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The SaGa Thread
- Thread starter Octopus Prime
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- kawazu saga square square enix
Starting at level 17, there will be a beast form at pretty much every level that has a petrify ability. There are very, very few enemies immune to that and it makes random battles much easier. (In the meantime, I actually still like beasts best because the martial art bonus generally makes them powerhouses compared to equivalent other characters.)
That sounds pretty good, especially if the ability is free to use like the robot talents...? Might have to turn my remaining human into a beast, since he's boring and not doing tons of damage anyway...
Which reminds me: how do weapons work? lol I have a "Battle" sword and a "Long" sword and they don't seem to change my characters stats? How do I know which one does more damage?
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Weapons have a power rating, but they're not listed anywhere. The damage formula is dependant on strength, your class's skill with weapon class/talent/magic, and the power of that particular weapon/etc.
All talents (robot, cyborg, beast and monster) and free to use.
In general, more expensive weapons are better. But for more detail, consult the list that really should have come with the game.
Thank you for this. Saved! And yeah... I really wish Square (and every other company that rereleases retro RPGs) would have looked at M2's Phantasy Star port, because they built a few similar charts right into the game.
falz
(He/Him)
About 10 hours into Urpina's campaign in Scarlet Grace. More and more mechanics are opening up to me, few of them are relevant to how I'm playing the game at this point. I really don't enjoy mandatory grinding in my RPGs, and thankfully it hasn't been necessary up until now. But the resource mines littering the map really seem to want me to stop and max out my/buy the best equipment. The balance of the game has remained challenging but doable, but I am dreading the moment it becomes more painful not to grind out that next greatsword upgrade. The story remains flagrantly nonsensical and underwritten. The name of provinces and royal families fly about with no sense of importance, no real lore to ground any of it. But I suppose that's the nature of SaGa? I was doing fine following along with the broad strokes of the plot, but at a certain point multiple fantasy macguffins were introduced with no context and my eyes glazed over. Give me opium bananas, not a serpent slaying jigsaw.
Which is to say, I'm still enjoying the battle system and flow of the game, but the way the further mechanics are developing isn't trending in a direction I care to engage. It has become slightly repetitive. I'm excited to keep going and see where the journey takes me.
Which is to say, I'm still enjoying the battle system and flow of the game, but the way the further mechanics are developing isn't trending in a direction I care to engage. It has become slightly repetitive. I'm excited to keep going and see where the journey takes me.
SaGa 3 is probably the most coherent A to B narrative in the series, and even that goes off the rails rather rapidly.
I have no idea who the four people I have to find in Pureworld are or why I need them, and yet I'm having a good time with 3 lol.
What a weird series
It lets you do this if you want to, or you can not do it. I think it's there so people who like grinding can grind. I don't like it, though, so I did not.
The game will paradoxically get a lot harder if you follow that instinct and stop by all of those, because difficulty increases relative to the number of new encounters. So, I would recommend against stopping by all those optional grinding spots unless you want the game to be harder, or unless you want to spend a long time grinding in one for a lot one certain type of materials, but this should probably never be necessary. (Difficultly barely goes up at all for repeating an old encounter, so if you use one of them for grinding it over and over, that will have less of an impact on the difficulty. This lets people who want to grind do that, but it's not necessary. ) In any case, unless you are playing the Japanese game on Vita, it's likely much easier to get materials by sending people off on missions or trading unneeded materials for ones you need than by grinding in this way.
I also think the fragmentary approach to lore, world building, and narrative in Scarlet Grace is better than 99% of JRPGs, but that's a matter of taste. If you want to actually understand what's going on, you might want to start over with Taria, because she's the only character who understands the world well enough to know what's happening and explain it to you instead of giving you fragments. Everyone else just kind of bumbles through, especially Leonard. Balmaint is a close 2nd in terms of understanding what's going on because his partner character knows a lot, but that's probably the hardest scenario to start with.
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I've still only finished one playthrough with Urpina and barely started another with Leonard, and I never felt lost in the narrative in an unsatisfying way, but I also didn't want the game to explain itself at me. It's not a quality unique to Scarlet Grace; this is largely how Kawazu and his team write stories, and I've found it a supremely engaging approach in its every permutation for how much they manage with so little, and are open to leaving some mysteries as eternal questions, unanswered by anyone except the player. I think it's a distinct way to approach narratives even outside of something like From Software's games, which largely popularized and codified the industry-wide obsession with mystery box "lore" scraps and puzzles, because those games often give you all the tools one needs to "solve" their riddles and make a game of obfuscating the process, whereas with SaGa I feel like the answers are not forthcoming not because of the underthought or underwritten qualities of the stories, but simply because the tellers don't consider definitives important or interesting.
This of course varies much by game, and I don't have the perspective on the writing voice of the series in Japanese, but even through multiple localization eras, personnel and studios, the moment-to-moment writing in the series is also always evocative to me, in part because it is very terse. In that realm, Scarlet Grace probably has the most accomplished English-language localization to enjoy for its own sake, so it's really one of the most ideal places to get a sense of the series and its tone.
This of course varies much by game, and I don't have the perspective on the writing voice of the series in Japanese, but even through multiple localization eras, personnel and studios, the moment-to-moment writing in the series is also always evocative to me, in part because it is very terse. In that realm, Scarlet Grace probably has the most accomplished English-language localization to enjoy for its own sake, so it's really one of the most ideal places to get a sense of the series and its tone.
I didn't feel like I had a decent grasp on the "worldbuilding" in Scarlet Grace until I had played through more than 1 character's story. That said, I'll echo estragon's suggestion that Taria is a lot more informed of the world than the rest of the protagonists. Even still, I played her first and had more questions than answers by the end of the story. That's just how it works!
i ground one of those caves for a little while at the end of my balmaint file because i somehow reached a point where i couldn't just beat the final boss and all the weapons i was using got bottlenecked on the same color. i can't tell if that was unusual or not, but it certainly felt strange. i guess i could've done a lot of new stuff instead since it's not as though i was completely out of things to do by any means, but i was a bit concerned that would just push everything further back by making the boss harder again. in any case, it definitely feels harder to get a little ahead and really coast the difficulty curve in SG than the other SaGa games i've played, although that's just how i felt playing through a couple times and it's possible the fact that playthroughs are pretty long and i haven't done that many of them as a result is a bigger part of that than i'd think.
(i suppose another aspect of this is that it feels like a lot of the most powerful moves in the game are ones you can only really rely on once, since the one time you glimmer them they come out for free and work perfectly, and after that point they cost so much and have inconsistent effects that make it harder to rely on them. i think both times i beat the final boss i had something incredible suddenly come out to deal a huge amount of damage...)
storywise i think the game works really well on multiple narrative levels. there's a kind of action that provides the reason and momentum for your character to travel around the world (at least for the two that i've completed), and feature little resolutions on that personal level as they tie into the larger and less clear elements of the setting, the Celestials, etc. which i'm not sure are supposed to have singular, "true" interpretations in the first place, since i certainly got the impression my endings for both characters were fairly different from other variations that can happen, and i could easily see how other outcomes would imply completely different things on that scale. similarly, there's a lot of ways for different things to happen for reasons that aren't particularly obvious; i can imagine this is frustrating in a way for some people, but it's been really fascinating seeing the different outcomes and not really having a clear "moment" to point to that caused a big shift. it's not just that it's mysterious and fun to talk about, it really feels like a way that the game ensures that two players (or the same player twice!) will be able to enjoy unique experiences with the story and progression.
(i suppose another aspect of this is that it feels like a lot of the most powerful moves in the game are ones you can only really rely on once, since the one time you glimmer them they come out for free and work perfectly, and after that point they cost so much and have inconsistent effects that make it harder to rely on them. i think both times i beat the final boss i had something incredible suddenly come out to deal a huge amount of damage...)
storywise i think the game works really well on multiple narrative levels. there's a kind of action that provides the reason and momentum for your character to travel around the world (at least for the two that i've completed), and feature little resolutions on that personal level as they tie into the larger and less clear elements of the setting, the Celestials, etc. which i'm not sure are supposed to have singular, "true" interpretations in the first place, since i certainly got the impression my endings for both characters were fairly different from other variations that can happen, and i could easily see how other outcomes would imply completely different things on that scale. similarly, there's a lot of ways for different things to happen for reasons that aren't particularly obvious; i can imagine this is frustrating in a way for some people, but it's been really fascinating seeing the different outcomes and not really having a clear "moment" to point to that caused a big shift. it's not just that it's mysterious and fun to talk about, it really feels like a way that the game ensures that two players (or the same player twice!) will be able to enjoy unique experiences with the story and progression.
Well, I beat the third game. It was fun, if incredibly easy. I didn't even know I was at the final boss until I heard the music of the final battle.
Can someone explain the plot to me? I have no idea what happened lol
I liked 3 a lot, it seemed to be a very ambitious attempt at making like a Final Fantasy IV style game on Gameboy and you know what? I think they succeeded, other than it being pretty easy (and I guess not having much of a comprehensible plot, though that's most likely due to space limitations for English text, I'd imagine). There's a ton going on in that game, and the graphics are pretty good, and the music is great, and you get an airship/time machine, etc. It's neat!
It is probably my least favorite in this collection, though I still liked it a lot. I just liked the weird systems of the Kawazu-directed games. Speaking of - I'm going to be giving Romancing SaGa 2 another go soon. Similar to how I approached these games, with the helpful protips of Talking Time, any recommendations? I bounced off it because I wasn't sure what to do and how to level my characters, and IIRC I thought I read something about not leveling my characters too much, or something? Should I just jump into Romancing SaGa 3 instead?
Can someone explain the plot to me? I have no idea what happened lol
I liked 3 a lot, it seemed to be a very ambitious attempt at making like a Final Fantasy IV style game on Gameboy and you know what? I think they succeeded, other than it being pretty easy (and I guess not having much of a comprehensible plot, though that's most likely due to space limitations for English text, I'd imagine). There's a ton going on in that game, and the graphics are pretty good, and the music is great, and you get an airship/time machine, etc. It's neat!
It is probably my least favorite in this collection, though I still liked it a lot. I just liked the weird systems of the Kawazu-directed games. Speaking of - I'm going to be giving Romancing SaGa 2 another go soon. Similar to how I approached these games, with the helpful protips of Talking Time, any recommendations? I bounced off it because I wasn't sure what to do and how to level my characters, and IIRC I thought I read something about not leveling my characters too much, or something? Should I just jump into Romancing SaGa 3 instead?
First: If you really enjoyed these games, playing the DS remakes of them (available in fan translation) would be my rec--it's fun to be able to contrast the original and the remake. But that's me.
Second, big pile of spoilers from the commentary at the end of my LP:
Regarding the nature of time travel:
The game isn’t quite sure about how time travel works—like Doctor Who, it’s a bit more of a Timey-Whimey thing. The two major theories of time travel that come into play here are: 1. You can change history by travelling through time and 2. You can’t change history, because you already did, and you’re just doing what was already done. This game tries to have it both ways. The Elder met people in the past collecting units, because the characters met him in the past when they were collecting units. But the Ifram Tree doesn’t exist in the Present and Future unless you plant it in the Past, and Myron claims that killing monsters in the Past and Present apparently makes the Future marginally better. I’m going to try to make sense of all of this: I think the timeline was actually changed exactly once.
In trying to figure out the timeline of events, let’s define several time periods: The Past (Year 0), The Present (Year 15), The Future (Year 30), The Far Future (Year 35, at least, probably later)
Original timeline: The Water Entity appears (0), the world floods and is overcome by monsters. Faye and Dion are born (Year 10-ish). Technology is hastily constructed to prevent the disaster, but they can only get the Talon to an easily-broken prototype stage. The far future is destroyed by the water and monsters (including the four Water Entity masters), so Borgin jumps in a prototype Talon and goes back to the Past. (Ideally, he’d want to go back much further so people could prepare more, but hey, prototype.)
Alternate timeline: The Water Entity appears, and Borgin crashes the Talon north of the future site of Dharm, causing the Units to scatter all over the world. (Year 0) He finds the Elder, who’s searching for high ground to build a town on, and he drops off Arthur, Curtis and Gloria. Presumably at this time he fills a small group of people in what happened, gives them all the notes on future technology he could carry then goes to the Future (Year 30), the time period in which most of the game occurs.
The party emerges from the Talon Palace not long after it’s constructed, meet the Elder, compare notes with Chronos and Granny, rescue Lara, and kill Dogra. The Elder builds Dharm, raises the children and generally lies low. Fifteen years passes, during which time the monsters begin collecting Units, because they know Arthur and company are seeking them. (In the original timeline, Granny dies failing to save Lara. In the alternate timeline, Granny survives because the party rescues Lara, but they take her to the Present directly, rather than her living through the intervening time.)
In the Present, the party leaves for their journey, returns from the Past with Lara, defeats Ashura and Chaos, then vanishes to the future. More time passes. Technology is developed at a much faster pace because of Borgin’s notes. Waters rise, Dharm’s people are moved to New Dharm, and Viper is built. The Elder dies. Faye is kidnapped by monsters and taken to the Pureland.
In the Future, Borgin arrives via the now-broken Talon Palace. He immediately finds his friends and has them build the Talon2, because the kids (Arthur, Curtis, Gloria) aren’t there and he needs to enact Plan B. Borgin, Jupiah, Quacer and the four crew members leave for Pureland. Arthur and company arrive. They concoct a plan to finish fixing the Talon and free it from the Palace, go to Floatland and kill Maitreya, then go to the Pureland. They return when the Water Entity is destroyed some time later, bringing back Jupiah with the rest of the Talon2 crew. Jupiah meets a girl, gets married, and fathers Arthur.
Then we get stuck at the issue of “What happens next?” The future has been saved, so there’s no reason to send the kids or the Talon back to the Past, but without doing so there’s a paradox. This we need to resolve by establishing that the original timeline was a separate universe that Borgin crossed over from, rather than overwriting. (Though this creates the question of why there aren’t two Borgins.)
Because Borgin’s original journey was the only one taken in the Talon before it was properly rebuilt, there’s an excuse for it being the only journey that actually “changed” history, as opposed to all of the others with seemed to be predestined.
A major question is where the heck younger Borgin, Quacer, Pulcer, Jupiah and the four Talon crew members are during the Past and Present. I suspect the best answer is that there are “other towns” in this world that just don’t appear on the world map because the characters never need to go there. This also gives the four characters a place to go if they return to the Present after the events in Pureland, because otherwise their older selves would be there when they arrived in the Future. An alternate theory, of course, is that the four characters return to the Present, then become the four Talon crew members when they reach the future via “the slow path”.
Regarding the world:
What is the relationship between the Pureland and the known world? The townspeople seem to think Sol is a creator god, who came from Pureland and had been sleeping in the home world.
My best guess to the mythology here is that the Pureland is part of a “greater world” populated by gods and monsters. This may be the same world that the Creator from FFL came from (given that he demonstrated similar powers), and might be connected to the world FFL2 takes place in (given the cameo appearance, and the implications that Isis and her kin created the Pillars that hold that world together). Sol decided to use his powers to create a “lesser world” of humans, which is the home world, and then he slept to see how it would grow. Xagor took over the Pureland in Sol’s absence, and became jealous that the home world existed outside of his control, so he created the Water Entity to conquer it as well.
You can come away with the interpretation that Sol and Xagor’s continued existence was necessary for Pureland to exist, but I don’t particularly like that, as noted in my comments about Sol’s final lines. I think he’s just happy that his creation can exist without him or his influence.
The game isn’t quite sure about how time travel works—like Doctor Who, it’s a bit more of a Timey-Whimey thing. The two major theories of time travel that come into play here are: 1. You can change history by travelling through time and 2. You can’t change history, because you already did, and you’re just doing what was already done. This game tries to have it both ways. The Elder met people in the past collecting units, because the characters met him in the past when they were collecting units. But the Ifram Tree doesn’t exist in the Present and Future unless you plant it in the Past, and Myron claims that killing monsters in the Past and Present apparently makes the Future marginally better. I’m going to try to make sense of all of this: I think the timeline was actually changed exactly once.
In trying to figure out the timeline of events, let’s define several time periods: The Past (Year 0), The Present (Year 15), The Future (Year 30), The Far Future (Year 35, at least, probably later)
Original timeline: The Water Entity appears (0), the world floods and is overcome by monsters. Faye and Dion are born (Year 10-ish). Technology is hastily constructed to prevent the disaster, but they can only get the Talon to an easily-broken prototype stage. The far future is destroyed by the water and monsters (including the four Water Entity masters), so Borgin jumps in a prototype Talon and goes back to the Past. (Ideally, he’d want to go back much further so people could prepare more, but hey, prototype.)
Alternate timeline: The Water Entity appears, and Borgin crashes the Talon north of the future site of Dharm, causing the Units to scatter all over the world. (Year 0) He finds the Elder, who’s searching for high ground to build a town on, and he drops off Arthur, Curtis and Gloria. Presumably at this time he fills a small group of people in what happened, gives them all the notes on future technology he could carry then goes to the Future (Year 30), the time period in which most of the game occurs.
The party emerges from the Talon Palace not long after it’s constructed, meet the Elder, compare notes with Chronos and Granny, rescue Lara, and kill Dogra. The Elder builds Dharm, raises the children and generally lies low. Fifteen years passes, during which time the monsters begin collecting Units, because they know Arthur and company are seeking them. (In the original timeline, Granny dies failing to save Lara. In the alternate timeline, Granny survives because the party rescues Lara, but they take her to the Present directly, rather than her living through the intervening time.)
In the Present, the party leaves for their journey, returns from the Past with Lara, defeats Ashura and Chaos, then vanishes to the future. More time passes. Technology is developed at a much faster pace because of Borgin’s notes. Waters rise, Dharm’s people are moved to New Dharm, and Viper is built. The Elder dies. Faye is kidnapped by monsters and taken to the Pureland.
In the Future, Borgin arrives via the now-broken Talon Palace. He immediately finds his friends and has them build the Talon2, because the kids (Arthur, Curtis, Gloria) aren’t there and he needs to enact Plan B. Borgin, Jupiah, Quacer and the four crew members leave for Pureland. Arthur and company arrive. They concoct a plan to finish fixing the Talon and free it from the Palace, go to Floatland and kill Maitreya, then go to the Pureland. They return when the Water Entity is destroyed some time later, bringing back Jupiah with the rest of the Talon2 crew. Jupiah meets a girl, gets married, and fathers Arthur.
Then we get stuck at the issue of “What happens next?” The future has been saved, so there’s no reason to send the kids or the Talon back to the Past, but without doing so there’s a paradox. This we need to resolve by establishing that the original timeline was a separate universe that Borgin crossed over from, rather than overwriting. (Though this creates the question of why there aren’t two Borgins.)
Because Borgin’s original journey was the only one taken in the Talon before it was properly rebuilt, there’s an excuse for it being the only journey that actually “changed” history, as opposed to all of the others with seemed to be predestined.
A major question is where the heck younger Borgin, Quacer, Pulcer, Jupiah and the four Talon crew members are during the Past and Present. I suspect the best answer is that there are “other towns” in this world that just don’t appear on the world map because the characters never need to go there. This also gives the four characters a place to go if they return to the Present after the events in Pureland, because otherwise their older selves would be there when they arrived in the Future. An alternate theory, of course, is that the four characters return to the Present, then become the four Talon crew members when they reach the future via “the slow path”.
Regarding the world:
What is the relationship between the Pureland and the known world? The townspeople seem to think Sol is a creator god, who came from Pureland and had been sleeping in the home world.
My best guess to the mythology here is that the Pureland is part of a “greater world” populated by gods and monsters. This may be the same world that the Creator from FFL came from (given that he demonstrated similar powers), and might be connected to the world FFL2 takes place in (given the cameo appearance, and the implications that Isis and her kin created the Pillars that hold that world together). Sol decided to use his powers to create a “lesser world” of humans, which is the home world, and then he slept to see how it would grow. Xagor took over the Pureland in Sol’s absence, and became jealous that the home world existed outside of his control, so he created the Water Entity to conquer it as well.
You can come away with the interpretation that Sol and Xagor’s continued existence was necessary for Pureland to exist, but I don’t particularly like that, as noted in my comments about Sol’s final lines. I think he’s just happy that his creation can exist without him or his influence.
...
Legend 3 may be much easier to grasp mechanically, but they more than made up for that with its story
Legend 3 may be much easier to grasp mechanically, but they more than made up for that with its story
I think the closest interpretation of concerns around RS2 battle rank that makes ANY sense to me is that if you run away a lot the rank will go up even though you're not getting stronger, which can be a problem. I fought way more battles on my second playthrough and it was generally a ton easier than my first, though obviously a fair share of that was having good ideas of where to go at certain times and spamming magic more to get spells earlier. (I highly recommend focusing on magic as early as possible, including using magic emperors at first when you start getting the choices, since it's one of the more obvious and important areas where you can become unable to finish improving by the end of the game) There are some rank-dependent encounters in the final tiers which are pretty difficult to get through unscathed, although many of them don't tend to appear outside of place you won't spend a long time, and can still just be avoided anyway. (and even if you accidentally reach a point where a miniboss-type battle spawns as something ridiculous it's still only one guy, at least...)
I think it's sort of hard to entirely get on the level of the game at first, but one of the underlying things to keep in mind is that...most things that happen are fine, even if they feel bad. Especially early on. Later in the game you might want to be a little pickier with outcomes, and in the final stretch you can actually game over again, but you'll also hopefully be stronger and not have as much risk of terrible things happening. And yeah, if you're halfway through a dungeon and get rng'd to death in a random encounter you might want to reload, but the way leveling works means that if someone dies, you have to remake the whole party, or you advance into the future your new characters to replace them are (generally) stronger on the whole. And you can't really get stuck in a hard restart position, since the remaster's continue/new game + lets you carry over money and your global character level (the value that increases as you get "Tech Points" from battle, which affects new characters' skill levels), so even if you find yourself in a bad spot you can continue from your current strength to catch up quickly. (Although this shouldn't happen in general, I think, especially if you can get most of the magic before the endgame.) There is some variation in stats and sometimes weapon skill levels among different members of a class, so sometimes you'll see HP or something else clearly decrease or maybe want to consider giving them a different weapon, but outside of a few odd cases (Azami seems to have a minimum greatsword skill which is higher than your general one if you get her pretty early, so the ninja strength can downgrade heavily in the next generation; one character who you might be able to get late in the game if you get his class early and use them a LOT only has 1 LP) the trend is that the further you get the better all your characters get.
Make sure to hit up the castle storage! I didn't know about this for a while, but a bunch of restores will appear there through the game, giving you a lot more MP and SP to work with for your fighters, and any time you lose a character (for any reason) the stuff they were wearing will return there, so you can keep passing around your good equipment. Similarly, characters that are alive at a timeskip will have their spark techniques added to a pool in the castle (which you can then access in the training room with the soldiers on the northeast side of the first castle floor); you can't respark techniques once they're remembered there, but you can teach them to all future characters for free, which comes in really handy with certain "dodge" type abilities. There's one you can learn from one of the Seven Heroes which is generally considered fairly important to have at the end of the game, although you can somewhat work around it if absolutely necessary.
The other reason to fight lots is because that's a main way to get money; your castle's "revenue" is the amount you receive at the end of each battle. You'll need to buy some of the town upgrades through the game to progress the story and advance your magic research (as well as teach characters spells at all), and there are some other conveniences, so you'll need to earn plenty of it through the game even if you aren't trying to craft tons and tons of new weapons and armor (which can be nice if you're really rich, but aren't as important since there are quite a lot of good equipment in chests through the game and you can keep using them over time).
I really hope you enjoy it! I don't know everything but I've gotten a fair amount of knowledge from my playthroughs, so if you have more specific questions about stuff you can obviously ask here, or poke me on twitter, haha
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I've really been enjoying the battles, so it's good to hear battling too much isn't a problem, really. I enjoy leveling people's abilities up! Thanks for the tips - the structure of RS2 is weird iirc so I didn't want to put myself in a situation where I can't advance, yeah. I think I read something on TT 2.0 that made me worry I'd end up locking myself out of beating it, but I didn't know you can New Game + anytime. Weird! But neat.
In FFL1, is there any reason to buy an HP400 over an HP200? Other than being ten times as expensive, they seem to boost a humans HP just as much
The HP items only give a decent chunk of max HP up until the max HP of the target reaches the number of the item. Above that they will only ever give max 1 HP per use. So once you get above 200 max HP the HP400 is more effective than the HP200.
You'll eventually get HP600s that raise your HP up to 600 (...yeah); if you want Human HP higher than that, you're better off going back to mass-buying HP200s. (You can actually raise human HP into the 2,000s. Don't do that. ~600 is plenty.)
I'm three quarters of the way through FFL1, which I played a ton as a kid. I went Human/Mutant/Monster/Monster. It's convenient in the early game to only have to spend money on one Human to level them up, although I'm finding that my Monsters have extremely weak attacks. This party also gives you precious few inventory slots. Not sure I'd recommend it.
A trick I learned as a kid is to put the mutant in position 1 so he/she takes a lot of damage. It seems to speed up their growth. And also to prioritize levelling Magic stat, because magic attacks in general are the strongest.
One criticism of the game is that there's not a lot of music.
A trick I learned as a kid is to put the mutant in position 1 so he/she takes a lot of damage. It seems to speed up their growth. And also to prioritize levelling Magic stat, because magic attacks in general are the strongest.
One criticism of the game is that there's not a lot of music.
Wow, real difficulty spike once you reach floor 16.
On the other hand, I got enough Death Notes and Chainsaws to mitigate every boss fight, and Psi Blades are just absurdly OP by the time you get them, in a Mutants hands
On the other hand, I got enough Death Notes and Chainsaws to mitigate every boss fight, and Psi Blades are just absurdly OP by the time you get them, in a Mutants hands
Purple
(She/Her)
I randomly grabbed the collection there, and doing some basic research realized that OK, humans are straight up broken. I'll do an all human team!
And then I realized, hey, my lead human with mildly better stats is doing like twice the damage as these other 3. I should immediately push those stats up.
And then I realized, hey, just continuing to feed all the agility donuts to the party leader until she can one-hit literally anything is better than spreading them around so I don't just burn through rapiers and garbage attacks and can afford more agility donuts.
So the REAL thing to do is EVENTUALLY have 4 humans but until you've totally maxed the first one's stats out, getting any more is a total waste, and I should really have just had a bunch of pokemon in these other slots to keep things interesting while maxing out.
And then I realized, hey, my lead human with mildly better stats is doing like twice the damage as these other 3. I should immediately push those stats up.
And then I realized, hey, just continuing to feed all the agility donuts to the party leader until she can one-hit literally anything is better than spreading them around so I don't just burn through rapiers and garbage attacks and can afford more agility donuts.
So the REAL thing to do is EVENTUALLY have 4 humans but until you've totally maxed the first one's stats out, getting any more is a total waste, and I should really have just had a bunch of pokemon in these other slots to keep things interesting while maxing out.
I do like how unintentionally weird this game gets because of the technical limitations; there’s only so many sprites for the map so you see a lot of monsters in towns like it’s no big deal. Even the final boss is hanging around towns (that part might be intentional).
And the lack of space for text makes your party look like a wandering group of psychopaths who just kill people with basically no thought whatsoever
And the lack of space for text makes your party look like a wandering group of psychopaths who just kill people with basically no thought whatsoever
monsters are people! except, uh, when they're not, because damn you sure do fight a whole hell of a lot of them.
still, i think frontier establishes pretty clearly that it's a vision of the setting and not just a sprite-stretching quirk. there's a boar in one of the central towns boasting about their fur
still, i think frontier establishes pretty clearly that it's a vision of the setting and not just a sprite-stretching quirk. there's a boar in one of the central towns boasting about their fur