Niahak's Place

It’s no secret that I’m a big fan of the Suikoden games. When Eiyuden Chronicles: Hundred Heroes went on Kickstarter, I enthusiastically dove in. It was disappointing in some ways, but I still really enjoyed the game’s actual release. ECHH is a supplement, though, not a replacement for the original series (in particular the first three entries, although V is an excellent entry as well).

While the Suikoden 1&2 remaster doesn’t completely overhaul these games, it does add re-done portrait art for 1 (by the original artist) and fixes some major bugs and an exploit in 2. It also adds a fast-forward feature for 1 as well as the ability to run. Having the game simply available on modern platforms alone, for me, is worth the price of entry.

Hey, so I actually played a game a while back and never wrote anything about it. It’s a little game called Metaphor Re:Fantazio.

One reason I didn’t feel like writing about it all that much is that plenty of others have already. I feel like a lot of the things I’d say have already been said dozens of times. It’s also more mainstream than what I typically write about here.

I’ll say at least that it’s good. Great, even. It’s a little more iterative than I was expecting – even if its setting and story are somewhat different from Persona 5, you can really feel where features are lifted or repurposed without much in the way of change. But the overall thrust of the game works really well with the schedule system of P5, and I appreciate that Metaphor finally feels like a more mature story, with fewer of the staple anime tropes that the series has been riddled with since Persona 3. The companions are generally pretty good, too.

One of the main themes of Metaphor is really one that resonates with me. The idea that fantasy is not mere escapism, but a powerful force that fuels the imagination in a way that can change the world is, at the very least, a good premise for a fantasy game. And the irony that it is the fantasy world itself that is in need of that inspiration (and our world provides that fantasy) adds to the fun. I think it is maybe a little self-indulgent but eh, suspension of disbelief and all that. Most of your party treats the protagonist as a hopeless dreamer to start off, so it does have a bit of nuance.

I will say as a bit of caution that the art style for the “human” enemies is pretty out-there. It’s fairly disturbing, some bosses in particular. Metaphor focuses less on them after about the mid-point (…30 hours) though. Another word of caution, too – it IS a long game. My play-through took 60 hours, and it sounds like that is on the low end of the spectrum. Its pace isn’t bad, generally, though some side quests are a little tedious.

I’ve been playing sandbox-style strategy games for a long time. One of the games instrumental to my fondness for sandboxy games is Uncharted Waters: New Horizons which I’ve written about a fair bit elsewhere. Horizon’s Gate puts Uncharted Waters style exploration front and center – simplifying some of the simulation/strategy elements while fleshing out exploration by adding land combat and classic tactical RPG elements.

Sailing Era went one way with its inspiration from UW – focusing less on role-playing elements and more on storyline, trading, and ship management (like the Uncharted Waters sequels unreleased in the West). Horizon’s Gate goes the opposite route, substantially simplifying trading (each port only sells one trade good) and ship customization (more limited ship selections, but they have accessory slots). While the net result is less relaxing than Uncharted Waters, it feels like a more complete and interesting game – and one that offers a more engaging use of the player’s time. By taking place in a fantasy world, it also removes one potential mental disconnect in Uncharted Waters: as long as the player knows some geography, they really can’t get into too much trouble exploring. You’re typically “exploring” for something you know or suspect is there. Exploration in Horizon’s Gate, on the other hand, can be surprisingly risky as the further you get from the core areas, the fewer and farther between towns are. Likewise, the on-land exploration segments get harder. Thankfully the map supports annotating locations with icons so you can track which ones are dangerous or unexplored.

UFO 50 is a compilation game with a “found collection” aesthetic. Although it’s not quite exactly NES in terms of capabilities/music, it’s close. Most games have some indie sensibilities, so it doesn’t feel exactly like a found collection, but more along the lines of “what your nostalgia told you games were like”. I’ve enjoyed playing it over the past few months, and although I don’t feel I’ve given every game a fair shake, I’m down to about 5 or so that I want to dig into deeper. Each game has multiple different completion options: Item (typically an hour or two into the game), Gold (think of as “beaten”), Cherry (completed a “challenge”).

I wanted to write up some quick (or not quick, in the case of Avianos) impressions to give some idea of the flavor of games in the collection I felt particularly stand out. Since there are so many of them, and this order represents the (roughly, as it’s from memory) chronological order, I decided to split this post into several to keep things straight.

For decades now, the Romance of the Three Kingdoms series has been a gaming comfort food for me. Its more traditional, ruler-focused entries are relatively simple grand strategy games. Complexity comes from the vast supporting cast of history, with even the earliest games having hundreds of officers. Koei assigns various stats to officers based on what they did either in the novel or in historical documents (typically splitting the difference a bit where they disagree). This typically means that, like the Paradox grand strategy games, there is a massive set of playable options with varying degrees of difficulty. The player can either try and role-play or break the mold of history from the start.

In 2000, Koei released Romance of the Three Kingdoms VII. This was the first entry to allow playing as a subordinate (or free) officer, allowing you to influence things as a “bit player”, more like a Crusader Kings count under a duke. The RTK officer play entries involve take a more restrictive, but also more focused view than Crusader Kings – while intrigue can happen, it’s not as much the focus beyond officer rebellion/recruitment. As a subordinate officer, you receive monthly goals set by your governor. You can also play as an advisor, governor, or viceroy (commanding your own sub-force although still not able to do your own diplomacy). Romance of the Three Kingdoms VIII came out a year later, with more focus on inter-officer relationships (marriage and sworn siblings in particular). Although I personally favor VII of the two, VIII is one of the more popular entries in the series and thus got recently remade.