’s wrong”. And it’s fine to joke about that with friends (“Oh yeah Kayin hates fun”), but often people say this stuff very seriously! I’ve been seeing this a ton with people arguing about difficulty in Dark Souls and whether an easy mode is appropriate. I don’t have an opinion on that, but it often feels like both sides don’t understand each other. The people who don’t play because of the difficulty assume other players want all the fun locked away behind arbitrary barriers and the people who are into Dark Souls assume, because of their preferences, that the challenge is essential to the fun and without it, everything else crumbles. Regardless of the truth (probably somewhere in between — something will be lost without the challenge but less than a lot of DS players assume), the clear gap in understanding is rather staggering and sadly a disservice to the different ways people choose to spend their free time.
It’s been awhile since I’ve posted anything let me talk about what I’ve been working on lately. Difficulties!
Brave Earth contains 4 different difficulty setting: Beginner, Easy, Standard and Advanced. The difficulties don’t simply change things like the amount of damage you deal or take, but also things like the amount of pushback you receive from being hit, enemy placement and even on Beginner, geometry. So the stated goals of each difficulty go like this.
Standard: To be a complete, fun but challenging experience for the average player with fun but fair enemy placements and a thought out difficulty curve. Intended to be the first difficulty, even for players familiar with the genre.
Easy: To provide a gentler game experience for gamers who are perhaps a bit lacking on platformer experience. Some hairy situations have changed or removed enemies. The goal is to make the game easier without insulting the player and to provide a gentler difficulty curve, with most changes being earlier in the game. Player takes slightly less damage and knockback.
Beginner: To give hope to those with very little experience in general. The goal is to still provide highpoints and difficult situations for the player, just on a much simpler scale. Damage is drastically reduced and the player receives no knockback from enemies. Filler blocks are used to fill in many difficult platforming segments.
Advanced: In advanced, the goal is to add elements to standard to make a more challenging and fresh experience. Difficulty curve is thrown out the window in favor of interesting enemy encounters. Player also receives additional damage and pushback.
Anyways I’ve set up some examples.
This is an easy segment from stage one for the player to get introduced to some jumping. There are pits, but the game assumes most people playing this will have some level of platforming experience and don’t need super introductory platforming early on (Their is also a tutorial stage for that).
But on Beginner, these holes get filled in to help new players through it. Not every hole is filled in Beginner, but the exposed pits are chosen much more carefully.
I also have an example of enemy placements for one segment…
This is from the middle of Stage 1 and is a difficult segment for new players. The Zweihander soldiers are real jerks and the bandit enemies come from both directions. The player can trick the second zweihander soldier (a doppelsoldner, for the record) into the pit to spare themselves a difficult encounter.
Easy has a small but significant change. The first Doppelsoldner is replaced with an archer, who still provides a challenge in this situation but is less overwhelming. With that and reduced damage, this section is slightly more managable.
Beginner has a significant reduction of enemies, removing bandits who ambush from the above and rear. The bottom encounter is completely changed — a mad bomber over flat terrain. Challenging, but with the player’s reduced damage, not a real threat, hopefully providing some fun. The hole has also been filled up.
Advanced is… tricky. Two archers have been added. Archers below you can fire up to hit you, so now the player has to dodge the lower archer while dealing with bandits above and both Dopplesoldners have firecover now. This segment is completely handleable by an experienced player and not so different from encounters found later in the game. In advanced though, it can happen in level 1 because that’s what advanced is for.
So hopefully with these difficulty options I’ll be able to both give a level of accessibility while at the same time providing a good, challenging harder mode for those looking for a challenge.
Finally achieved something I’ve been working on for awhile. I’ve been playing TGM clones on and off for a bunch of years now (from heboris, to texmaster2000 to nullpomino). Deciding between switching to TGM2 or trying to better my time.
Posted a bunch of BE/Game Dev related posts on tumblr recently, so I figured I’d link them here, if only to help me find them later but also to share them.
I’m very active only tumblr so if you’re interested in BE stuff but also don’t mind me mostly posting Evangelion pictures and bad memes, tumblr is a great place to follow me. I’m definitely the most glib and open there. Even more than on twitter. Generally I try and save this blog for real complete thoughts, but sometimes fun content ends up elsewhere. Anyways…