Deep reads #5.2: That was cheap

Here’s a fun Hardcore History-style disclaimer: This is part two in a multi-part feature on the Megami Tensei game series. If you haven’t read part one, here’s a link — I recommend reading that first before proceeding to get the proper context if you need it. But if you just want to dive in here, that’s totally up to you.

You can also read this disclaimer in Dan Carlin’s voice if you want. But if I had his voice, I’d probably be podcasting instead of writing a blog. Anyway, on with the show.

“Cheap” is a term that gets thrown around a lot when players die in games in ways they feel to be unfair. I don’t know if it’s possible to pin down exactly what a cheap death is, or where specifically a death goes from “okay, that was my fault” to “fuck this cheating piece of shit game” along with a possible thrown/broken controller.

Maybe the best way to define cheap in this case is to use that famous definition of pornography given by US Supreme Court Justice Potter Stewart: “I know it when I see it.”1 The best example I can give of just such an “I know it when I see it” instance is this.

I like the detail on his sarcophagus, though. Kazuma Kaneko pays a lot of attention to detail in his designs.

That’s a compilation made by YouTube user Jim Reaper of parts of the boss battle against Mot, an Egyptian god of death, in Shin Megami Tensei III: Nocturne. This fight occurs at a point fairly late in the game when the part-human part-demon protagonist Demifiend is running through the Vortex World, a small sort of bubble universe containing the ruins of Tokyo. After fighting through the somehow perfectly preserved Diet Building, Demifiend is forced to face this sarcophogus-encased asshole to proceed.

Mot normally shouldn’t be a big problem at this point in the game if you’ve built up a team of demon allies with diverse strengths and abilities. However, he has a trump card that he’ll decide to pull if you’re unlucky: Beast Eye. This is the weaker of two special abilities that gives the user extra half-turns denoted by the flashing icon in the upper right.

Essentially, Beast Eye and the even stronger Dragon Eye let you get more turns for free, something like wishing for more wishes from a genie. Only bosses can use this move; for obvious reasons neither Demifiend nor any of his allies gets to use either of them (including boss demons that become recruitable or fuseable after they’re defeated.)2 This would be cheap enough, but Mot alone among all his boss colleagues can use Beast Eye multiple times in one turn. It doesn’t happen in every fight, but when Mot remembers he has that ability, he can effectively deny the player his turn, using a combination of Beast Eye, buffs, and powerful Almighty magic attacks that can’t be nullified to kill Demifiend and company even if they’re fully healed and buffed.

Granted it does lead to the game’s beautiful game over sequence that I never get tired of seeing, but still, annoying.

So maybe it’s not easy to pin down exactly what constitutes “cheap” in a boss battle, but that sure as hell is cheap. I’m not sure if it was even put in intentionally or was an accident; there’s no particular reason Mot alone among all the bosses should have this frustrating ability, which is why I think it might not have been intentional.

But this is not the only big “FUCK YOU” moment in a Megami Tensei game. I had a much more personally frustrating experience with the Beelzebub fight near the end of my Neutral route run of Shin Megami Tensei IV. This feared chief lieutenant to Lucifer is very strong, as he should be given his position as an endgame boss, and the battle is naturally difficult to clear. However, when the fight starts there’s a good chance, possibly 50/50, that on top of all that Beelzebub will get the first turn, which he will use to absolutely fucking destroy your party. If he hasn’t completely wiped you out and sent you off to Charon before you get a turn, your party will almost certainly be too injured and weak to effectively answer Beelzebub’s first strike, and you’ll probably end up dying on your second or third turn.

After beating slapped around by this giant fly for a dozen rounds, I just started automatically quitting and reloading when he got the first shot assuming I wasn’t totally dead at that point. Because to me, this fight jumped over “challenging” and landed in that cheap territory, at least when it gave Beelzebub the first turn. I wouldn’t call it a controller-throwing moment, since SMT IV was on the 3DS and like hell I was about to break that precious thing by flinging it into a wall. But the fight was frustrating and felt fundamentally unfair. A coin toss mechanic works fine if the two parties are relatively balanced in strength, but that wasn’t the case here.

More Kaneko, depicting the Lord of the Flies in his ultimate form. I said it seven years ago in my review of the game and I’ll say it again now: Beelzebub is an asshole.

There are a few other instances I can think of in the series that might count as cheap, like the Sleeping Table fight in Persona 3. However, almost none of the other difficulties I’ve faced in an SMT, Persona, or other game in the MegaTen series has really pissed me off to such an extent as this fight against Beelzebub. I have heard some of these games called difficult to the point of being entirely cheap, though, and that’s what I want to address here. I can’t blame anyone for feeling that way about any of the mainline games in particular — they do like to beat up on the player, Strange Journey probably being the worst in that regard.3

But I don’t mind that. That’s partly because these games usually give you all the tools you need to meet their challenges. When I talked about cheap SMT bosses above, the name “Matador” might have sprung to mind — this powerful fiend dressed up like a Spanish bullfighter shows up early in Nocturne and will usually wipe out new players because of how steep a jump in difficulty his fight represents. However, there’s a big difference between the way Matador fights and the ways Mot and Beelzebub fight in the examples I gave above. In the latter cases, the player can easily get battered to death no matter how prepared they are through the enemy’s use of unique advantages that are extremely difficult to survive, much less to counter.

Matador, however, can easily be countered as long as the player has the right party and skill setup. He seems to be the game’s way of telling the player “Hey, we’re not going to let you breeze through this just by staying properly leveled. You have to use your head.” You could argue that a boss battle designed to beat the player the first time around is a bit cheap in itself, but as long as you’re hitting save points promptly, you’ll lose very little progress, and it’s an easy matter to fall back and come up with a new strategy. And almost every other difficult battle in the series I’ve played so far fits this model: it presents an obstacle that seems insurmountable until you come up with the winning strategy (though having some luck still helps.)

And don’t forget the buffs. No joke, Megami Tensei really is the one JRPG series I’ve played in which buffs and debuffs are not only useful but essential to winning.

That’s not the only aspect of Megami Tensei that sometimes feels unfair, however. There’s another mechanic present in a lot of these games that might make you tear your hair out: demon negotiation.

Negotiating with fellow humans is hard enough. But when you’re a human (or a former human-turned-demi-human as in Nocturne) dealing with devils, angels, spirits, and even deities, it’s time to leave behind logic entirely. Players new to the series who picked up Persona 5 got a taste of that pure insanity in its own negotiation system, but the mechanic in that game is fair and easygoing compared to its counterparts in the mainline games.

In the other games, the demons you’re talking to aren’t typically knocked down or pleading for their lives, so maybe that’s the reason for their relative docility in P5. And in case you’re wondering, yeah, I did let her live.

If you have no idea what I’m talking about, here’s a summary: in many Megami Tensei games (ex. the SMT series, the Devil Summoner series, and of course Persona 5) you have the option of fighting against your enemies or talking to them.4 Once you initiate the conversation, several things can happen depending upon the game you’re playing. Most often, the demon you choose to talk to will acknowledge that you’re asking them to join your party and will start to haggle with you, asking you to give them specific items or amounts of money or to let them drain some of your HP or mana. After a few requests that you can either take or leave, the demon may then ask you a multiple-choice question. This question is often a philosophical one, something like “Don’t you think the strong should protect the weak?” or “Is beauty only skin-deep?”, the sort of question depending upon the demon you’re talking to. And if the demon likes your answer, it will probably join your party.

But note all those qualifiers I wrote above: often, may, probably. None of these are sure outcomes. Again, it depends on which game you’re playing, but the demon you’re talking to may be able to reject your advances outright, or take the items and money you’ve given it and run, or decide it doesn’t like how you answered its question and leave or even get angry and attack you, or decline to join your party but give you an item instead (sometimes the very same item you gave it!) Sometimes the question it asks has a bizarre “correct” answer, or one that doesn’t seem to line up with the alignment of the demon asking it. Sometimes the “question” isn’t even a question but an exclamation or a command that you have to do your best to interpret. And depending upon the type of demon, you might not even be able to enter negotiations, either because it’s a mindless beast that can’t communicate with you or because it’s an evil god or demigod who’s too arrogant to even consider giving you the time of day.

And if you talk to a demon under certain circumstances, like a full moon phase in a mainline game, good luck getting anything meaningful out of it, because the full moon apparently gets demons high. Though that’s also a great time to trigger events that won’t normally happen at any other time, like having one of those haughty but extremely powerful Tyrant demons join your party (though I wonder if they end up regretting their decision when they come down after the full moon phase ends. Too bad, because it’s too late once you’ve got them!)

Okay Demifiend, I agreed to join your party but does that mean we have to take these weird group photos? Also please stop twisting my nose. (Source: still more Kaneko official art. This post is really doubling as a Kaneko art appreciation piece, isn’t it.)

At this point, you might be wondering whether it’s worth negotiating with these jerks at all if there’s always a good chance that it will go wrong. To be sure, it’s extremely annoying to have a demon run off with your items without you being able to stop them or to constantly get turned down by one specific demon you’re trying to pick up because you keep failing its stupid tests. But negotiation is still a must. It’s necessary to getting through these games’ challenges efficiently, since it provides useful fodder for fusion to get new demons with more than their typically meager default set of skills.

More importantly, negotiation in these games is fun, largely because of how insane it can get. Negotiation is a gamble that provides the player with a lot of possible outcomes, some of which may only turn up after dozens or hundreds of rounds of talks with various enemies. This makes the mechanic a lot more interesting to use for me, even if the results can be occasionally frustrating — especially when you’re trying to recruit one particular demon you need for a fusion (or just because they look cool or are a hot lady demon or guy demon depending upon your preference; those are legitimate reasons too.) If the gambling aspect of negotiation weren’t there, I could imagine it becoming a bit repetitive and boring, but I’ve never had that feeling about it in one of these games.

Moreover, the crazy, unpredictable nature of negotiation in SMT and the other spinoffs that feature it fits in nicely with the chaotic environments that most of these games take place in. Imagine trying to talk to a powerful mythical beast or spirit, much less trying to convince them to join your team and follow your orders. You’d be lucky if they merely ignored you and didn’t decide to eat or possess you or something similar. Since your protagonist in these games typically has either the natural ability or the pure strength to bring these beings over to his side, it’s reasonable that he at least has to deal with this human-demon cultural divide, and in a few cases with a sort of language gap.

Uh, shit. Okay, maybe “human” is the right answer because it’s the odd one out, but maybe this demon will agree and eat me if I say that. What to do.

To me, this is why these crazy, often unpredictable negotiations fit in so well with the general feel of the Megami Tensei games, and especially with the mainline apocalyptic SMT ones. When you’re thrown into the deep end like that, it makes sense that you’d have to deal with this kind of madness. The games usually do give you a bit of help with a free demon, typically a Pixie who takes some pity on your squishy human self, joins your party for free, and explains the basics of negotiation to you. But beyond that, generally speaking you’re on your own, which is just the way it should be.

And I think that’s true for the entire Megami Tensei experience as a whole. These games vary in tone a lot, from pretty hopeful and even light and fluffy with a few of the spinoff of spinoff games (really the Persona ones) to grim and “why even go on living” with stuff like Strange Journey. Those are both aspects of the series that I plan to cover in later parts of this run of posts, but I think the mercilessness of the combat and dungeon-crawling and the chaotic nature of the negotiation throughout a lot of the series suits it well in both cases. I couldn’t imagine MegaTen in general without it, anyway. It just wouldn’t be the same. Even the fights that feel cheap still fit that kind of setting in my opinion, though I could still do without Beelzebub starting first and destroying my party while I watch helplessly.

I could go on with even more such banging my head against the wall but also fun instances from these games, but I hope I’ve made my point well enough by now. Next time, I plan to move from gameplay mechanics over to story elements, diving right into the characters, story, and lore, so prepare yourself for that. Once again, I hope you’ll join me on that journey. 𒀭

 

1 Jacobellis v. Ohio, 378 U.S. 184 (1964), in case you thought I wouldn’t bother to cite the case properly. You can find the quote on page 197 if you don’t believe me. There are also very obvious questions raised here about how much experience Justice Stewart had seeing pornography considering his comment, but these questions lie outside the scope of this post series.

2 And possibly some very strong normal enemies as well, but I don’t remember if that’s the case. In general if I write something incorrect in these posts, which is very very likely, please feel free to leave a comment correcting me.

3 Just to be clear, I’m not talking about ultra-frustrating final bosses like Mem Aleph in Strange Journey, or optional extra bosses like Demifiend in Digital Devil Saga. Some people might see those as kind of cheap, especially Demifiend who can summon a wide variety of demon allies just like he can when the player’s controlling him in Nocturne. However, these are the kinds of bosses you fight either specifically for a challenge or at a point in the game where you’re expected to throw everything you have left at it, so if there is any cheapness there, it feels more appropriate to me.

4 If “talking to enemies instead of fighting” makes you think of Undertale, that’s no coincidence: from what I understand, Megami Tensei is where its creator got the idea from, though he took his own conversation mechanic in a very different direction. There’s no pacifist run possible in any MegaTen game that I’ve ever played, anyway.

Deep reads #5.1: Why I like Megami Tensei

This was bound to happen at some point. I’ve written a lot about the long-running Megami Tensei JRPG series on this site, certainly more than I have about any other game series — maybe even more than every other series put together. I don’t care to go back and measure that out, but it seems likely.

But why? What’s so special to me about Megami Tensei that I can’t shut up about it? I’ve written reviews of a few games in the series and about various aspects of it here and there, including these two commentary posts from last year. With this new set of posts, I want to dive into that question and examine what makes this series unique and what I think it may have to offer new fans just getting into Persona through the Persona 4 Golden PC port, for example, or wondering about news of the Nocturne HD remaster and the upcoming Shin Megami Tensei V.

As with the Disgaea series I wrote way back in January through April, this one will run as long as it needs to, and like that one, it’s partly meant to win over converts. But don’t worry! It’s fun in the world of MegaTen. At the very least, it might put you into the right mindset to deal with the coming demon apocalypse that will begin in 2033 when a portal opens over your city and Loki and Set fly out.

Speaking of Loki and Set, first things first:

A very brief history of the series and an explanation of just what the hell Megami Tensei is exactly

Megami Tensei (女神転生, literally “Goddess Reincarnation” though it’s never gotten an officially Anglicized title like that as far as I know) started out as a trilogy of novels by author Aya Nishitani. These have to do with a bullied high school student named Akemi Nakajima who summons the Norse trickster god Loki through a computer program he wrote to beat those bullies up, but the kid goes a bit power-mad, and Loki ends up using him to escape the computer and enter the real world somehow. Then Nakajima becomes an actual hero, trying to stop Loki with the help of his classmate Yumiko Shirasagi, who also happens to be the reincarnation of the Japanese creation goddess Izanami (which is where the title Megami Tensei comes from.)1

Following the success of the first novel in the series, two games were made titled Megami Tensei and released in 1987. The first to come out was a Gauntlet-looking top-down action game made by developer Telenet that has absolutely no connection with what came afterward. The second was a turn-based JRPG developed by Atlus for the Famicom and was the starting point for the now three decade-long series we’re talking about here. Though this game was based on Nishitani’s first novel, as soon as the sequel Megami Tensei II the series moved away from the source material and started doing its own thing.

But where does that Shin come from? And how do Persona, Devil Summoner, and all the other spinoffs relate to it?

And what makes this cover kind of misleading?

In 1992, Shin Megami Tensei was released for the Super Famicom. Like a lot of other game series that jumped over from the Famicom, this Shin was added as a prefix to set it part from older titles — the character 真 has a few meanings but here it’s used as something like “true”, like “hey, this is the real thing.” Like its predecessors, Shin Megami Tensei was a turn-based JRPG about fighting a demon invasion while recruiting demons into your party through a unique negotiation system. It also spawned a sequel, establishing what we now call the “mainline” SMT series, running through those first two Super Famicom games, SMT III: NocturneSMT IVSMT IV Apocalypse, and the upcoming SMT V.1

However, in the mid-90s Atlus started producing a load of new games in the Megami Tensei universe, using a lot of the same mythological figures and creatures that were featured as demons in the older Megami Tensei/Shin Megami Tensei games. Series like Devil Summoner, Megami Ibunroku Persona (the first Persona game, yes) and later on Digital Devil Saga and the strategy RPG Devil Survivor. These games either had sequels or started entirely new spinoff series, the most successful of which was Persona, which has gotten far more press than even the original series that spawned it.

It’s also important to untangle some of the title-related weirdness that’s gone on when these games have received NA/EU releases. Fans of Final Fantasy will be very familiar with these problems, getting a “Final Fantasy III” that’s actually Final Fantasy VI and so on. The issues with some of the 90s/00s titles in Megami Tensei are weird in a different way. In their attempts to sell this series to the West, Atlus messed around with its titles a bit, releasing Persona 3 and 4Devil Survivor 1 and 2, and the Digital Devil Saga and Raidou Kuzunoha games with the Shin Megami Tensei prefix when none of them were actually SMT games. Megami Tensei, yes, but throw out the Shin because it doesn’t belong there.

It doesn’t have a , but Persona games aren’t a bad place to learn a few other kanji. Thanks for the help, Ryuji! From Persona 5 (2016).

Thankfully, they seem to have quit doing this, but it’s still a bit of a mess for westerners who want to look up information on the Japanese versions of some of the 90s and 00s games. Basically, if the original title doesn’t contain that 真, it’s not SMT. That naturally has nothing to do with its quality or anything; it’s just a problem with classification. But hell, classification is important. How are we supposed to find anything without it?

I’ll stop boring you with classification talk now, though, and answer the question I posed in the beginning: what do I find so great about this series? Let’s get on to it:

1) Use of mythological, historical, and religious figures from around the world

Many game series that rely on myth and legend for their characters and worldbuilding use beings from one culture or part of the world. Or they go the route of Elder Scrolls and D&D-based worlds and use Tolkien’s old lore. There’s nothing wrong with any of that, and I’ve really enjoyed games that stick to those standards.

But one of the reasons I find Megami Tensei so interesting is that it doesn’t limit itself to any one set of traditions. Certain games will have specific focuses, but as a whole the series branches out into the tradition of just about every culture it can find. Many of the demons in the series (and note: “demon” is a neutral term here referring to any supernatural or mythological being regardless of their alignment) are taken from pretty well-known and common sources, including the active Abrahamic, Hindu, and Buddhist religious traditions and the ancient Greco-Roman, Norse, and Egyptian ones, and sometimes with a special emphasis on Japanese myth. But there are also beings taken from traditions like the Buryat (best bird Moh Shuvuu), Ainu (Koropokkur), and Hawaiian (Pele). The addition of a few other “fallen” gods who were toppled by now-dominant religions like Christianity and Islam make for some interesting character relationships that play out in some of these games.

Alilat, an ancient Arabian goddess whose idol was smashed in Mecca, is back to take it out on your party. Well, not exactly, but I like to think she’s carrying around that grudge. From Shin Megami Tensei: Strange Journey (2009).

The demon designs add a lot to this variety. Most of them were done by artist and series co-creator Kazuma Kaneko, who has an extremely distinctive style. Some of Kaneko’s designs are straightforward, while others get extremely creative, taking some liberties with the demons in question. But even when that’s the case, the designs still usually make sense. The two alternate designs for the common series Angel are good examples of both his approaches: the one that’s used in SMT I and II looks like the typical depiction of an angel from western tradition, while the design used in Nocturne and the Persona games is… well, not typical at all. Yet even that provocative “bondage angel” design has some connection to what an angel is supposed to be in our set of traditions here. It’s not just provocative for its own sake.2

And of course there’s the classic case of Mara, the villainous god of desire/temptation in Buddhist tradition, but also known among MegaTen fans as “dick chariot” for reasons that will be obvious if you look it up. I’ll do you a favor by not posting it here, but you’ll have seen it in some form or another if you’ve played a MegaTen game, and maybe even if you haven’t. That damn dick chariot just won’t stop showing up — he’s a fan favorite, after all.

2) The relationship between the supernatural and human

This connects to the first reason above. It’s also a theme that I plan to write about in a more in-depth way later on. But here, I can at least say that the Megami Tensei series does a lot more with its various gods, angels, demons, spirits, monsters, and mythical heroes than dumping them into a game and making the player fight them. Most of the games involve the human characters having to deal with the supernatural leaking over into the world of humans. This was the basis of the very first Megami Tensei novel and its game adaptations, and though the series has branched out greatly since then, that basic premise is still there.

The relationship between humans and gods and/or godlike supernatural beings isn’t a new theme for the JRPG genre. It’s been present in the genre pretty much since the beginning. The original Megami Tensei has its roots in that beginning, but other major JRPG series like Final Fantasy, Fire Emblem, and Ys also established it as a common theme. Megami Tensei carries that theme even further by having its human and demon characters not only fight but also bond and work together towards common goals. The demon negotiation system is part of that, one of its most unique elements and still one of my favorite mechanics in any game series. Cooperation between humans and demons also plays heavily into the plots of these games, however: particular demons join up with or try to influence human leaders to take actions depending upon their alignments, and the most powerful of them pull the strings from behind the scenes.

Or, you know, they become your demon waifu like Pixie here. From Shin Megami Tensei III: Nocturne (2003).

In the SMT games and some of their spinoffs, this places the player character in an awkward position where fellow human party members will fall into one of the ideologies that make up these alignments. By the end, the player is usually forced into one of these alignments depending upon his dialogue and action choices at fixed points throughout the game. And it’s very much to the credit of the series that it never presents one of these paths as “the right one.” Megami Tensei doesn’t set values of “good” or “evil” on your decisions, going instead with a law-neutral-chaos scale and leaving the players to make up their own minds about the morality of their choices.3

By doing this, the series avoids falling into the trap of trying to force a morality-based karma system that may come off as overly simplistic. Such a system might work for some games, but it wouldn’t really work for MegaTen. While some gods, spirits, and demons certainly identify with being on the good or evil side of things, many of the others have little or no regard for these paltry human concepts of morality. Even the MegaTen version of big bad Lucifer, the Devil himself, doesn’t seem to consider himself evil but rather more a force of chaos, pushing a world of might-makes-right-based total freedom. Whether his goal is good or evil is up to you to decide.

3) A variety of gameplay styles

Megami Tensei is best known for being a turn-based JRPG series, and to be fair a lot of its games use that combat style, including the mainline SMT and Persona titles. If turn-based combat isn’t your thing, though, the series still has plenty to offer, like grid-based tactics battle systems (Devil Survivor) and real-time action (Devil Summoner: Raidou Kuzunoha.) So even if you’re completely allergic to the old JRPG “stand and wait for the enemy to hit you, then hit him back” standard, you don’t have to write MegaTen off completely.

And even the turn-based games themselves vary greatly both in gameplay mechanics and in atmosphere and narrative style. There have been a lot of complaints in the last decade about how “stale” the JRPG genre has gotten, partly because of its wearing down of old plot and character tropes and partly because of its use of the old turn-based combat system that hasn’t changed much since the 80s. That’s a take I generally don’t agree with anyway, but I do think MegaTen has been able to avoid being subject to these complaints both by defining its own unique narrative styles and by keeping combat fresh from game to game. Combat in SMT and the other series spinoffs has a different rhythm, relying on the player’s use of buffs and debuffs, exploitation of enemy weaknesses, and effective defense of their own weaknesses.

The Press Turn system in Nocturne is a good example of this: by hitting enemies’ weaknesses, the player only spends half a turn instead of a full one that can be used for a strategic advantage, but hitting enemies with attacks that they void, repel, or absorb costs the player extra turns or even cancels the player’s attack round altogether. The same rules apply to the enemy’s attacks, requiring the player to use both a strategic offense and defense to win. This creates a situation where the battle will tip for or against the player depending upon their party composition and how smartly they’re playing. As a result, brute-forcing your way through an SMT game is simply not an option.

Trumpeter toots as he pleases, no matter how overleveled you are.

And then, of course, there’s Persona. This MegaTen spinoff series has blown up everywhere, comparatively moreso in the West where Megami Tensei didn’t have much of a presence up until Persona 3 got some notice from players here. The Persona games use a modified form of the turn-based SMT battle system, but it’s their inclusion of the social sim aspect that really sets them apart from the rest. It wasn’t a new concept when Persona 3 came out — the Sakura Wars series had been doing it for a while by then — but it was a new concept to me when I picked the game up on its NA release in 2007, and despite a few pacing issues it really worked for me. But I’ll get more into that in a later post.

It’s also worth mentioning that none of these different spinoffs feel like cash-ins based on fads, as though Atlus was throwing out something slapped together for fans to buy up because it had MegaTen branding.4 All these various game styles are at the very least playable even if you’re not a particular fan of them (I’m awful at the Raidou games’ real-time action combat to the point that it’s just frustrating for me to play, but that’s more my problem than the games’.)

4) The music

Yeah, of course the music in this series needs its own section. Every Megami Tensei game I’ve played or even just seen played by someone else has had amazing music, without exception. This is largely thanks to longtime series composer Shoji Meguro (responsible for much of the music in the first three SMT titles, the Persona, Digital Devil Saga, and Devil Summoner games among others.) These soundtracks have very different feels that suit the mood set by each game: Nocturne and DDS combine hard rock with softer ambient-sounding tracks, the Raidou Kuzunoha games use some older jazz styles that suit their 1930s setting, and the modern Persona games have more modern-sounding soundtracks with emphases on rap/hip-hop (Persona 3), pop/rock (4), and jazz/funk (5). And though they don’t get as much attention, Persona 1 and the 2 duology have excellent music as well — I’ve had the battle music in Persona 5 Royal set to A Lone Prayer for a while and I’m not getting tired of it yet. The common point here is that these soundtracks are all excellent, full of memorable, moving, and powerful themes.

While Meguro is the most prominent music guy involved in Megami Tensei, credit also has to be given to Ryota Kozuka, composer for SMT4 and a great one in his own right, and Kenichi Tsuchiya, who provided the massively impressive church organ music for Nocturne and a number of other pieces throughout the 2000s. And of course, the performers get serious credit as well: rapper Lotus Juice played a big part in defining the sound of Persona 3, just as the singer Lyn did for Persona 5 — if Mass Destruction and Last Surprise were stuck in your head when you played these games, they were partly responsible for that.

I actually do like “Mass Destruction” but god damn did it get old after hearing it 500+ times in battle. From Persona 3 (2006).

I could make a list of my favorite Megami Tensei tracks, like say Normal Battle ~Town~, Hunting – Betrayal, Memories of You, Tokyo… but that would probably be an entire post (or series of posts?) in itself.

And as for the other reasons why I like this series — I’ll be getting into those in far greater depth starting with my next entry. I don’t plan to focus each of these entries on individual games or sub-series, but rather on concepts and approaches the series as a whole takes. This will still require going into depth about specific games’ plots, characters, gameplay mechanics, and themes, but I will be trying to avoid specific end-game spoilers. I don’t have any of the other posts even close to done yet, but this is a promise I’ll try to keep.

Hell, I don’t even really know how long this set of posts will be yet. Let’s just say that it will be as long as it needs to be. No need to worry about the details yet. I feel like I’m stepping into a minefield here anyway — may as well just charge ahead and hope for the best. 𒀭

 

1 But is SMT: Strange Journey a mainline SMT game? On one hand, it’s thematically in line with the other mainline games; on the other, it doesn’t take place in Tokyo and doesn’t have a numbered title. I’d say it falls into the same category as SMT if… — It’s SMT, but not a mainline game strictly speaking.

Again, though, I don’t know how much it really matters. You could just as easily argue the opposite based on the similarities SJ shares with the numbered games and where Atlus implies or some fans believe it lives in the series’ bizarre, complicated five-dimensional multiverse timeline. I’m not getting into any of that, though. I don’t have enough pushpins and yarn for it.

2 At least I don’t think it is. Maybe Kaneko was having a joke on us. He seems like he has that kind of sense of humor. Just look at Mara.

Also, I’m not forgetting Shigenori Soejima here — he’s one of my favorite artists, but I’ll get into his work when I dive into Persona specifically later on.

3 Nocturne’s Reasons are an exception, but aside from Shijima, Yosuga, and Musubi being a bit different from the usual Law/Chaos/Neutral paths, they operate the same way in the sense that the game doesn’t place a moral value upon them. I still think Hikawa is an asshole, though.

4 With the arguable exception of the Persona 3 and 5 dancing games. Technically they were fine, and I’d be lying if I said I didn’t get some enjoyment out of them, but the way they were released did come off like a cash grab, which is something I won’t even say about any of the other many Persona spinoffs. Still, they didn’t feel slapped together or anything.

Also with the possible exception of the gacha game SMT Liberation Dx2, but I can’t say because I haven’t played it. I’m naturally suspicious of the “free-to-play” gacha game model, but I’ve also heard that the game has had a lot of work and care put into it, so I don’t want to judge it unfairly. (Besides, even though I say I’m suspicious of gacha games, I’ve played both Puzzle & Dragons and Azur Lane, so who the fuck am I to talk.)

Listening/reading log #12 (September 2020)

No, I didn’t forget — the monthly recap is here. And this marks a full year of them. It’s weird to think, I had the idea for this post series when I was at the office, which is somewhere I haven’t been now for the last half-year since the work-from-home plan was put into place. But I’m okay with that. I would honestly be fine with never leaving my apartment again. In fact, I’ll just sign up for that Singularity thing where we get to become consciousnesses in a massive universal computer network or a simulated universe or however that’s supposed to work.

As usual, I’m going to highlight some excellent posts from around the community here, but first, here are short looks at a couple of albums. This time I wanted to do something more seasonal. Everyone likes Halloween and it’s October now, so here are two real classics that I like but also find to be spooky. Well, maybe more unnerving than spooky. I’d include that Boards of Canada album I covered in the very first one of these posts, but I already wrote about it. It’s pretty chilling too; check it out if you’re into that.

Duck Stab!/Buster & Glen (The Residents, 1978)

Highlights: not even going to try

The Residents might be the most bizarre band ever created. It’s hard to call them a “band” actually; the names and even the number of Residents have always been unknown, and some of what they do involves other media like film or falls more into the realm of performance art than music alone. And even though they tour and do live shows, the performers always wear various disguises, most famously giant eyeball-helmets, sometimes with top hats and full formal suits included. Maybe that’s where Daft Punk got their own helmet disguise idea from?

However, I didn’t pick Duck Stab to highlight because of any of that. It’s rather because this album creeps me the fuck out. None of it’s “scary” exactly, but it can be kind of unnerving in parts. The Residents are known for their deconstruction of pop/rock music, and you can hear that happening right here — most of these songs should sound pretty close to normal with beats, melodies, verses, choruses and all that, but everything is just “off” enough to sound completely bizarre instead. Some of the songs sound intentionally ugly, like the opener Constantinople that seems like it was made to try to get you to turn the album off in its first ten seconds. Or Semolina, which sounds like a Beach Boys song produced in Hell. Laughing Song and Birthday Boy are genuinely creepy as well.

Listening to Duck Stab, I get the feeling that the Residents could have easily made a good album full of regular rock and pop songs if they’d wanted to. Even though a lot of it’s ugly, this music is also interesting and even catchy sometimes. It’s very obvious that these songs weren’t just some shit they threw together but were written, probably with a lot of care. The Residents just chose to make the songs fucked up on purpose, with clashing instrumental parts and vocals and lyrics that almost make sense but not quite, resulting in something that I think resembles an Uncanny Valley effect for music. Captain Beefheart did the same sort of thing in the 70s; this reminds me a lot of his album Trout Mask Replica. It’s worth looking up Duck Stab if you’re into that kind of strange music (and if you haven’t heard it, look up Trout Mask Replica too!)

Mekanïk Destruktïẁ Kommandöh (Magma, 1973)

Highlights: no

More weird stuff from the 70s. And yeah, the title is meant to be written that way. Both the album and song titles, and even the lyrics themselves, are written in a fantasy language that sounds a lot like German but isn’t quite. Magma was a French band, however, and the only French prog band I know anything about. Like the Residents, these guys were known for their strange compositions, but Magma’s are different. Mekanïk Destruktïẁ Kommandöh has separated tracks with titles but feels like one full piece, almost like an old opera with characters singing and sometimes yelling and ranting in this fantasy language over organs, pianos, and pounding bass and drums.

There’s a story behind the whole piece that looks spiritual in nature, but I can’t tell what’s going on with it. Maybe it’s an extremely high-minded concept album like Yes’ Tales from Topographic Oceans about some esoteric religious ideas. But I just think the music is cool aside from whatever the lyrics might be about. The first parts sound ferocious and martial and can even get a bit frightening with the main singer’s ranting and yelping and more singers joining in, but the tone softens and gets more peaceful in the second half of the album. From the flow of it, I can believe there’s a story being told here, even if I don’t really get it.

In any case, Magma are some interesting guys, quite different from a lot of the British progressive bands I’ve covered. I like the fantasy language element of the music as well. Reminds me of the Hymmnos songs from Ar tonelico and the made-up futuristic English/French/Gaelic/Japanese lyrics in the NieR games’ tracks.

And now, the featured posts:

The Great JRPG Character Face-Off: The Results! (Shoot the Rookie) — pix1001 concludes the contest co-run with Winst0lf to determine the greatest JRPG character, and the result may surprise you! But I’ll say it’s a deserving win.

You are the main character of your own life. (Umai Yomu Anime Blog) — An introspective post from Yomu about how we think of our own places in our lives and how anime usually puts that in a different light. I can’t really do it justice here, so do yourself a favor and check it out.

The Last of Us Part II (Extra Life) — A massive and truly comprehensive review of the controversial The Last of Us Part II from Red Metal, digging into both the gameplay and the story. No matter how you feel about the game, this is very worth reading.

Introducing the Frosty Canucks Podcast (Frostilyte Writes) — Frostilyte is now co-hosting a game-related podcast! It’s good stuff, I’ll be following it from now on, and you should too.

Rozen Maiden (The View from the Junkyard) — From Roger Pocock, a review of the mid-2000s anime series Rozen Maiden, which is about a socially maladjusted kid who gets a harem of living dolls that fight each other. This is one that seems almost totally forgotten these days, but it was insanely popular back at the time it aired. Also not quite as weird as it might sound from how I described it, though it has been over a decade since I watched it so I might not be remembering something. I do remember Suigintou being a pretty good villain, though.

Divinity, demons, and decay (Kimimi the Game-Eating She-Monster) — Kimimi writes about her take on Shin Megami Tensei II, a game that until pretty recently was a pain in the ass to play here since it was never officially localized. Anytime anyone writes about SMT I’m interested, and especially about the older or lesser-known titles like this one.

Freaked Out Now and Dead on Arrival. The Persona 3 Retrospective, Part 6(a)- Characters (S.E.E.S. and Protag) (Lost to the Aether) — Speaking of Megami Tensei, Aether’s in-depth analysis series of Persona 3 continues with a look at the unusual school club SEES and the protagonist who joins it at the beginning of the game. Nothing is what it seems at first, and Aether has some great insights about the game once again in this post.

Final Fantasy: The 4 Heroes of Light – Review (Nepiki Gaming) — Check out Nepiki’s newly remodeled site for a great review of this Final Fantasy game. I’ve been off the FF train for a long time now, but it’s still a rich series and a good time to read about.

Why I Hate Fan Service in Anime (The Anime Basement) — Keni over at The Anime Basement puts forward some arguments about why fanservice can be a problem and how some anime series use it in a way that’s not very tasteful. I partly disagree with him, but he does bring up interesting points, and it’s always good to get a different perspective on these matters. (I do agree with him that Kill la Kill does fanservice really well and in a way that makes sense in the context of the show, but maybe that will be a subject for a separate post someday.)

Anime I like, but haven’t talked about yet: Maria the Virgin Witch (Mechanical Anime Reviews) — Scott writes about Maria the Virgin Witch, another anime series that doesn’t seem to get a lot of talk. It’s a pretty short series, so no reason not to take the time out to watch it — I’m halfway through it now and it’s very good so far.

Hololive English: Examining a Worldwide Phenomenon (MoeGamer) — I’ve admitted that I fell into that infamous Hololive/Vtuber rabbit hole recently, just before that English-language branch that started a few weeks ago (and you’ll know that for sure if you saw me talking up Gura’s great singing or Amelia’s interesting mix of chilled-out and weird on Twitter or in comments somewhere.) Pete here gives a history of the Vtuber phenomenon and a rundown of what makes the various personalities of Hololive special.

The Soul of an Online Community (ft. Vtubers) (Anicourses) — Sadly, though, the Vtuber thing is not all sunshine and roses, as we’ve seen recently with the suspension of popular streamers Kiryu Coco and Akai Haato over extremely sensitive international political matters (really, I’m not kidding.) Over at Anicourses, Le Fenette examines empathy and connections between fans and players in online communities, including the very active and sometimes volatile world of Vtuber fandom and how it may have contributed to cutting one Vtuber’s career short.

And finally, congrats to The Traditional Catholic Weeb and Dewbond on two years of blogging!

So let’s finally close the book on last month. These posts keep getting longer, just like my reviews. And I have plenty more coming up: I’m in the middle of a few visual novels that I may or may not finish soon, I’ve just started 13 Sentinels: Aegis Rim, and I’ve finished a few anime series I may write about soon (including even more Monogatari! So I hope you’re not tired of that.) Until next time.

Retrospective: Sonic Adventure 2

Were the Sonic Adventure games good? Throw that question out to the crowds of Twitter users and watch people fight over it, because it’s a contentious one. But that wasn’t always the case. This series had a famously rough transition from 2D to 3D, but I think a lot of the poor reputation of modern Sonic stems from the total disaster that was Sonic ’06 and from some of Sega’s less bad but still pretty bad blunders such as the endless slog of the nighttime sections of Sonic Unleashed and the entirety of Shadow the Hedgehog.

The Adventure games, on the other hand, went over pretty well at the time. The first two real Sonic games in 3D were far from perfect, with plenty of camera problems and glitches, but I remember liking them when I first played them on the Dreamcast, and I don’t think anyone really outright hated them or declared the series dead after playing them. A lot of fans agreed, and I do too, that they weren’t nearly as good as the original 2D games on the Genesis, but they weren’t considered a disgrace to the series or anything like that. Even when the Dreamcast died, these two games were at least well-regarded enough to live on as Gamecube ports with new features added. Yet now they do get quite a lot of hate, especially the first one, which I’ve even heard called one of the worst games ever made.

I’m not going to address here whether Sonic Adventure deserves that harsh assessment, though I’m pretty sure it doesn’t. But I only own the Steam port of Sonic Adventure 2, so that’s the one I can write about without having to dig through hazy twenty year-old memories. I finally got around to playing this version of SA2, and I don’t feel that differently about it now than I did back when I played the Dreamcast original upon release in 2001: generally pretty all right but with some boneheaded gameplay decisions and clunky elements that make it a chore to get through sometimes.

But amazing dialogue

But you’re reading this to get specifics, so let’s get to them. SA2 opens with a nice cinematic-looking shot of Sonic being transported as a prisoner on a military helicopter for a crime he obviously didn’t commit, because he’s a good guy. So he jumps out of the helicopter and onto the streets of San Francisco using a broken-off piece of it as a skateboard (Sonic doesn’t take fall damage, so he’s fine.) It turns out that he’s a victim of mistaken identity, because the grandfather of Dr. Robotnik, now officially known in the West as Eggman, developed another anthropomorphic hedgehog as an experiment on an orbital base to be the ultimate lifeform.

When Eggman discovers this being called Shadow, he unleashes him to cause some chaos. And of course, since Shadow and Sonic are shaped in a vaguely similar way, everyone thinks it’s Sonic wreaking havoc instead. While Sonic runs from the military police, his friends Tails and Knuckles join up to help out, pairing off against Eggman, Shadow, and another new character named Rouge, an anthropomorphic bat lady and a government spy. But she’s also a treasure hunter who’s after the Master Emerald, which for some fucking reason isn’t on the Floating Island anymore.

Remember when Knuckles was the guardian of the Floating Island and sworn to keep this shiny rock on it, otherwise said island would fall into the ocean like in Sonic 3 & Knuckles and Sonic Adventure 1? Well Knuckles doesn’t, because he never even brings that up. And this is the third time he’s lost the damn thing anyway. What are you doing, Knuckles?

And since Knuckles shatters the emerald on purpose to get it out of Eggman’s hands, he has to search for the missing pieces again while also helping out Sonic. Amy Rose is also around, though she sadly doesn’t get much to do this game other than pine after Sonic and get captured by the bad guys as usual. Other things that happen in the course of the game: Sonic and Tails meet the President of the United States, and Eggman blows up half of the Moon with a giant space laser.

More stuff happens in Sonic Adventure 2, but this is enough to see that the plot is pretty damn stupid. In places, it doesn’t even make sense. The mistaken identity part is already silly enough since Sonic and Shadow clearly look different even from far away, so why does everyone mistake Shadow for Sonic? I guess it’s because the game needs someone for you to fight/run away from in these stages. And it can’t just be Eggman now, because he’s also a playable character along with Shadow and Rouge in the second “Dark” storyline that runs parallel to the “Hero” one up until the final part of the game, when both teams have to work together to defeat a greater, more insane evil than even Eggman himself.

But does anyone care that much about the plot of a Sonic game? Some people do, and five years later the series tried a sort of serious RPGish plot with Sonic ’06, but that didn’t work at all and went over horribly. So maybe it’s better if the games don’t worry so much about plot. You can easily ignore the dumb plot, because the gameplay is the main thing.

Sonic Adventure 2 also trips up a bit there, however. The first Sonic Adventure, released in 1998/99, tried out a lot of different gameplay modes, a couple of which were famously clunky (namely Big the Cat’s fishing game that’s widely hated; people also complained about Amy’s sluggish platforming style, though I didn’t mind it as much.) Sonic was still the center of attention, however; his game was by far the longest out of the six, with many more stages to play through. SA2 cut down on the number of gameplay modes to just three: traditional fast platforming action with Sonic and Shadow, an exploration-based hunting mode with Knuckles and Rouge, and a third-person mech shooter with Tails and Eggman, each mode sharing equal game time. So when you’re playing SA2, you’re only running around classic Sonic-style for one third of the time.

This is obviously a problem if you don’t like the other two-thirds of the game. You can’t even just play through Sonic and Shadow’s stages and ignore the others like you could in SA1, because instead of individual character routes, the story is told through two separate Hero and Dark routes that alternate stages between Sonic/Tails/Knuckles and Shadow/Eggman/Rouge. So you just have to suffer through those parts if you’re not interested in them.

Do you know the Pumpkin Hill song by heart? I fucking do

I don’t hate all the non-Sonic/Shadow parts of this game. The Knuckles and Rouge hunting levels get a lot of shit, but I don’t find them that bad. The scavenger hunt element of those stages work pretty well, and the three emerald shards or whatever other three objects you’re hunting for are placed in randomized locations that you need to find by using a sort of hot/cold radar system, so each run through of a stage plays a bit differently. The horrible camera controls can make it hard to dig around in tight areas as you’ll often have to do, but the camera in this game is always a pain in the ass anyway.

No, the sections of SA2 I really don’t care for are the mech stages. It was a fun novelty to play as the villain Eggman, and it makes sense that he’d be using a mech to get around, but Tails is now also stuck in a mech throughout the game, which means the player misses out on his unique flying ability that made playing as him in Sonic 3 & Knuckles so fun. I know Tails is supposed to be an engineer, so it’s not crazy that he’d be driving a mech around, but that still seemed pretty dumb to me. You can fly, so why not use that skill?

The greater problem here, though, is that these stages are just too slow and dull. I don’t see anything special about them. Though I do know people who really like them, so this seems like one of those “your mileage may vary” issues.

excitement

But the Sonic and Shadow stages are pretty fun. They’re still not as fun as the stages in the original Genesis games, partly because they’re far more linear. But I think the main appeal of these stages in the early 3D Sonic games is seeing how quickly you can make it to the goal. This game even implements a time/score-based ranking system from E to A (no F, I guess because if you reach the goal, you haven’t technically failed no matter how long it took you to get there) along with four extra challenges in each stage and bonuses for completing them successfully. If you’re a completionist, you can get a lot of replay value out of Sonic Adventure 2.

Some of that replay value is also provided by the Chao Garden, where you can raise some weird onion-headed blue creatures with any of the six playable characters, feed them animals to make them strong, run them in races, etc. I’m not into this kind of virtual pet stuff, but if you are, it’s worth checking out.

This is pretty much how you raise Chao as far as I know

The team that ported SA2 to Steam seems to have done a pretty decent job, because it mostly plays fine.* I do get some slowdown in a few parts of stages (mainly Sonic and Shadow’s visually busy jungle stages) but I’m not sure how much of that is me having a piece of shit PC that I can only run visual novels on. For the most part, this game plays how I remember it playing in 2001. All the good and bad elements of the game are still there: the camera is still garbage and the mech stages are still boring, but the Sonic/Shadow stages and some of the Knuckles/Rouge ones are still fun to play.

The soundtrack hasn’t been touched either, which is again both a good and a bad thing. I really like some of the music in SA2, especially Rouge’s smooth jazz lounge stuff and Shadow’s extra over the top angsty-sounding themes like “Supporting Me”. The Knuckles raps are still really bad, but then again they’re so bad that they’ve become jokes, especially the Pumpkin Hill theme — and in any case, it’s hard to imagine those Knuckles levels with any other BGM. If you’re a fan of Crush 40 and Jun Senoue’s guitar-playing then you’ll also really like Sonic’s character and stage themes. I’m not a big fan of the style, but “City Escape” is still catchy. Just try to get it out of your head when you’ve heard it once.

Hey Knuckles, when you’re done flailing around like a dumbass, let’s have a proper fight.

In the end, I still have mixed feelings about Sonic Adventure 2. It’s mostly fun to play, and even the mech sections aren’t horrible to get through aside from a couple of extremely overly long stages late in the game. On the other hand, I think it also represents a shift away from the old Sonic style that I grew up with as a kid and that I liked so much. The first Adventure also added new characters and a dumb plot, but it felt more in line with those older games somehow. With SA2, we’ve now got much more “adult” characters with the extra-edgy Shadow, who looks like he was designed to appeal to depressive loner kids (i.e. me) and Rouge, who looks like she was designed to appeal to furries on DeviantArt (i.e. not me, but I guess I get what they were going for if in fact they were going for that.) And the President is a character in the Sonic universe now for some reason. Sonic Heroes is where the series really lost me, and Sonic ’06 is where it gave me a giant middle finger, but in some ways SA2 feels like the beginning of that shift into unfamiliar territory.

But does it really matter that much? Sonic the Hedgehog as a whole has had plenty of ups and downs, and even though I’ve been mostly out of the loop with the Sonic series for the last two decades, I’ll probably always have a soft spot for it. I certainly will for Sonic Adventure 2, which in my view counts as one of those ups. At the very least, this game is certainly not the disaster some critics paint it as. I guess that’s not the most enthusiastic endorsement I could give the game, but I’d say it’s still worth trying out, even with its problems. 𒀭

 

* This isn’t the case for the ports of Sonic Adventure, however. The Gamecube port Sonic Adventure DX: Director’s Cut was supposed to be an upgrade, but it actually downgraded some of the graphics and added new glitches that weren’t present in the Dreamcast original. The PC version is even worse in this regard, taking the Gamecube version and compounding these problems, and unfortunately the SA offered on Steam is based on that one, making it a port of a shitty port of another shitty port. Thankfully, fans have created patches to fix many of these issues, doing far more for the game than Sega ever bothered to. For a comprehensive rundown of the port issue, see a video overview here (made by Cybershell, an excellent YouTube video maker who recently reappeared for the second time after years of hibernation) or go straight to the source to get all the details.

As far as SA2 goes, I also played it on both the Dreamcast and the Gamecube, and I don’t remember so many differences between the two versions aside from a few bits of added content like multiplayer battle mode, but I could be wrong about that. It’s been a long time, after all. I should also mention that the extra Gamecube content is offered on Steam as DLC. I didn’t buy it, but it’s only a few dollars as of this writing.

The Super Happy Love Award

Did you ever think you’d see such a title to a post on this site? It’s all thanks to Frostilyte, who nominated me for the Super Happy Love Award originally created by fellow anime/game blogger Pinkie to make the internet a happier place. That’s ambitious, but definitely a commendable goal, so I’m happy to do my part. Here are the rules, quoted in full:

  1. Thank the one who tagged you and if at all please tag the original post as well. This is my first blog tag and a bit of a passion project so I would like to see where it spreads! Oh and use Super-Happy-Love as a tag!
  2. Display the Super Happy Love Logo in your post Share the rules!
  3. Choose a minimum of 2 out of these 6 prompts to answer in this blog! More is always allowed! These six prompts are as follows:
    • Tell about a person you love, this can be a friend, partner but also a celebrity or even youtuber who means a lot to you. As long as they once took breath on this earthly realm you are allowed to pick them… Tell us why you love them.
    • Write something about a fandom or franchise you love. It can be your favorite game series or about just about anything that is bigger than just a single product! Tell us why you love this so much!
    • Tell us something about a character that you love. Do you have a Waifu, a Husbando, maybe a mentor or someone who taught you a valuable lesson. Tell us why you love them.
    • Tell us something about a piece of music that you love. Does a anime intro mean a lot to you? Did you have a special memory to a pop song, like your first dance at your wedding? Maybe a piece of video game music? If you love it, you should tell us why!
    • Show us why you love a piece of media so much! A Book, A Game, A Anime, A Movie maybe even a random piece of fan art, you are free to pick as long as you can show us why you love it.
    • Write something about yourself that you love! For those who like a challenge, there is a hard mode in this blog prompt as well. Tell us why you love a certain aspect of yourself
  4. Put on your rose tinted glasses. For once you are allowed to gush about the things that you love without having to balance it out with negatives so that you seem objective. In fact your are actively encouraged not to bring negativity into this tag. So no, “Nowadays is poopoo but back in my days…it was great”. Just say it was great! Love is blind after all!
  5. Tag 6 bloggers you love so they can take on this challenge as well.
  6. Everyone who comments something lovely about your post ALSO gets nominated (should they so choose).

Quite a challenge for me, but I’ll take it. Firstly, thanks to Frostilyte for the nomination. He runs a great blog over at Frostilyte Writes (now with a fancy new .ca domain, I’m jealous) featuring posts about video games and his original art. If you follow my site, you should follow his as well.

Now for the main event. I can definitely be positive about some of the stuff I like — I mainly write about stuff I like here, after all. So here we go:

1) My favorite franchise: Megami Tensei

In news that will be surprising to absolutely no one at all, I’m declaring that Megami Tensei is my favorite game series. I think I’ve declared that a lot, actually. But why do I like it? I’m thinking about writing a few more in-depth posts on the series in general and a lot of the themes in particular later on, but I can address that generally here.

It’s not what it looks like, really

One of the things that struck me first about the series when I first got into it with Persona 3 was its use of mythological, historical, and religious figures from around the world as demons (“demon” here being a neutral term for any supernatural being, not just the typically evil ones — even angels are included in that definition.) In Persona 3 and 4, these beings are the Personas, who are representations of the characters of you and your friends (and of a few of your enemies as well.) I loved Kazuma Kaneko’s unique designs, and when I discovered the mainline Shin Megami Tensei series through Nocturne I found some of the same and many more of these figures were fought as enemies and could be recruited into your party. There was a lot of novelty to that, but even after the novelty wore off I kept finding Easter egg-style bits of dialogue between related demons during combat that suggested the writers had really done their homework with regard to their stories and myths. So I was very happy to see Persona 5 include the same beings as enemies in its shadow worlds.

In that sense, Megami Tensei is a bit like the Fate series, which also makes use of both historical and mythological characters to tell its stories. Only Megami Tensei doesn’t take quite so many liberties, like making King Arthur a girl who the main character can get romantically involved with (Saber in the first route of the original Fate/stay night visual novel. If you know a better way to transfer mana, I’d like to hear it.) It also puts these figures into a very different context — instead of being purposely summoned like the Servants of Fate, the Personas are usually summoned entirely by accident or spontaneously (I know Saber was also summoned by accident in F/SN, but that’s an exception.) And in mainline SMT and some of its other spinoffs, the demons/angels/spirits/monsters/etc. typically decide to invade some place, usually Tokyo, without asking anyone’s permission, and then massive destruction usually follows that we humans have to deal with.

I just find that supernatural/human mix to be exciting. I like it enough that I wrote a whole daily Christmas series on some of my favorite demons in the series, and maybe I’ll even do it again this year.

Just because it’s the post-apocalypse and you got turned into a demon-human hybrid, it doesn’t mean you can’t get along and make friends

I could go on for many pages about Megami Tensei, and I probably will at some point not too far in the future, so I’ll save the rest.

2) A soundtrack I love: Sonic the Hedgehog 2

I guess this post is going to be all about games, but that’s fine, isn’t it? Video games have had a massive impact on my life, and probably on yours too if you’re reading my site. And a big part of that impact has been the music featured in those games.

Most games have pretty basic soundtracks. If you just need passable background music to fill the silence, it’s not too hard to create. There’s also some impressively and even entertainingly bad music to be found in games. But the soundtracks I remember are the ones featuring tracks that are both complex and catchy. The 90s childhood series that come to mind when I think of game music from back then are the ones you’d probably expect: Mario, Mega Man, Final Fantasy, but to me Sonic was the most memorable.

Almost all the classic Genesis/Megadrive-era Sonic games have great music, but Sonic 2 sticks in my head specifically for some reason. Maybe because that’s the game I remember playing most as a kid, but the soundtrack is absolutely top-tier as well, written by musician/producer Masato Nakamura. Some people prefer the Sonic 3 soundtrack with the rumored Michael Jackson contribution, and that’s an amazing one as well, but if I had to pick one to own in physical form, it would be 2 for me.

3) Bonus thing I love: this video of a virtual rabbit girl playing games and killing enemies while talking like a gangster

Look, I found out about Vtubers and now I’ve fallen down the Hololive rabbit hole. That’s an especially apt term to use in this case. If you want to know the deal with this stuff, check out Lumi’s post on the subject here. Or just ignore this and move on. That’s probably your best option. All my recommended YouTube videos are now Hololive clips and it’s an endless cycle of me watching one after another. Don’t do that to yourself.

Now for the nominations. I’ll nominate Lumi, since I’ve already taken the liberty to use his post above, and also:

Ace Asunder

A Richard Wood Text Adventure

Winst0lf Portal

Peak Weebing

KS Blogs

And as stated in the rules, whoever else is reading this and feels like it gets nominated too. And as usual, apologies if you don’t do these, feel free to ignore, etc. I still have one more of these tag posts to make, but in the meantime I’ll be watching more Pekora videos.

Listening/reading log #11 (August 2020)

As America gets closer and closer to becoming a mainline Shin Megami Tensei game and I start to consider how to maintain a Neutral alignment (still the best alignment, no Law or Chaos for me) I’m finding comfort in music. Today I’ll be presenting two works: another old classic and one of my favorite albums ever, and something new I discovered recently. And as usual, I’ll also be featuring excellent articles from around the community in the past month.

Red (King Crimson, 1974)

Highlights: Red, Fallen Angel, One More Red Nightmare, Starless (basically the whole album except for one track that’s just okay)

I’ve written these short album reviews for nearly a year, yet until now I haven’t talked about one of my all-time favorites: Red. This album was put together by the second (or third, or fourth, depending on how you’re counting) iteration of the prog band King Crimson, which has changed lineups about twenty million times since it started in 1969. Through the years, the only constant in the band has been guitarist Robert Fripp. The other two guys on the cover are bassist/singer John Wetton (formerly of Family and later of Asia) and drummer Bill Bruford (formerly of Yes, and who’s been featured the most out of anyone in these reviews so far, also on The Yes Album, Close to the Edge, and Larks’ Tongues in Aspic.)

Red is extremely heavy, precise rock, full of memorable songs. The atmosphere this album creates is something to experience — it’s dark but not trying to be “evil” in the way some of the 70s heavy rock and metal was going for. This is one to play late at night during a coffee binge. I love every track except for the improv-sounding piece Providence, and even that’s not exactly bad, just kind of messy-sounding and out of place. But then I know people who love 70s Crimson improv works found on albums like Starless and Bible Black as well, so you might love this too if that’s your thing.

Somehow these guys just broke up right after recording Red and wouldn’t return for seven years, reforming into a totally different-sounding (but still good!) early-80s New Wave band sort of like Talking Heads. Weird stuff, but then Robert Fripp is a weird guy. He’s also responsible for the startup sound in Windows Vista if you remember that thing. Anyway, this is an amazing album that you should check out.

Bon Bon Appétit!! EP (Sugar & Co., 2020)

Highlights: it’s only three songs long and they’re all good, but I love SWEETSWEETSWEET

If Red is too dark and stormy to suit your mood, here’s something completely different in tone and style, and something so sweet that it might be dangerous to listen to. Bon Bon Appétit!! is a short EP that I might never have found if not for Muse Dash, the rhythm game I reviewed last month. Ever since learning about future funk a couple of years ago I’ve really liked what I’ve heard of it, and this is in that style, made by Shanghai-based composer ANK and a few other people operating under this Sugar & Co. name. And the name, album title, and pink as hell anime girl cover fit the contents exactly: Bon Bon Appétit!! is all cute vocals over electronic disco/funk tracks.

There was a time long ago I’d have never listened to this kind of stuff, but not anymore: it’s catchy and addictive like actual sugar is, and I like it about as much. Really nice, and I’m looking forward to seeing what else comes out from ANK and the rest of them. There are a few other tracks in Muse Dash by the same group that I also like, so it seems like they’ve got more material around. I’ll also probably be listening to more future funk in general because of how relaxing I find it — I’ve already gotten a few great recommendations that I’m looking into further.

And now for the featured articles (more than usual to make up for my being too lazy to review more than two albums again, one of which is less than ten minutes long. Sorry!)

Mega Man 6 (Extra Life) — Red Metal completes his analysis of the original NES Mega Man series with his review of Mega Man 6, a game that gets maligned a whole lot but that maybe doesn’t deserve all of that hate. See Red Metal’s in-depth review for more.

Visual Novel Theater – fault (Lost to the Aether) — Another VN review from Aether, this time of fault, an episodic kinetic novel that I haven’t played. Sounds like an interesting premise, though I don’t think I’d be able to deal with the lack of an ending (at least there isn’t one yet, and it sounds like there might never be one from what Aether says.)

Exploring Miyazaki & Aoshima Island at Sunset (Resurface to Reality) — One day I’d like to visit Japan, but for now all I can do is keep reading travel posts like this one, a look at the Kyushu coast from browsercrasher.

Happy Birthday GoldenEye 007! (Mid-Life Gamer Geek) — A birthday tribute to GoldenEye 007. I remember the movie being all right, but the game was legendary, and Mid-Life Gamer Geek does it justice in this post.

Appreciating My Manga Collections More in a COVID-19 World (Objection Network) — Michaela reflects on the dire state of the US and the world as a whole and how it’s made her appreciate manga as a hobby. I’m all about buying physical copies too.

Fate/Grand Order Tierlist: Ranking all Caster servants! (Nep’s Gaming Paradise) — I don’t play Fate/Grand Order, but I do like what I’ve played/watched in the Type-Moon universe, so reading Neppy’s character rankings for the game is still a good time. He’s got a whole series of posts on the subject going, so be sure to check it out.

The Top 5 Animes That Made Me Want to Order Take Out (I drink and watch anime) — Anime often features food that’s incredibly detailed-looking and makes you hungry just seeing it. Irina here recommends five anime series featuring great-looking food. None of these are series you should watch if you’re fasting (also don’t watch Today’s Menu for the Emiya Family, speaking of great-looking food and the Fate series.)

The Uzuki-Chan Drama – Twitter imposing their morals on a foreign culture (A Richard Wood Text Adventure) — Having just gotten current on the anime Uzaki-chan Wants to Hang Out! I can say it’s fucking weird that this is the show of the season people decided to start fights about. Wooderon addresses the drama surrounding Uzaki-chan and the part moral and cultural superiority is playing in creating said drama, especially on Twitter.

Waifu Wednesday: Rorolina Frixell (MoeGamer) — Anyone with an interest in JRPGs that are a little out of the ordinary should be following Pete Davison’s massive series of Atelier posts covering what looks like the entire series. In this post, Pete highlights some of what’s great about Rorona, the protagonist of Atelier Rorona, one of the few in the series I’ve played so far. And I agree with his assessment — Rorona is easily one of my favorite game protagonists.

I Really Dig Disco Elysium’s Character Building (Frostilyte Writes) — Disco Elysium looks like it has a unique character creation system. I think I can easily get into the mindset of a sad drunken detective already, but Frostilyte’s post about the game got me even more interested in it.

The Plague of WordPress: AI Generated Posts (Umai Yomu Anime Blog) — Yomu delivers a warning about the rise of AI-generated nonsense posts on WordPress that are currently misusing the anime tag. We’ll have to stay one or more steps ahead of the jerks behind this garbage.

Surgeon General’s Warning: DO NOT WATCH ANIME (Mechanical Anime Reviews) — And finally, Scott delivers a warning about the effects of watching too much anime. Sadly, it came too late for me.

That’s all for this month. I have more anime reviews and a couple of game retrospectives coming up soon, but before that I’ll be taking on a couple of tag posts. Until then, stay safe as always.

A review of Muse Dash (PC)

Sure, I like playing my hardcore simulation games and JRPGs and all that, but I also like to have a few casual games to mix things up. Especially these days when I have so much work to get through, being able to pick up a game for half an hour or even a few minutes can be useful. So I’ve been getting a lot of use out of Muse Dash, a rhythm game out for PC, Switch, and mobile platforms. I say casual, but in some sense, Muse Dash is extra-casual. Unlike other rhythm games I’ve covered here like Hatsune Miku: Project DIVA Future Tone and the Persona dancing titles that feature four tracks to keep up with corresponding to the four buttons on the PS4 controller, Muse Dash only has two. There’s no story to the game either, at least not one I could find.

But that’s fine. This was just the kind of game I needed for these bullshit times we currently live in. It’s colorful and fun, and you don’t really have to think too much about it.

Muse Dash in its base form features a few dozen tracks to play through. The player can pick one of the three muses Rin, Buro, or Marija to play through these rhythm-based courses with, beating up enemies and dodging obstacles to the beat of the song. Each course includes a “boss” sort of enemy who will shoot more shit at your muse that she has to dodge/hit to maintain her combo. Missing an enemy breaks that combo, and getting hit by an obstacle or enemy deals damage and drains her health bar. And naturally if that bar gets to 0 HP, the stage is failed.

So the basic gameplay is pretty simple, intuitive enough to pick up and start playing right away. One of the nice things about Muse Dash is that it offers a wide variety of difficulty levels rated by number. Even if you’re someone who’s not very good at rhythm games (for example: me) there are plenty of songs from 1 to 4 in easy and even hard mode that aren’t too much trouble to master.

Don’t get hit by her peppermint candy cannon, it hurts

If you greatly improve your skills or you have naturally amazing reflexes, there are also higher-rated hard and master mode levels that provide a nice challenge. However, Muse Dash is also considerate enough to let the player level up quickly by playing through courses no matter what difficulty they’re set to, meaning even a crap player like me can unlock most of the content in the game.

And there is quite a lot of content that’s initially unavailable. These include most of the game’s songs, useful helper characters called Elfins who can be paired with your muse, and a variety of costumes for Rin, Buro, and Marija that change their HP and abilities. Most of these costumes took hours upon hours of grinding through songs to unlock, but most of them are worth getting for the benefits they provide. Anyway, those hours didn’t feel like grinding; they just passed naturally as I played the game.

She’s not the best character to use, but my favorite one is still catgirl witch mode Marija.

The base version of Muse Dash sells for only three dollars, and the few dozen songs it includes offer some nice variety in speed and style. However, there’s a heavy emphasis on sweet-sounding poppy material. The game also features some harder-edged rock and electronic tracks, some jazzy stuff, and a few classical/orchestral-sounding pieces. But between all the J-pop/cute anime theme-style music (a lot of it seems to be Chinese as well, but it’s also done in that style) and the game’s cute visuals, Muse Dash might be too extra-sugary for some players. At least it won’t affect your blood glucose level, but you might feel the same way playing Muse Dash as you would eating a bunch of cupcakes or those horrible glazed Krispy Kreme doughnuts. I’m not a fan of every track I’ve played so far, but I enjoy most of the music, especially the more relaxed chilled-out stuff.

However, that’s just the base game. Muse Dash also comes with a DLC package that sells for $30 and piles several dozen more songs and courses onto the tracklist. I know I’ve complained about overpriced DLC already, but this time the price feels more justified, especially since it acts as a sort of “season pass” that applies to future DLC. It also looks like the makers are actively releasing new songs and characters. It’s entirely possible to get a lot of play out of the basic three-dollar version, enough that you might be satisfied with that alone — the $30 version seems made for players who really get into the game.

How the hell are you standing on top of a limo and shooting missiles out the back? This is definitely a traffic violation!

The only problem I’ve had with Muse Dash so far is some occasional slowdown and stuttering in the tracks. When this happens, the song and course fall out of sync and then you may as well quit and restart, because your run will probably be completely screwed up if you can’t rely on the beat to guide you. This has only happened to me a few times when I had too much other crap running in the background, so it’s likely just an issue on my end.

So I don’t have much to say about Muse Dash, but in this case, that’s not a bad thing. I’ve been playing the Steam version off and on for a while now, and it’s been a great break from my work schedule, especially considering how easy it is to break into five- and ten-minute runs. Like pretty much every other game out there, it’s not for everyone, but it’s certainly for me. Even if it is pandering a bit with those costumes. Why aren’t there more catgirl witch characters around anyway? Someone needs to work on this deficiency as soon as possible.

Listening/reading log #10 (July 2020)

Last month was one of my most prolific ever. Between the Atelier and Monogatari stuff and my Sim series retrospective, I managed to say more than I thought I had to say, which might be a sign that I need to edit. But I’m too lazy to edit. I’m a bit tired now, but don’t worry: I still have several anime and game review drafts sitting around and even more to come after that, so there’s no end in sight.

For now, let’s do the usual end-of-month thing and check out some good music and writing from fellow bloggers. I didn’t get much of a chance to hear any new music in July that wasn’t part of a soundtrack, so this time I’m pulling two old classics out, both by groups that I covered a long while back:

Maggot Brain (Funkadelic, 1971)

Highlights: Maggot Brain, Hit It and Quit It, You and Your Folks, Me and My Folks

I guess I haven’t actually talked about Funkadelic before but rather Parliament, but they’re sort of the same thing. They were musical groups with a lot of overlap in membership, both led by musician/composer/producer George Clinton, and are often referred to together as P-Funk. There were differences, though: while Parliament’s releases tended towards dance-oriented stuff, Funkadelic was more of a psychedelic rock/funk group as their name suggests.

Maggot Brain is also one of their best albums. It has a lot of great energy and emotion, even in cases where it’s hard to tell if the music’s about anything — see the excellent title track for some of that, with guitarist Eddie Hazel playing his heart out. I really like some of the shorter songs as well. The only song I don’t like is the closer Wars of Armageddon, which I would describe charitably as “a fucking mess” but then it sounds like that was the intention anyway. The rest of Maggot Brain is good enough to still made it a personal favorite.

And no, I don’t know why that lady is buried up to her neck in dirt on the cover. She doesn’t look like she’s having a great time, though.

Emerson Lake & Palmer (Emerson Lake & Palmer, 1970)

Highlights: Take a Pebble, Knife-Edge, Lucky Man

At first glance, ELP and Funkadelic might not look like they have much to do with each other. But both of the albums I’m looking at today have a lot of energy and a nice degree of weirdness to them, even if stylistically they’re very different. This is the debut album of the prog group Emerson Lake & Palmer, three guys who were already well-established when they joined together in 1970. So despite being a debut album, it sounds very confident right out of the gate.

My favorite here is “Take a Pebble”, which doesn’t feel its length at all. It’s relaxing and mellow in parts but also builds a lot of tension near the end with Keith Emerson’s great piano-playing and Greg Lake’s dramatic vocals. ELP swiped the tune to the classical-rock piece “Knife-Edge” from Czech composer Leoš Janáček without crediting him until they were called out for it, but it’s still a great song. And “Lucky Man” was supposedly a song Lake wrote when he was a kid, a nice simple guitar ballad about a guy who isn’t really so lucky.

I don’t know if I prefer this over ELP’s followup Tarkus, so I’ll just say they’re both classics. Maybe I’ll also take on their later album Brain Salad Surgery one day, though my feelings about it are more complicated. I do love its insane-looking cover. If you’re a fan of H. R. Giger, look it up.

Now for some great posts from the past month:

The Persona 3 Retrospective Part 5 – Plot and Themes (Lost to the Aether) — I’m not putting the whole long title of this article here (those are “Mass Destruction” lyrics, right?) but you can and should check it out for yourself above, in which Aether continues his multipart analysis of the excellent JRPG Persona 3. There’s a lot here I never considered even after playing the game through a few times in different forms, with Aether going into depth about its connections to the Tarot and the Fool’s Journey.

The Great JRPG Character Face-Off! (Shoot the Rookie) — If you’re looking for a blogging community event that’s also an excuse to talk about your favorite JRPG characters, check out Pix1001’s post above detailing the rules. I’ll probably be taking part myself — it seems like a waste not to since I’ve been playing JRPGs for over 20 years now. Can’t waste all that valuable experience.

A perhaps biased opinion on Disgaea (Nep’s Gaming Paradise) — Neppy played through the first Disgaea game and gives his thoughts on it. He says his view is biased, but it’s not any more biased than mine — I love Disgaea 1, but this post brings up some weaknesses in the game that are worth talking about. We may not agree in our analyses of the game, but Neppy’s take on it is very interesting and worth reading.

Steam’s Inconsistency is Hurting Visual Novels – How We Can Help (MoeGamer) — Valve has been up to their old tricks with the visual novels on their game platform, removing an all-ages version of the VN Bokuten from Steam without warning. Pete Davison addresses the matter and raises the option of buying digital copies of VNs from alternative platforms and stores to try to break Valve’s virtual monopoly.

Anime Review #40: Little Witch Academia (The Traditional Catholic Weeb) — Here’s a Trigger series that passed me by completely. I was planning to watch their newest show BNA, but I’m now also interested in Little Witch Academia thanks to the Traditional Catholic Weeb’s very positive and thorough review of it.

Senko-san and Japan’s corporate culture (Reasons to anime) — From what I understand, some companies in Japan work their employees so hard, often without overtime compensation, that the Japanese language had to invent a new word. The word is 過労死karoushi, meaning death from overwork — not a figure of speech, but rather literal death caused by work-related stress. Casper examines the anime series The Helpful Fox Senko-san and how effectively it addresses corporate culture and workers’ quality of life.

The Toxic Side of Fanbases (Lex’s Blog) — Being part of both the Persona and SMT fanbases, I can say for sure that we have some crazy in there, with more than our share of infighting and weird feuds that probably look like total nonsense from the outsider’s perspective. Lexine raises some of the issues with fanbases, particularly with the minority of people in most every fanbase who are hostile to newcomers.

What I Learned from Watching the Ghost Stories Dub (I drink and watch anime) — The English-language release of the series Ghost Stories is legendary among a set of western anime fans because of its intentionally bizarre dub. The original work was pretty mediocre, but the dub turns it into an ultra-offensive comedy of the kind that probably wouldn’t fly today. Irina analyzes the ways in which this dub completely changed the feel of the series into something uniquely western.

I finally played “Da Capo” (Baud Attitude) — And from Baud Attitude, a look at the romance visual novel Da Capo and a comparison with its anime adaptation. Anime versions of VNs really do always go with the most boring, safest routes, don’t they? I bet if a Tsukihime anime were made, it would do exactly the same thing. Good thing that hasn’t happened.

And here’s to yet another month. Good luck and health to everyone, and please look forward to more of my nonsense posts to come. I might even review a banned-from-Steam VN or two if I can get them.

Deep reads #4: Playing God (The Sim series)

A few years ago, I started a game of SimCity 2000 on a virtual machine that I documented here on the site. The result was a fifteen-part series that ended in a stupid joke non-ending because the VM crashed, or my file got corrupted or something, and I lost all my progress. Should I have backed the file up? Probably, yeah. Do I understand a thing about virtual machines beyond the bare basics of how to run one? Not really, no.

Behold my glorious creation and despair that the city file is now forever lost.

But recalling my own stupidity is not the point of this post. There’s plenty of time for that later. The point of this is rather to look back at my experience with the Sim series, a long-running and now seemingly dead series of games started by defunct developer Maxis. I say my experience because that’s just what it is: mine may be very different from others, because at some point I left the series behind. Or maybe it’s more accurate to say the series took off in a different direction and left me behind.

Game developer Will Wright, the man whose name comes up most often when talking about the Sim series, was faced with the problem in the mid-80s of how to create a game that would be fun to play and that focused not on fighting and destroying, but rather on building and maintaining. The game he and his team ended up making, SimCity, was a city-building simulator just as the name suggests. It had a hard time getting much distribution at first because of how different it was from the usual fare, but those distributors who rejected it must have felt like real assholes later on because the game became a hit.

No, it’s not a farming game despite the cow on the title screen. If you wanted to be a virtual farmer instead, you had to buy SimFarm, released a few years later.

I have serious respect for the original SimCity, but it’s not one of the Sim games I have fond memories of. First put out in 1989, it was slightly before my time, and even after it was polished and re-released as SimCity Classic I more or less skipped over it.1 No, the game that hooked me onto this series was the one I went back to when I was feeling nostalgic a few years ago: its sequel SimCity 2000. First released in 1993 on DOS and later ported to every system on Earth, SC2K was an improvement upon the original in every way. The old top-down view was replaced with a more satisfying isometric one. The constant building and rebuilding, abandonment and repopulation from month to month made the city feel more alive. But the changes weren’t just cosmetic: many more substantive city-building features were added as well.

And of course there were the disasters. These were also present in the original SimCity, but watching your city get wrecked by an earthquake, hurricane, or nuclear meltdown felt more exciting in this new isometric view. I know it doesn’t look like much today, but in the mid-90s this was really impressive to watch, and despite approaching 30 years old as of this writing, the game with its 90s graphics still feels just as functional and playable as it did then.

A tornado rips through the center of my city. Not much you can do in a case like this except wait for it to go away and rebuild.

Both this and SimCity Classic gave the player something they didn’t usually get: the power to create and to lord it over that creation. Not that this meant everything is necessarily going to go the player’s way. You have the ability to build, but you naturally have to pay for what you’re building, which in hard mode means taking out a municipal bond that has to be repaid with interest. And even if you’re doing well financially, your citizens might not be so happy with your performance. Cost-cutting measures like not building enough police and fire stations lead to higher crime rates and more fires breaking out, while skimping on hospitals and schools directly and immediately affects your citizens’ quality of life. And if you’re playing with disasters turned on, your city can be struck with tornadoes, earthquakes, and fires at any time — all disasters that are more difficult to manage if you’ve been too tight-fisted to build and properly fund those all-important services.

You might think that you’re safe from the wrath of your people no matter what you do. The citizens living in the world of SimCity 2000 are stuck with you: they can’t vote you out of office for doing a bad job or oust you from power in a coup. They can protest, however, and if they get pissed off enough riots can break out, leading to fires being set around your city. In the end, it’s enough of a hassle that even if you don’t care about your citizens’ happiness, it’s just easier to keep them content by following fair, sound policies.

This happens sometimes when you try to build a nuclear plant or a water treatment facility near a residential area. People don’t like pollution or the possibility of a horrific disastrous meltdown in their town, who would have guessed.

One of the reasons I think the SimCity games did so well was the balance they struck between accessibility and complexity. SimCity 2000 was easy to pick up and play without any preparation, but it also had enough respect for the player’s intelligence not to dumb things down. The game didn’t require you to manage municipal ordinances or to go through all its charts and adjust commercial and industrial tax rates, but if you wanted to mess around with those to try to make more money or spur growth you had that option. As a consequence, both children and their parents might get hooked on this game — it’s intuitive enough for a kid to pick up on quickly, but complex enough for a teenage or adult player looking for a challenge.

The most tutorial-style help SimCity 2000 gave the player in the course of normal play was advice provided by city officials on the budget screen, but again, you weren’t required to consult with them or to take their advice if you did. And sometimes said advice wasn’t even very good, just like you’d expect from a city council in real life.

For example, this nonsense. Legalized gambling is necessary to a city’s lifeblood in my opinion. The more unpleasant elements the better.

So the game let you play seriously if you felt like it. But if you weren’t feeling like it — say, if you had a hard day at school and wanted to let off some steam — you could also use the well-known cheat code to open debug mode (PRISCILLA, typed in all caps while holding the city toolbar, to this day I remember it.) This gave you access to unlimited money and rewards like statues, mansions, and the city-within-a-city arcologies. It also let you wreck everything with an expanded list of disasters that you could trigger. The normal disaster menu let you freely start the usual fires, riots, tornadoes, and earthquakes. But now, like a vengeful god, you could make a volcano rise out of the earth and swallow your city up (or rise off in an uninhabited corner of the map — it seemed to be random where it ended up.)

This part of the city looks nice and idyllic now but just wait until the wrath of God hits it.

SimCity 2000 stole dozens of hours of my childhood that might have been better spent outside in the sun. That’s what some people say, anyway. I’m not sure I believe that myself. And that’s just as well, because this wasn’t the only Sim game that occupied my time. SimTower was released for PC in 1994, and I jumped on it. This one wasn’t developed by Maxis but rather by the Japanese company OpenBook Co., later renamed Vivarium, under the leadership of famous strange game developer Yoot Saito.

But I didn’t know any of that at the time. To me, this was like a followup to SimCity, only scaled down from a city to a single building — a concept that really appealed to me. I felt like I was building a tower that might exist in one of those cities I built in SC2K, one of the big skyscrapers in the heavy commercial zones. Even though it was made by a different developer and was merely branded with the Sim name when ported over to America (in Japan it was simply titled The Tower) SimTower felt like it fit in well with SimCity thematically, which is likely part of why Maxis rebranded and published it here in the first place.

A basic office building like this is easy to build and maintain, but a real skyscraper in SimTower takes way more micromanagement to keep up.

When I wrote a short retrospective on this game years ago, I called it a happiness management simulator, and I stand by that description. Look at all those people lined up in front of the elevators in pink and red: those colors denote progressively more pissed-off tenants and visitors. Elevators quickly reach capacity and just as in real life, people don’t want to take the stairs. Meanwhile, each office, condo, and hotel room you build also has a quality meter that takes a hit if it’s too close to a busy restaurant or shop. And of course, if the shops and restaurants you build don’t get enough traffic, they lose money, and that’s on you somehow — instead of collecting your rent, you either end up paying to keep the place open or axe it and try over. All this day-to-day activity on a smaller scale makes SimTower a little more hectic-feeling than SimCity, but I still liked the feeling of building something and seeing it run, even if my creation kind of sucked at making money.

Years later, I picked up Yoot Tower, which was not released under the Sim name but was a sequel to SimTower in every way right down to the visual style. It seemed to have a few mechanics problems, such as certain businesses being automatic failures no matter where or when you built them (maybe this was intentional, but in that case I’d ask why the hell include those?) but it was still pretty fun seeing how this game expanded on the original.

Why did I even build this stupid ramen shop, nobody likes it

In the mid-90s, however, I was still hooked on SimCity along with a couple of other simulation and strategy games, so much so that I bought SimCopter when it came out in 1996. This was a helicopter flight sim that let you fly around the custom cities you built in SC2K putting out fires and transporting citizens in medical airlifts. Never mind that the game looked like complete ass. It was still a good time flying around the cities you built solving problems or causing even worse problems. Maxis knew the same players who started disasters in their own cities in SC2K would also try to destroy their cities from the inside in SimCopter, so the game lets them cause chaos in ways that it doesn’t really have to: dragging passengers’ icons outside your helicopter actually kicks them out of the vehicle, even if you’re a thousand feet in the air, and visiting a military base in your city lets you steal an Apache that shoots actual missiles. If you’re wondering what happens if you steal an Apache in SimCopter and use it on a nuclear plant, Maxis thought of that too — it was almost more fun causing horrible disasters in your cities than playing the missions and making money to upgrade your helicopter the proper way.

While games like SimCopter and Streets of SimCity were fun diversions, they seemingly didn’t make much of an impact on anyone. Not so for the next big idea Maxis had, which around the beginning of 2000 would start an entirely new spinoff series of games, one of the best-selling of all time. Although it was both critically acclaimed and a massive commercial success, The Sims was where the series lost me. Not that I angrily swore off the Sim series claiming I’d been betrayed or anything dramatic like that. It just didn’t provide what I was looking for when I picked up a Sim game. And since The Sims was more or less what the entire series became rolling into the 2000s as the original sold millions of copies, I naturally drifted away from it.

Relive the excitement of the shitty house you rented your last two years of college!

Okay, so maybe I’m being a bit unfair with the above screenshot, because the game lets you do a lot more than recreate a sad existence eating cold pizza in a three-room house. It was advertised as a sort of life simulator, taking you down to the level of the individual people living in a suburb, perhaps just the sort of suburb you might have built in the then-recently released SimCity 3000. You had the option of starting with a family of one to eight people and either buying a pre-built house or building a new house for them to occupy. After your characters, called “Sims” in a tradition stretching back to the old SimCity days, were named and appointed to a house, they started living their everyday lives.

And that’s where almost all the gameplay lies. Left to their own devices, your Sims go about their days, pursuing hobbies, entertaining themselves, and interacting with each other. They have autonomy, and they’ll generally do what they need to do to fulfill their desires: eat, sleep, shower, talk to each other, play games, watch TV, and so on. However, they also have to make money (not to pay rent — they live rent and mortgage-free somehow, which is very convenient, but food, furniture, and other goods still have to be paid for.) So you need to press them to get jobs. Children automatically go to school, but some of your adult Sims can be kept unemployed if you want to keep control of them 24/7.

Build mode lets you design and furnish your own house.

The Sims is largely a social simulator — your Sims gain and lose points with each other in their various interactions, and both love and hate can bloom between them. However, the building process is also an important part of the game. I imagine The Sims is at least twice as fun if you’re into interior design, because the game gives the player quite a few options to choose from: wallpaper, siding, floors, light fixtures, many styles of door and window, and of course a lot of furniture ranging from crappy-looking and cheap to posh and expensive. Gardening fans also have the option of planting trees and bushes outside. Your Sims appreciate getting some fresh air, so a nice garden serves them well. It takes some extra money, but building a pool is a good way of completing your Sims’ home.

Of course, it wasn’t all fun and games. Your Sims have that autonomy, and they’ll use it to get to their jobs on their own and do the other things that are absolutely necessary like eating and using the bathroom. However, they also have their own personalities that are set through point systems in the character creation screen, and they’ll act according to their likes and dislikes. A naturally messy Sim won’t be quick to clean up spills, for instance. In extreme cases, if a Sim neglects the bathroom (or if you were an asshole who didn’t bother to build a proper bathroom in your house) they might piss themselves and leave a puddle on the floor. Even worse, your Sims can potentially miss work if they’re distracted by other things. Urine can be cleaned up, at least, but money that goes unmade can’t be made back unless you have a time machine.

With only one or two Sims to deal with, this stuff isn’t too hard to manage. But with eight, all with different personalities and their own likes and dislikes running headlong into each other, things can easily turn chaotic.

Some dumbass starts a fire in the kitchen. This and the other examples I’m using here are official pre-release screenshots from Maxis (the actual game replaces that ugly “GO HERE” button with something nicer and adds toolbars and extra functions) but this is essentially what happens if a disaster strikes: your Sims waving their arms around and being useless, panicky idiots.

I can’t really criticize any of this too much. The Sims was very well-made, with great attention to detail. Much like the older Sim titles, it didn’t feature characters or a story but let the player more or less create their own, and it put the same kind of emphasis on balancing micromanagement and long-term planning.

It still didn’t work for me. Maybe I was just bored with watching a bunch of simulated people live lives that weren’t really that different from our own real-world ones. There was just something so mundane about The Sims that I couldn’t get past. I guess SimCity and SimTower were just as mundane in a way: they also took place in realistic modern-day settings and involved managing money and people to some extent. But they also felt different. I’d never have the ability to control an entire building or city in real life unless I somehow became an insanely powerful CEO or an emperor or someone like that, and I had the sense even as a child that that was not going to happen. Living an everyday life, however — that was something I was already doing when I played The Sims, and it’s still something I do today. Why did I need to recreate that? I didn’t even like my regular life very much, and playing what amounted to a smaller, simpler version of that life didn’t provide the kind of escape I normally looked for in games.

Is this really a kind of escapism, by contrast? Maybe all this is saying more about me than about these games.

This is where my time with the Sim series just about ended. I did buy SimCity 4 when it came out a few years later, and it was a great update to SimCity 2000 and 3000 before it (why they didn’t just continue that trend and call it SimCity 4000 I don’t know; maybe they felt silly about the “thousand” part of the title at that point.) It was nothing new to me, though. The graphics were nicer and more detailed, and there were many more building options and features to choose from, but the old excitement of creation just wasn’t there anymore.

That lack of excitement had nothing to do with SimCity 4 itself. I’d bet that if I were ten years younger, I’d be talking about it in just the same way I talk about SimCity 2000. I’d also bet that there are players out there five or ten years older than me who felt that excitement with the original SimCity and didn’t feel it with SimCity 2000. The first four SimCity titles are excellent games; I believe how you feel about each is largely a matter of which one you started with.

My SimCity 4 city is just as shitty as my SimCity 2000 ones

The fact that I don’t have any nostalgic feelings for The Sims may also have a bit to do with the age at which I played it, but I think that’s more a case of my simply not liking the premise very much. Too bad for me, because that’s the basket where Maxis and its new parent company Electronic Arts put almost all their eggs. The first Sims was followed in the next few years by seven separate expansion packs, not counting later deluxe editions that tied some or all of those expansions to the base game. The Sims 2 and 3 were released in 2004 and 2009, along with their own dozens of expansion packs and with similar critical and commercial success.

I was off the ride at that point, but my ears still perked up when I heard about the newest SimCity release planned to come out in 2013. The release of what was essentially supposed to be SimCity 52 would result in a public relations disaster for EA and Maxis, and the abysmal reception that it received is arguably a large part of the reason that no major Sim titles have been put out in the last seven years other than The Sims 4, which was already well into development at the time. What happened, then?

A promo screenshot of an intersection in 2013’s SimCity.

The new SimCity looked beautiful, but it had the worst release imaginable. Because while it was widely expected to be a principally singleplayer game like its predecessors, it required a connection to EA’s servers to run. The servers crashed upon release, however, so nobody could play the damn game. This was a double whammy for EA and Maxis — first, the fact that having bought a $60 game (still considered a fairly high price tag for a game in 2013) most of its owners could not play it, and second, that it required a connection to play in the first place. The developer and publisher’s defenses of their actions (that they weren’t actually deceiving anyone, and particularly that it wasn’t in anyone’s interest to play SimCity in offline mode) were worse than useless, seen by many as disingenuous and insulting towards the fans. Even Will Wright, who had left Maxis behind well before development started, took shots at his old company for essentially putting DRM into the game that broke it for legitimate players.3

At the time, I watched all this happen, and then I watched EA and Maxis scramble to reassure everyone that The Sims 4, planned for release in 2014, would be playable offline. And though I was very put off by how they handled the whole matter, I think I was done with the series anyway at that point. I likely would have checked SimCity out just out of curiosity, and because it really did look that good, at least from the promotional materials and pre-release videos. But it wasn’t something I was obsessing over, and I didn’t really lose out on much in the end.

But what about the kids who were around that same age I was when I first got hooked on SimCity 2000? It seems to me that they were cheated out of a potentially great experience. To this day, the new SimCity carries a poor reputation, one not helped by the fact that it was also reportedly pretty buggy on release. The go-to city-building games as a result now seem to be SimCity 4 — 17 years old as of this writing, but seen as the last true SimCity game by a lot of fans — and Cities: Skylines, a series put out by serious-business ultra-complex strategy game publisher Paradox.

Cities: Skylines might be good, but does it have stupid-looking mad libs style newspaper articles?

Maybe it’s just my sense of nostalgia talking again. Maybe Cities: Skylines is really a great game, a true successor to the old SimCity titles. But I do think something was lost when EA and Maxis screwed up the new SimCity release and then blamed the players for not accepting the new situation they were trying to create with their always-online scheme. There was no reason the series had to die. It’s not like these PC game series have expiration dates. Sid Meier’s Civilization series, one of my other childhood favorites, has been going strong for almost 30 years now without much trouble. No, it seems like sheer arrogance killed the Sim series. Even though I don’t care for The Sims that much, I can see why a lot of people loved and still love that game and its sequels. And I can also see why a lot of people hated what the series turned into in 2013 and why they turned their backs on it.

Despite all that, the impact the Sim series had on me and a lot of other people has been significant. It took an unusual game concept that hadn’t been tried on a large scale by the late 80s and proved it had wide appeal if done right. Even if it was just a simplified simulation, it showed us the workings of a city, how it was almost like a living organism that could thrive or wither based on how it was maintained and what conditions it was subjected to. And it taught us the joys of making a new save file probably titled [city name]-2 and then unleashing fires, riots, and UFO attacks on said city to see just how much would be left standing after the chaos ended. Many of the same lessons go for SimTower, and though it didn’t work for me, I think The Sims had a similar impact for others. Even if the Sim series is permanently dead now, that impact will never go away. It’s something worth remembering.

***

Sorry, I didn’t mean to get so melancholic by the end. I really feel old after writing all that, scouring my memories of the series and how I felt about it. It all feels like it happened a lifetime ago. There are also a lot of highly praised Sim titles like SimAnt and SimFarm that I didn’t even touch on because I never played them, but I’m sure players have plenty of good memories of those games as well. I don’t know if anyone has any especially good memories of the new SimCity, but if you do, please feel free to leave a comment. A different perspective is always interesting to hear. 𒀭

 

1 I did own SimCity Classic, but only because I ordered it out of the Scholastic catalogue thinking it was that SimCity 2000 game I’d played some of on my cousin’s computer. Still a good game, but I was quite disappointed when it came in the mail and I realized my mistake.

2 I know I’m not even close to the first person to point this out, but it seems like new games released in long-running series that are put out with exactly the same titles as their respective originals have all failed to capture the feeling of those originals: Sonic the Hedgehog in 2006, SimCity in 2013, Thief in 2014. And though it’s a movie, let’s not forget Ghostbusters in 2016, which despite getting a lot of critical praise and some mild commercial success has since been hidden away and almost totally forgotten. It’s almost like there was unwarranted pride at work in all these cases.

3 To be fair, Wright faced his own DRM-related backlash with the less botched but still controversial release of his own game Spore in 2008. I guess he’d learned his lesson by this point.

A review of Atelier Meruru DX (PS4)

Years ago, to take my mind off of my extremely irritating studies, I bought a digital copy of Atelier Rorona Plus for the Vita. This was my very first Atelier game, and though I liked its unique style quite a lot, I never got around to playing any of the other Atelier games. Not until I dropped part of my tax refund this year on Atelier Meruru DX, a deluxe PS4 edition of the original Atelier Meruru: The Apprentice of Arland on the PS3.

I really like to think that some mom in a Gamestop bought her princess-obsessed kid this game based on the cover, but then it turns out to be all about a princess dealing with bureaucratic deadlines and resource management.

Meruru is the final game in the Arland trilogy, a sub-series of the much larger long-running JRPG Atelier series made by the Japanese developer Gust. While the Arland trilogy shares the central alchemy mechanic in common with the rest of the Atelier games, it also has its own identity distinct from the others.

But first a catch-up on the characters and plot. The protagonist, Merurulince Rede Arls, is the daughter and only child of Lord Dessier, the King of Arls. Somehow this tiny podunk town, population 1,000, counts as a kingdom and has a king with a giant stone castle, but we can’t question that too much. In any case, all that’s about to change.

Princess Merurulince, or Meruru to her friends, constantly shirks her royal duties to practice alchemy under the direction of her teacher, the master alchemist Totooria Helmold. Meruru doesn’t like being a princess, and she reasons that since their tiny kingdom is going to be merged into the far larger Arland Republic in five years, upholding her royal duties doesn’t matter that much anyway. Even so, her dad understandably isn’t too keen on his daughter studying a trade that requires hunting for ingredients in the wilderness, killing monsters, and working with potent poisons and explosive fuels.

However, Meruru won’t back down, so the king’s butler Rufus proposes a compromise that they both accept: if Meruru can use her alchemy skills to increase the population of Arls to 30,000 within three years, Dessier will allow her to become a full-time alchemist.

The stamp makes it official

So while Dessier sits his royal ass on his throne for three years, he leaves it up to his teenage daughter to actually do all the work to strengthen the kingdom. Some king he is, but there’s nothing to be done about it. Meruru (meaning the player) must find some way to increase the population of Arls to thirty times its original size while also maintaining her popularity among the people, otherwise it’s a game over and a bad end.

Thankfully, Meruru isn’t left alone in her efforts. She first gets help from an unexpected place: the castle itself, represented by Rufus. Though he calls himself a butler, he’s really more of a chief advisor and minister to Dessier, and he takes his job extremely seriously — a single needle can’t drop in Arls without Rufus knowing about it. He’s also serious about the development plan he proposed. When Meruru receives requests from the citizens to develop new patches of wilderness or to clear up monster-infested areas, Rufus creates plans for the princess to carry out that will variously open new areas for exploration, increase her popularity, and bump up the kingdom’s population. As Meruru fulfills these goals she also gains points that can be used to build new facilities, bringing even greater population increases and other various benefits.

And of course, the princess doesn’t have to go off gathering alchemy ingredients and killing monsters all by herself, because she has plenty of friends to help her. These include both new characters native to Arls and returning characters from the two previous Arland games, and some of them can be recruited to join Meruru’s party in battle while she explores the various fields, forests, and mountains of the surrounding country. Each of these characters has a different combat style: some are more defensive and supportive like Meruru’s childhood friend/chief maid Keina, while others are offensive like the warrior Lias. They also have very different attack ranges and skills, so no one character plays quite like another, which adds some nice variety (even if it means that some characters kind of suck in battle when compared to others.)

And then of course there are the other alchemist characters. The Arland series specifically features a chain of masters and apprentices continuing from game to game starting with Atelier Rorona, in which Rorona is the player character and apprentice (which you can read about in my very old, completely inadequate review of that game.) In the second game of the series, Atelier Totori, the main character Totori is apprenticed to Rorona, who has become a renowned master of alchemy, though still exactly as clumsy and ditzy as she’s always been.

Totori joining up to kill some wolves in the mountains

Carrying on that tradition, Meruru is now apprenticed to the master Totori. As such, a lot of Meruru’s time is going to be spent in the atelier crafting items using the ingredients she finds in the field and after battles while under Totori’s supervision. Though the Atelier games are turn-based JRPGs, they’re very different from the typical sort of JRPG, and part of this difference comes from the all-important alchemy mechanic. The alchemists in these games are special because they alone have the ability to craft and use items that do everything from heal allies’ wounds to destroying the shit out of enemies, making them potentially very powerful.

This unique gameplay feature adds quite a lot of variety to the game by letting the player mess around with ingredients that have different qualities and traits. One of the most fun aspects of the Atelier games is experimenting with new mixes to see what works and what doesn’t, and the games generally give the player leeway to try new things out. Because as with the other Atelier games, alchemy in Meruru isn’t a mere crafting system: it’s practically a science in itself. For a while, you’ll see traits passed on through synthesis that you have no idea of, there are so damn many of them. Players who commit themselves to getting alchemy down can make truly amazing items, however, and that’s part of the satisfaction that playing Meruru provided me.

Once the princess learns how to synthesize weapons and armaments, that mom realizes this game wasn’t quite what she expected

You might have noticed that I haven’t elaborated on the plot a whole lot beyond the basic premise, and that’s because there isn’t much of one. Certainly unusual for a JRPG, which tend to be very plot-heavy, but in Meruru there are no world-ending comets or plagues or any magic crystals to take away from an evil overlord. There isn’t exactly any villain in this game at all, at least not in the way we’d normally understand it. Meruru’s big goal is simply to be allowed to practice alchemy, nothing more or less, so that motivation is the central force driving the plot.

This is an element of Atelier Meruru that may put some players off, but I don’t really care about it. In fact, it’s nice to play a JRPG (hell, an RPG at all) for once that doesn’t have a great evil emperor pretending to be the big villain with a greater evil god or god-controlled lieutenant of the emperor behind him as the true villain. If you want that, you can get enough of it out of Final Fantasy, Fire Emblem, and as much as I like it yes, Megami Tensei too. The conflicts faced by the protagonists in the Arland series are much more personal — saving your small business from being closed by a corrupt government minister, finding your missing mother, and in the case of Meruru simply not fitting the mold you were intended for.

Offtopic but I like that thing Totori wears on her head, whatever that’s supposed to be

That’s not to say there is no villain at all in Atelier Meruru. I’m not talking about the boss battles you have to fight, or even about that lazy bastard Lord Dessier. No, the villain in Meruru is far greater than any of those: it’s the calendar, or more broadly time itself. When you’re given the three-year time limit arrangement at the beginning of the game, you might be thinking “Okay, three years. That’s a long time. This will be easy!” And then it’s very easy to start getting sidetracked by going on journeys through the countryside and freely doing alchemy. Of course, you’ll notice that time is ticking down as you proceed — traveling, gathering items and getting into battles in the field, and synthesizing items in the atelier all take parts of days or full days to complete depending on the size of the task in question. But no, three years is plenty of time, right?

Hey, look at this fortress we built all thanks to alchemy. We’re doing fine, Meruru! No need to worry about that stupid time limit.

When I played Rorona years ago, I remember Rorona having deadlines to fulfill certain tasks or else she’d get a bad end, but I don’t remember ever having to worry very much about meeting those deadlines. They seemed easy enough to fulfill while playing the game pretty naturally. So I went into Meruru with the same mindset, and it turned out to be the wrong one. It might be my fault for not realizing that it’s a lot easier to gauge your progress towards a one- or three-month deadline than it is towards a three-year one. Still, I got legitimately pissed off at one point when a certain event occurred that I wasn’t expecting, causing me to have to waste extra months running back and forth from a distant area to acquire an item necessary to a development quest. It’s a good thing I make several saves, because when this event occurred I didn’t even know how absolutely fucked I was until a few months later when I realized I couldn’t synthesize what I needed in time to meet the three-year population deadline. So I did something I normally don’t — I reloaded an old save.

Maybe some people would consider that cheap, but I don’t give a shit. I don’t pour hours into a game like this to get a bad end and get kicked back to the beginning of year one. I’m a busy man with a life outside of these games. Anyway, if the game wanted me to commit to a single straight-through run, it wouldn’t have given me multiple save slots. I highly suggest you use at least a few of them unless you’re the type to fully commit to one run without reloading no matter how badly you might screw up. I have respect for people who commit in that way, but hell if I’m one of them myself. The key in this case, as far as I’m concerned, is that the game gave me no reason to believe that I needed to take a certain action before an arbitrary date. Looking back, Meruru did drop a hint of what I should have done, but it turned out to be the kind of hint that you only see in retrospect. Or maybe I’m just an idiot. I have made a lot of terrible real life decisions, so perhaps that’s more likely.

I don’t know if nectar calms your nerves, but I might need a glass after that bullshit.

Without spoiling anything, my general advice to new players is to trust your instincts: if the game seems to be suggesting that maybe you should check something out and it won’t take you too much time to do so, go and check it out and gather what ingredients you can, because you might need them. If the game is giving you a tool to use, say by bringing a new shopkeeper into town who offers a unique service, you should try using it as soon as possible. You should also be fulfilling requests at the tavern on a regular basis, if possible with high-quality items, to keep Meruru’s popularity up and to make extra money, because you can never have too much of either.

Even with all the time pressure, it’s hard to get too mad at Meruru. The game is just too damn positive, cute, and friendly. A lot of this has to do with the game’s style. Every entry in the Arland trilogy features character and background art by the excellent Mel Kishida. The sheer amount of detail in the character portraits and CGs alone make the game worth looking at even for people who aren’t so into turn-based JRPG stuff. I’m not sure if he’s also responsible for the item illustrations, but whether it’s him or someone else, the work on those is even amazing, all the more so because there are hundreds of ingredients and synthesized items in the game.

Playing this game actually made me hungry at times. If only I knew how to bake, damn.

I also have to mention the game’s beautiful soundtrack. I don’t hear Atelier get mentioned too often when it comes to game soundtracks, and to be fair I haven’t mentioned it either, but now I’ll give these composers their dues, because both Rorona and Meruru, and I have to assume probably Totori as well, feature a wide variety of music that’s all suited for fighting in battle, gathering ingredients in the field, running around in town, and working in the atelier. From what I’ve heard of the following Dusk trilogy in the Atelier series, that quality of music continues on as well.

The game also gives the player plenty of time to relax with dialogue cutscenes that come up throughout the game without any prompting. A lot of these involve characters from the previous two games in the Arland series. Though it helps provide context if you’ve played those games, it’s not necessary to understanding what’s going on. I’m in a bit of a weird position since I’ve played the first game in the series but not the second, so while old faces returning from Rorona are familiar to me, those from Totori aren’t. But again, it doesn’t matter that much. In fact, if you start off playing Meruru before the others, you’ll be in the same position as Meruru herself, who’s meeting all these recurring characters aside from Totori for the first time.

Totori having a flashback to her own game.

Of course, all these character interactions wouldn’t be so fun if the characters were all two-dimensional cardboard cutout types, and they aren’t. Some of them are a bit exaggerated in their weird traits, but almost all of them feel more or less like people who you might know in real life (well okay, maybe not Pamela, but I did say almost.) Series with a lot of characters like this tend to give their secondary characters very little detail, usually with only one broad trait and absolutely nothing else, but the Arland games take that extra step to make them feel a little more fleshed out. Maybe because they contain dialogue and slice-of-life style chatter in place of that big serious plot.

This aspect of the series is more obvious with the main characters. The protagonist here is a great example — although Meruru gets along well with her teacher Totori, the two have very different personalities: while Totori is careful and meticulous, Meruru tends to jump into new, potentially dangerous situations without thinking too much about it. And this balance works: Meruru, despite not really wanting to be a princess, accepts her role as a leader for her people and uses alchemy to help them thanks in part to her more level-headed teacher’s guidance. The alchemists central to the games’ plots are all very different kinds of people, but they manage to work together to create amazing machines and objects to help their friends and fellow citizens, and isn’t that what life is all about?

So this might be a pretty obvious conclusion to this review since I’ve been mostly gushing over how good it is, but do I recommend Atelier Meruru? I do, especially if you’re into the kind of obsessive collecting that I am, because unlocking new items to create through alchemy fulfills that weird need I have very well. I don’t know how it measures up to any of the other games aside from Rorona, but it  measures up to that game pretty well even if I still feel like Meruru was quite a bit bullshittier in parts. But again, I’m pretty forgiving of that. Maybe too forgiving. It’s that damn bishoujo style Kishida draws — I would not have accepted this nonsense from a less cute game. There is also plenty of game content left after your three years is up assuming you don’t get a bad end, so that adds some slightly more relaxed time to enjoy the fruits of your labor. And as with the other Arland games you get some benefits from a new game plus, making successive runs quite a bit easier to manage if you decide to go after some of the game’s hardest challenges or see new endings.

As for which version of Meruru you should buy, the only one I’ve played is the DX version on the PS4, which runs well and contains some DLC costumes and recruitable characters who weren’t in the original. There are also DX versions on the Switch and PC, and those are probably fine as well, but not having played them I can’t say whether they might have some technical issues. If you’re the kind of true patrician who owns a Vita, there’s also Meruru Plus, which is probably also fine to play if it’s anything like Rorona Plus, but again, I can’t really say. Just buy whichever one suits you best.

I don’t own Meruru Plus, but here’s a screenshot from my very own Vita copy of Rorona Plus if you want a general comparison. Why do I have so much high-grade perfume? I don’t know, but Pamela seems happy about it.

As a side note, the Atelier games in general still seem to be in a bit of a weird niche area, though the series may be branching out to a new audience now. All of the more modern games have been localized, but the series as a whole seems to have gone largely unnoticed outside of the usual weeb circles up until the most recent game Atelier Ryza, which attracted some new players thanks to Ryza’s, let’s say “generous” character model. But so much the better. I know some people feel that bringing in more fans can “ruin” a series or whatever (just have a look at any Persona-oriented board for some of that) but more fans mean more exposure for the series in question, and that probably isn’t such a bad thing. It also means more people get to appreciate these quality works, and I don’t see how anyone could object to that. 𒀭