Yeah! The bulk of the DLC boss rush permutations and extra difficulty modes are way beyond me, but I think I did every variant on that fight because I love it so much.
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“I Just Think They're Neat.” Like What You are Playing
- Thread starter Becksworth
- Start date
When spines and I were hovering some inches over at the Switch games at the used game store in Boulder, I caught sight of Atelier Ryza 3 and half to myself, half to her, asked what the series was like. We both exchanged our dearth of information and probably wouldn't have said anything else on it if this affable fellow near the Gamecube stuff hadn't chimed in. He didn't go into a lot of details about the series, and, despite Ryza 3 following the same protagonist across all three games - most of the other Atelier series have different protags only loosely related within their trilogy - he still vouched for it "I think you'll like it!", so I bought it. Probably won't run into him ever again, but he seemed like a really sweet guy, must be around our age, and proceeded to request they pull some Switch titles off the shelf which I'd never even heard of.
In short, I'm really grateful for his recommendation!
---
I didn't know what I was going to think of Atelier Ryza 3 at first. I definitely see why it's a popular Atelier game for the West especially, what with it leaning more into modern jRPG storytelling. Open(ish) word/zones mixed with looooooots of character scenes and an overwhelming amount of voice-acting. Battles are fought with its own variant of an Active battle sysstem that still features Alchemy, but also more heavily weighted towards fast, almost mashy skill chains and special move sequencing. But even as I went through the first third of the game, I at least learned that I thought the Alchemy was really cool, and I have since been inspired to purchase some of the other releases on the Switch - just not the Ryza ones haha.
This isn't at all to say that I didn't vibe with Ryza 3 - I really did. But, it wasn't for the jRPG structure it provided, or even the story/setting; instead, it was the script. Gust's localization wasn't even what I would have considered "outstanding", there were many lines that I read and could've guessed "that was translated and never revised." Even so the writing really shines through in the way that I've seen described by other fans of the series as a whole: that it's very down-to-earth. There's something refreshing about the way the characters interact with one-another. It took a bit for it to sink in because in the beginning, when they would concern themselves with each other's lives or problems or thoughts or whatever, I thought it was just going to be trite, superficial acknowledgment of, like, "see, look, they know each other!" But the more I played, the more I saw that the characters were actually deeply concerned about each other's lives - that if there was a segment of the game with lots of optional little character scenes, a lot of them were kindly lightly exploring somebody's plight from different angles or viewpoints. It's hard to explain, but the little things that they would bring up could have easily just been one-time lipservice transactions to fake their way through characterization: but in fact, Ryza is just very concerned with the little things. Like yeah, we're saving the island/world/whatever, but how are you? A lot of the scenes are heartwarming.
I think one of my favorite things about the game is Ryza herself. She's funny, she's a bit of a showoff sometimes (it's implied she's come a loooong way since the first game), she loves getting praised, and she's pretty wry/coy. My favorite thing about her as the protag is that after she finishes a conversation with somebody, I'd almost always get treated to her internal monologue reflecting on the exchange or her feelings/questions. It's through these that I really got a sense of her as a character, since I'd glimpse first hand what her angle was, where she showed restraint or held back with somebody, i don't know... that disparity between what we think and what we do, right? I feel like a lot about a character may be learned by looking at their own, like, Cutting Room Floor in the space between these things; it was impossible not to love her by the end of it all.
Anyway, I liked it a lot. I didn't feel compelled at all to explore every nook and cranny or even do most of the sidequests or whatever. I was totally good finishing it at 80 hours. And although I'm sure the first two games are delightful - it seems like they span a pretty good amount of time for the characters, too? - I'm much less interested playing the earlier Ryza games than I am checking out other games in the series. So I bought a few more of the other ones that have been updated for the Switch, and we'll see how it goes... whenever I get to any of them, at least.
In short, I'm really grateful for his recommendation!
---
I didn't know what I was going to think of Atelier Ryza 3 at first. I definitely see why it's a popular Atelier game for the West especially, what with it leaning more into modern jRPG storytelling. Open(ish) word/zones mixed with looooooots of character scenes and an overwhelming amount of voice-acting. Battles are fought with its own variant of an Active battle sysstem that still features Alchemy, but also more heavily weighted towards fast, almost mashy skill chains and special move sequencing. But even as I went through the first third of the game, I at least learned that I thought the Alchemy was really cool, and I have since been inspired to purchase some of the other releases on the Switch - just not the Ryza ones haha.
This isn't at all to say that I didn't vibe with Ryza 3 - I really did. But, it wasn't for the jRPG structure it provided, or even the story/setting; instead, it was the script. Gust's localization wasn't even what I would have considered "outstanding", there were many lines that I read and could've guessed "that was translated and never revised." Even so the writing really shines through in the way that I've seen described by other fans of the series as a whole: that it's very down-to-earth. There's something refreshing about the way the characters interact with one-another. It took a bit for it to sink in because in the beginning, when they would concern themselves with each other's lives or problems or thoughts or whatever, I thought it was just going to be trite, superficial acknowledgment of, like, "see, look, they know each other!" But the more I played, the more I saw that the characters were actually deeply concerned about each other's lives - that if there was a segment of the game with lots of optional little character scenes, a lot of them were kindly lightly exploring somebody's plight from different angles or viewpoints. It's hard to explain, but the little things that they would bring up could have easily just been one-time lipservice transactions to fake their way through characterization: but in fact, Ryza is just very concerned with the little things. Like yeah, we're saving the island/world/whatever, but how are you? A lot of the scenes are heartwarming.
I think one of my favorite things about the game is Ryza herself. She's funny, she's a bit of a showoff sometimes (it's implied she's come a loooong way since the first game), she loves getting praised, and she's pretty wry/coy. My favorite thing about her as the protag is that after she finishes a conversation with somebody, I'd almost always get treated to her internal monologue reflecting on the exchange or her feelings/questions. It's through these that I really got a sense of her as a character, since I'd glimpse first hand what her angle was, where she showed restraint or held back with somebody, i don't know... that disparity between what we think and what we do, right? I feel like a lot about a character may be learned by looking at their own, like, Cutting Room Floor in the space between these things; it was impossible not to love her by the end of it all.
Anyway, I liked it a lot. I didn't feel compelled at all to explore every nook and cranny or even do most of the sidequests or whatever. I was totally good finishing it at 80 hours. And although I'm sure the first two games are delightful - it seems like they span a pretty good amount of time for the characters, too? - I'm much less interested playing the earlier Ryza games than I am checking out other games in the series. So I bought a few more of the other ones that have been updated for the Switch, and we'll see how it goes... whenever I get to any of them, at least.
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FelixSH
(He/Him)
Hollow Knight continues to be great. But I guess a lot of my muscle memory is still there, from...2019 I think? When I first played it.
I remember having a lot of trouble with Soul Master. Got killed again and again. But this time, he died the first time, despite me having completely forgotten about his whole moveset. I'm also better at exploring the place, despite having forgotten nearly all of the layout and upgrades. I remember having to use a guide for a bit, to at least find the place where the double jump was. This time, no problem.
I remember having a lot of trouble with Soul Master. Got killed again and again. But this time, he died the first time, despite me having completely forgotten about his whole moveset. I'm also better at exploring the place, despite having forgotten nearly all of the layout and upgrades. I remember having to use a guide for a bit, to at least find the place where the double jump was. This time, no problem.
Sea of Stars is really very good (and I have detected nothing that stands out as questionable in the writing outside of typos, which I itch to fix. I'm not sure about replay, because you're mostly on a fixed path, but one solid playthrough has a lot of fun to it. Also neat how it ties into The Messenger plotwise (you learn the origin of both the speedster demon lieutenant and the demon king, but not in a heavy-handed "look it's Han Solo's blaster and belt buckle" way).
Also the soundtrack has some real bangers in the best of 90s sound chip style (with some embellishments).
Also the soundtrack has some real bangers in the best of 90s sound chip style (with some embellishments).
About 20 hours into Sea of Stars and keeps getting better. I'm digging the fantastical scenario and the way the game reveals important lore information. One example that surprised and delighted (mid-game spoilers):
Sea'o'stars is kinda genius yall.
I hadn't used Resh'an's Ultimate attack as it hadn't been strategically appropriate despite having him on the team for several hours. When the opportunity presented itself I was excited to see what cool spectacle he would pull off. I wasn't prepared when he turned himself into the Great Eagle to pepper the battlefield with explosives. This a big story reveal, literally the first information given about the Great Eagle other than oblique reference. That's satisfying on its own but it has larger implications. It reveals that Resh'an was always more involved in the workings of the word than he lets on. He makes a big stance about his detachment from events and strict moral code but he's been secretly involved at a fundamental level. What's more, Brugraves and Erlina betray the world because they felt trapped in their roles of chosen ones, and Resh'an as the Great Eagle is directly responsible for that (even beyond him setting up the whole solstice warriors program in the first place). I like how conflicted and complicit his character is. It adds weight and nuance to Aephorul's accusation that even if Resh'an didn't directly take action himself he still allowed his powers to be used against a dweller and is thus responsible. Turns out his accountability goes much, much further.
So many revelations--lore detail, character depth, thematic concerns--and all quietly hidden in a special move.
So many revelations--lore detail, character depth, thematic concerns--and all quietly hidden in a special move.
Sea'o'stars is kinda genius yall.
Yeah it's a good 'n.
The game needed another good pass by a copyeditor/proofreader though. I've caught a lot of little things (missing commas, typos, slightly awkward phrasing) that are the kind of thing I catch, to the extent that I just am not sure anyone did that last pass to tighten things.
The game needed another good pass by a copyeditor/proofreader though. I've caught a lot of little things (missing commas, typos, slightly awkward phrasing) that are the kind of thing I catch, to the extent that I just am not sure anyone did that last pass to tighten things.
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Hah! Not bad.
I like the game's mix of enemy names. Some clever or jokey, some just letter salad in the best of RPG traditions.
I like the game's mix of enemy names. Some clever or jokey, some just letter salad in the best of RPG traditions.
OK, finished off the first ending of Sea of Stars. On to the postgame/true ending stuff. It's a great game overall!
Yeah, I've really enjoyed it. About my only substantive complaint is that there are too many rainbow conches to hunt down and you HAVE to hunt them all down for the true ending path. I've got like a dozen to go and uggggh.
It's not my GOTY but it's just rock solid throughout, great homage to a classic style while pulling in key elements from a LOT of different games and then balancing them in a way that doesn't feel gimmicky.
It's not my GOTY but it's just rock solid throughout, great homage to a classic style while pulling in key elements from a LOT of different games and then balancing them in a way that doesn't feel gimmicky.
jpfriction
(He, Him)
I found that yesterday too. Very cute.
Found all the shells and got the real ending. Very good game! Definitely the strongest attempt to capture the feeling of Chrono Trigger since Chrono Trigger, while still being its own thing.
A couple of quick highlights on games that are probably less played than you'd hope.
Shinobi non Grata by Studio PICO not only possesses one of the better titles a video game has had, but is a pitch-perfect riff on its various influences. Though you could point to various sources of ninjasploitation classics in what informs it, Ninja Spirit seems the biggest driving force in play, what with the smooth mobility, large screen estate and larger bosses, and projectile and tool-leaning play. Dissuade yourself of the notion of significant "stages" because this is a pure boss rush spectacle of twenty bosses fitted into five contiguous sections in which the intermissions between mostly serve as a chance to refill expended resources and aren't a challenge unto themselves; a fact that is a relief once the inevitable deaths occur and each preceding fodder enemy run must be retraced for another go. The best part of the game is its bleeding authenticity to an aesthetic and structure in what it evokes--sure, no Famicom or PC Engine hardware could run a game exactly like this, but your mind's eye wants to tell you different through the spritework, audio and general sensibilities of everything involved... including, unfortunately, the kind of regressive sidelining and damseling of the lone woman in the narrative, which often seems to be the thoughtless price extracted when people signal to "classic" styles of game, insistent to bring all their associated refuse with them. Still, it is a great evocation of a style of game that's not often seen, and doesn't dilute the mess with a mismatched scale either--you can knock this out in an hour with some practice.
Belle Boomerang by Narwhalnut initially captured my interest because while there is no shortage of "retro" platformers and pixel art games, many or most of them don't make it a point of staying within the exact or convincingly simulated limits of the hardware they're patterning their aesthetics after. Belle Boomerang does, and while I'm certain it would not hold up to scrutiny if literally held up against NES sprite tables, its illusion is terrific with its carefully coordinated, harmonious palettes that seemingly accede to the limitations that its influences were created with. Similar kinds of signifiers of faux-authenticity roam in it, like the contextual shift to a 4:3 (or maybe 8:7) aspect ratio, such as with vertically aligned level sections. In addition, the game has a kind of actors-on-a-stage thematic motif going on, as played around with in vintage material like Altered Beast, Golden Axe and Super Mario Bros. 3, but taken much further here with a holistic commitment to the bit, with encountered enemies congregating in a backstage space for mingling coffee breaks, their part in the production over and happy to greet their co-star; sometimes the nominal stages dip into those dusty backstage passages full of crates, lighting rigs and stacked props lying all over before you return to the environment proper. Conceptually and practically, there is no mark the game doesn't hit.
What makes it a less than unreserved recommendation to me is its rigidity in play concepts that are nominally sound but manifest in some awkward ways when put into practice. You might project a sort of Kirby-like flexibility to the proceedings once you note the various contextual powers Belle gains access to, but in reality there is one power for a given section, where you solve platforming puzzles in a prescribed manner and no other; the game's design sensibility in this manner becomes increasingly demanding and precise as the game goes on. That's still fine, but the same mentality extends to the bosses, which are only a handful in total but all encompass multi-phase setpieces that are very, very long, and the aforementioned rigidity is in full effect in them because there's no reactive element at all, just pure, static pattern. Given that the game on "retro" (in my eyes, the intended) difficulty is punitive to the extent that you start with a two-heart baseline allowing for only a single mistake, these do-it-perfect-or-not-at-all encounters take a while to unravel and figure out, all of which involves sitting through the same languid choreography on each successive try, waiting to get to the new problem spots. They are sometimes even checkpointed in the middle of them, but even that does not alleviate the doldrums that settle in. If you just saw these bosses played through flawlessly, you'd probably think they were very diversely patterned and lively in their constructions--it's just that in practice that incremental learning process tends to turn mind-numbingly repetitive, which only makes your execution slip, and send you spiraling down further. As it is, they're the most "your mileage may vary" component of a game that's otherwise highly recommendable in every other way, and maybe it is also a case of balancing a tad too severe, for which there exists a gentler difficulty option that I didn't investigate.
What makes it a less than unreserved recommendation to me is its rigidity in play concepts that are nominally sound but manifest in some awkward ways when put into practice. You might project a sort of Kirby-like flexibility to the proceedings once you note the various contextual powers Belle gains access to, but in reality there is one power for a given section, where you solve platforming puzzles in a prescribed manner and no other; the game's design sensibility in this manner becomes increasingly demanding and precise as the game goes on. That's still fine, but the same mentality extends to the bosses, which are only a handful in total but all encompass multi-phase setpieces that are very, very long, and the aforementioned rigidity is in full effect in them because there's no reactive element at all, just pure, static pattern. Given that the game on "retro" (in my eyes, the intended) difficulty is punitive to the extent that you start with a two-heart baseline allowing for only a single mistake, these do-it-perfect-or-not-at-all encounters take a while to unravel and figure out, all of which involves sitting through the same languid choreography on each successive try, waiting to get to the new problem spots. They are sometimes even checkpointed in the middle of them, but even that does not alleviate the doldrums that settle in. If you just saw these bosses played through flawlessly, you'd probably think they were very diversely patterned and lively in their constructions--it's just that in practice that incremental learning process tends to turn mind-numbingly repetitive, which only makes your execution slip, and send you spiraling down further. As it is, they're the most "your mileage may vary" component of a game that's otherwise highly recommendable in every other way, and maybe it is also a case of balancing a tad too severe, for which there exists a gentler difficulty option that I didn't investigate.
Storyteller is 3 hours of some of the most charming puzzles you'll ever play. I wish it were five times as long, but at a time in my life where I value my time more than my money, I really can't complain.
Spell Disk is an engine builder masquerading as an action roguelike. Early early access still; the developer is super responsive and is putting out updates nearly daily.
I'm enjoying Hadean Tactics way more than I thought I would. It's got a ton of Slay the Spire DNA, but it puts it in a blender with some autobattler mechanics and then gives you limited opportunities per encounter to give your units actual commands. I knew all of that going in, so where was I pleasantly surprised? Two things:
Spell Disk is an engine builder masquerading as an action roguelike. Early early access still; the developer is super responsive and is putting out updates nearly daily.
I'm enjoying Hadean Tactics way more than I thought I would. It's got a ton of Slay the Spire DNA, but it puts it in a blender with some autobattler mechanics and then gives you limited opportunities per encounter to give your units actual commands. I knew all of that going in, so where was I pleasantly surprised? Two things:
- Each hero has some really fun synergies. I've seen one so far that's unique to this game: the second hero's traps. They're cards that are generally single-use, and using them puts a 3x3 trap on the map that persists until the end of battle and adds a "Trigger" card to your hand that triggers all the traps on the board. Triggers are not single-use, so they can kind of clog up your deck, but if they do, it's because you have a ton of traps on the board, so they're pretty high-value at that point. There are lots of cards that alter traps, like one that extends the range of every trap currently on the board. Very fun, very unique, and it's only one thing that hero can do.
- Like Monster Train, each hero has upgrade paths. Unlike Monster Train, the paths are not only well-balanced, but it often makes sense to spec into multiple paths, and all of the combinations seem like they have a use case. Each path you add gives the hero another active skill and another tribal synergy, but going deeper into an existing path improves that path's ability and usually provides better stats than branching out. It's a tough, interesting decision!
Giving Castlevania some focus for Spooky Season. I only played Belmont's Revenge for the first time last year, and I'm still processing just how good its soundtrack is. I considered sharing a few key tracks, but it started feeling a bit silly, so just gonna put up the whole thing out of appreciation:
I'm playing Spidermans (okay fine, Spiderman 2) and it's fun! It does all the same stuff as the first two games, but more. I'm here for it!
Slightly annoyed that my right thumbstick is drifting, which means the camera won't stay where I put it, but so far I'm managing.
Slightly annoyed that my right thumbstick is drifting, which means the camera won't stay where I put it, but so far I'm managing.
Pajaro Pete
(He/Himbo)
Folks I am afraid I must report that Star Ocean Second Story R has made Star Ocean into an unambiguously Good Game.
oh no
Now, logically, you wouldn’t think that “Deckbuilding RPG” and “Shmup” would be genres that would work together, like… at all.
But then along comes Cobalt Core like it’s the frickin’ Queen of England and just does the damn thing and you’re all “Dang, I guess those two genres can work together. I have to re-examine my prejudices.”
But then along comes Cobalt Core like it’s the frickin’ Queen of England and just does the damn thing and you’re all “Dang, I guess those two genres can work together. I have to re-examine my prejudices.”
I’d have assumed Riggs
She’s my favorite at least so it stands to reason
She’s my favorite at least so it stands to reason
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Becksworth
Aging Hipster Dragon Dad
I'm not sure I'm going to have the hand coordination to keep up with Rusted Moss in its late game, but dag nabbit, it's an indie metroidvania from 2023 that isn't trying rebottle the Hollow Knight lightning!
Juggling games at the moment and enjoying doing so for once - Star Ocean 2 R for the nostalgia and finally figuring out a game that seemed entirely mysterious to me as a kid, Etrian Odyssey Nexus because the remakes on Switch just made me want to play one on two screens again, and more Theatrhythm Final Bar Line - almost done with the Quest Mode in the easiest difficulty now, then onto the DLC!