Monday, November 30, 2020
Monthly Update: December, 2020
Saturday, November 28, 2020
First Impressions: Spiritfarer (Switch)
I purchased Spiritfarer after seeing a recommentation from Jorge Albor of the Experience Points podcast. I thought it looked like a game Jane and I might play. I was half-right.
This article is unique in that I have not actually played Spiritfarer, but I still want to write my first impressions. Jane, on the other hand, has put in about twenty hours over the past week.
Spiritfarer is a beautifully animated game, consisting mostly of busy work. Collect resources, process resources, visit islands, manage relationships. The game it makes me think of most is Stardew Valley, except instead of a farm, you have a ship, on which you build a ramshackle collection of different buildings. You can get orchards and gardens, a mill, a smithy, a loom. All sorts of stuff. And on your ship are a collection of Spirit People, in the form of lovingly drawn animals.
This game is basically everything Jane looks for in gaming. There is basically no combat, you spend your time helping people, and surrounding it all is a meaningful story about life and death. I don't know if I'll ever actually play, having watched so much of Jane, but I am certain that this is a special game.
-D
Friday, November 27, 2020
Book Review: The Rise of Skywalker: Expanded Edition (Star Wars) by Rae Carson
The second-to-last week of November, I finished reading The Rise of Skywalker: Expanded Edition (Star Wars) on my Kindle after starting it a couple of months ago (August according to Goodreads). I had wanted to read it when I heard that there was going to be more story than what was in the movie, which you expect from a book, but maybe not necessarily from a book adaptation of a movie, let alone a Star Wars movie. I had previously read The Force Awakens (Star Wars) also on my Kindle a few years back and almost did not pick up TRoS because of how much I did not enjoy TFA novelization and, I think, Alan Dean Foster's treatment of the story from the film (which I apparently never talked about but may revisit before the end of the year); to note, I have not read Jason Fry's novelization of The Last Jedi (Star Wars). And just a word of warning, there will be spoilers as I do not see ways around it, but I will try to keep them to a minimum. But they will be there.
To date, I have only seen Star Wars: Episode IX - The Rise of Skywalker once, which was when I saw it in the theatre with Conklederp back on December 20th, 2019 so when I started reading TRoS back in June, it had been just about six months since I had any connection to the story. It must have been around February when images from The Art of Star Wars: The Rise of Skywalker book were being made public on Twitter and it was revealed that in Kylo Ren's opening scene, that he was actually on the planet of Mustafar, killing Sith cultists who make the pilgrimage to Darth Vader's planet while he was searching for the Sith Wayfinder. Knowing this little bit of information, which I cannot recall if it is mentioned at all in the movie, made this whole scene a lot more interesting, coupled with the revelation that in concept art Kylo would have met a large spider-like creature (now known as the Eye of Webbish Bog) that directs him to the Wayfinder. I then knew that I wanted to read this extended novelization, if only so that when I watch the movie again (under certain circumstances which I might get to later) I could have this background of information to put back into the movie.
For the most part, I felt that Rae Carson did a fantastic job with the Star Wars universe and the material from TRoS. There were more scenes involving Rose (but still felt that there could have been more), additional scenes with Zorii Bliss on Kijimi, a little more with ex-Stormtrooper Jannah, more development with Allegiant General Pryde and General Hux and why he was aiding the resistance. Even Lando's entrance and the rest of his scenes together felt more natural than just "Hey guys! You remember Lando right!? Lando Calrissian!? He's BACK BABY!!" And his final scene with Jannah, which seemed to be a bit on the cradle-robbing side had more context and inner-monologue to deter all those dirty-0ld-man vibes. There was even a full-on explanation as to how Darth Sideous survived after Return of the Jedi, which only ended up taking a couple of paragraphs but it definitely made his spontaneous return here a bit more palpable. There was even the Emperor's transmission, which previously was only listenable from an in-game event in Fortnite back in December 2019 and was mentioned in the opening crawl. There was also some explanation as to Leia's choices regarding Rey herself and put into context Rey's decision to reside at the Skywalker farm back on Tatooine (kind of, or at least that was how I interpreted Leia's interior monologue). And speaking of Leia, I felt that her characterization here was so much better than in the film, possibly because the dialogue in the book felt more natural than previously delivered lines being worked around to create a scene even if the delivery was not for its intended usage.
There were a couple of scenes from the movie that I do not recall happening in the book, with the main one being Rey's confrontation with Kylo Ren while she is aboard the Star Destroyer and he is searching Kijimi. The scene in the movie is actually well done with both characters being in two different locations and fighting each other while the camera pans around them allowing them to be in the same space and not at the same time. It played a lot better than I made it sound. I also do not recall, but I do not think that there was a scene in the book that went into Sheev Palpatine's lover and their child who then gave birth to Rey, which may end up being saved for a follow-up Star Wars novel or just left ambiguous until that plot point comes up again and needs to be corrected, ironed out, or added on to facilitate a new story. There was also a little bit more involving the Knights of Ren, although this might end up being something that is left to additional materials such as comics or secondary novels outside of the visual encyclopedias. I think that Carson even omitted Poe's line about Vice-Admiral Holdo's sacrifice/tactic (referred to as the "Holdo Maneuver") being "a million-in-one shot" which, in this humble human's opinion trivialized her final decisions in The Last Jedi; but I could be wrong and just do not remember the line being in the book as well.
What I ended up enjoying about Carson's writing was that I got the impression that she did more than reading the screenplay in an afternoon and wrote a story off of what she remembered. That she had seen the movie, seen concept art, possibly even seen deleted scenes and worked those elements into her adaptation of the film which did feel a lot more complete than the film. Sure there were things that I still had issues with story-wise but that is to be expected with nearly any Star Wars property. I will eventually pick up the Blu ray of The Rise of Skywalker, but I still want to wait just a little bit longer in hopes of an edition that has deleted scenes, or even a commentary, which JJ did not do for The Force Awakens until the 3D Blu ray was released six months after the initial release; although there is this edition which has two bonus discs, and trying to find out what exactly is on those is bonus discs has proven to be problematic. Hell, I am even tempted by The Rise of Skywalker art book after reading Carson's adaptation, so I guess that is recommendation enough.
~JWfW/JDub/The Faceplantman/Jaconian
Instrumental
P.S.
Another way of putting this entire article is that this novelization (and some of the story being told in The Mandalorian) did for me what The Clone Wars animated series did for the prequels.
Wednesday, November 25, 2020
MIDI Week Singles: "Sleighing Enemies" - Cthulhu Saves Christmas (NS)
"Sleighing Enemies" from Cthulhu Saves Christmas on the Nintendo Switch & PC (2020 & 2019)
Composer: Joshua Queen
Album: Cthulhu Saves Christmas (Official Album)
Label: Bandcamp
Publisher: Zeboyd Games
Developer: Zeboyd Games
As you could probably guess from the title, "Sleighing Enemies" is the music that plays when you enter semi-random encounters from Cthulhu Saves Christmas. And because this is a JRPG that is aware that it is a JRPG and needing to fight enemies to gain experience points to raise levels to defeat even more difficult enemies is going to be something that you do a lot in this game. The music that plays when you are in a battle is going to be top tier listenable a lot. Like, a lot a lot. The second to last dungeon, having at least 15 random encounters you need to fight in before you can just saunter through the dungeon, and each fight lasting (at least for me) 5-10 minutes meant that I would hear this song for between 75 and 150 minutes in that one dungeon alone. With the song lasting just under two minutes before it loops (let us just say 2 minutes for sanity's sake) that would be like listening to this song on loop 37.5 to 75 times. In just that one dungeon alone, but not including the boss fight, which has their own dedicated track.
I bring all of this up because after all of the time spent listening to this one song while playing, I still enjoy listening to it. This is just good battle music that chugs along, pushing the player forward through the battle and anticipating the next one. I think my favorite section of the song happens at 1:21 when the guitars drop out and the pianos take over being a slight dip in the energy of the song although the drums are still providing drive, then the guitars come back at 1:38 along with hard-hitting snares (I don't know the term, I played trumpet for 13+ years) and I cannot help but stomp the balls of my feet through the end of the song.
I think my only critique is that at 1:47, there are two notes on the chimes played. That is it. Maybe it is because Cthulhu Saves Christmas is a Christmas themed game or because I love the sound of chimes in music, but I would have loved there to have been more chimes used in the battle song. But again, that is just me.
Monday, November 23, 2020
Game EXP: Cthulhu Saves Christmas (NS)
Disclaimer: I received a free review copy of Cthulhu Saves Christmas developed by Zeboyd Games from Robert Boyd through his Twitter account for the Nintendo Switch. The game was given and received without expectation of a positive review, only that the game be played and a review posted publically. All of the words in this article unless otherwise noted are my own and all of the screenshots are from my own playthrough of the game.
Before I started Cthulhu Saves Christmas, I had a very brief history with games from Zeboyd Games. I played 4 1/2 hours of Breath of Death VII eight years ago (specifically December 25, 2012) and stopped after I came to the conclusion that I had not been leveling up correctly (or at least I had been in a way that made the game a lot more difficult) and I had quit altogether when I could not get past a boss battle after multiple attempts. I was also not a big fan of the combat system used in BoDVII and Cthulhu Saves the World (where enemies increase in strength 10% every turn thereby making long battles a lot more difficult). I have had Cthulhu Saves the World in my Steam library for probably just as long but as with about 65.47% of the games I have on that platform, I apparently never got around to playing it like I should have; probably from the bad taste that the boss battle BoDVII and the battle system had left in my mouth. But I have been keeping track (a la following) Zeboyd Games founder Robert Boyd for a couple years on Twitter and when he offered up review codes for Cthulhu Saves Christmas, I felt compelled to take him up on the offer. Thank goodness I did because I loved about 95.47% of the game, from the art direction to the combat, to the soundtrack, to the writing, to almost everything.
The thing about Cthulhu Saves Christmas is that like the other games by Zeboyd, the entire game is self-aware that this is a video game, with characters commenting on stereotypical RPG game mechanics such as fetch quests killing rats, gaining experience, and fans complaining about game length under 100 hours. There is even the omniscient narrator who acts as an intermediary between the player and frequently interacts with the characters, another mechanic/characteristic frequently used in the aforementioned properties by Zeboyd. Essentially, if you have already played Breath of Death VII or Cthulhu Saves the World, the formula is pretty similar from what I can tell, but the differences are what make Cthulhu Saves Christmas 100% worth playing.
In this story, Cthulhu wakes from his sleep in R'lyeh ready to destroy the world (as this is a prequel to Cthulhu Saves the World, which I did not realize going into the game; teach me not to read game descriptions) but has his powers taken away by an aptly placed Christmas present. As he sets out to gain his power back, he meets Crystal, Santa's grand-daughter, Baba Yaga (who is currently in her teens maybe), and Belsnickle (a Castlevania-esque Belmont-type character who uses his whip on naughty children, kind of similar to Krampus using reeds or a switch on bad children). Each new party member joins in after you have had a level to get used to the previous character, their abilities, and how best to use them in combat. A nice touch rather than burdening the player with too much newness all at once.
This type of battle system definitely adds more complexity to each battle than just hitting the A button in a half-sleep-induced trance as you grind for levels; because that is something that I definitely have never done in any Final Fantasy game. Although, the downside to this type of battle system got weary for me in the end-game as each battle was taking anywhere between 6-13 minutes and when the last two or three areas have 15 battles before the random encounters stop, that is between nearly one and three hours of battles. At the end of the game, it felt a lot like padding to me in a game that does not need padding out and had already made a number of quips about games needing another 15 dungeons and 1,000 more hours to feel like a true JRPG. Or maybe I was just not utilizing the right skills and abilities to dispatch enemies faster than I was?
Unlike Breath of Death VII and Cthulhu Saves the World, there is no overworld to explore here, only the dungeon-like areas that you travel through on your way to the boss. Between each dungeon, Cthulhu and company are located in a central HUB area called Christmas Land (The Christmasiest Place on Earth!) where you have Cthulhu interact with your party members and different characters to help forge new R'lyentionships, and explore locations in-town all to gather new equipment and items. Each time you are in the HUB, you have five days, with an allowance of one activity per day, to select what you want to do in Christmas Land and what item you want to acquire, although at first you are only given the name of the item and on subsequent days do you learn its abilities. The thing here is, when you first start in Christmas Land, you have the choice of six different activities, so you will be leaving one uncompleted. Each subsequent time you come back to Christmas Land, there are more activities to do (along with the one you did not complete), but you still only have five days, so there will be increasingly more and more activities left to do the next time you come back. Finishing unfinished jobs is something that I was unsure about because there will inevitably be some leftover after each visit. For example, my first time in Christmas Land, I left the Mall activity incomplete so I did not pick up the Fencing Sword for Cthulhu and while in the next area I found a better sword than the one I had equipped which made me think that this sword was better than the Fencing Sword, so why would I want to waste a day doing an activity for a lesser weapon? That was my assumption that I ended up not testing.
That was pretty much the format for the game. You would spend five days in Christmas Land doing activities while (story-wise) Crystal was looking for information on where the next agent from the Christmas League of Evil (might be) holding Santa, then you would head into a new dungeon, fight monsters until you cleared the quota, collected treasure, raised levels and gained new abilities, then fought the boss and headed back to Christmas Land. The dungeon layout was pretty straight forward as they were not maze-like (thinking about Final Fantasy IV and Chrono Trigger) although there were some semi-hidden areas where you would find treasure chests and it was only by the third dungeon (technically the second after reaching Christmas Land), that I figured that there was going to be at least one treasure chest per screen. I also did focus on completing all of the quota battles partly because I felt that gaining experience/new abilities were key to surviving, but because it also made exploring the dungeons a lot easier if you did not have to worry about skipping a battle or if you were tracking where you were going to get to a treasure chest. Once I did not have to worry about the battles popping up and just sprinting through the rest of the dungeon felt very freeing. Plus, once you completed your battle quota, you were awarded bonus experience points.
And you know what? Despite that similar sentiment to Cthulhu above, I did enjoy Cthulhu Saves Christmas in its entirety. The developer Robert Boyd has said (he has Tweeted it I believe, but I cannot locate the Tweet so you'll have to trust me on this one) that he wanted to create a short and concise JRPG that would take you about six hours to complete and even though I ended up taking close to 10 hours (most because I felt the need to clear the battle quota in each dungeon), I had a lot of fun, even though there were some aspects I felt could use some touching up. But on the whole, a very solid JRPG that I would recommend. And now I am installing Cthulhu Saves the World, and you can bet that I will look for parts of the game that reference Christmas or the events that occurred in this game that was released nine years before the prequel.
~JWfW/JDub/The Faceplantman/Jaconian
Order of Stars Expire
Friday, November 20, 2020
First Impressions: Neverout (NS)
My first thought before starting Neverout was that I was about to play a game that looked a lot like the 1997 Canadian film Cube (DO NOT WATCH THE TRAILER as it contains major plot spoilers, just watch the film here), where a group of strangers band together to find their way out of a series of puzzle and trap-laden interlocking rooms. Essentially that kind of what Neverout from developer Game Dust is about, but it is simplified a bit here. First off, there is, at the moment at least, no narrative beyond solving the puzzle in each room (which I will get to) to move along to the next room. In each room you are able to move along all surfaces in the six-sided room, rotating the room so that you are always on the bottom of the room. By rotating the rooms, you can affect some objects in the room like sliding boxes, which if you are positioned wrong when you rotate a room, can crush and kill you.
Neverout starts you out in a four-walled room without any context as to why you are there, how you got there, or what you are supposed to do. Although the mechanical chunk noise followed by a scream from an adjoining room indicates that there is something that can very much kill you. But, because this is a video game, it is obvious to figure out that after you seemingly wake up, that you need to do something. As you start moving around the room, you come to a wall and, perhaps by accident, you move forward "at" the wall, only to find that the room rotates and a portal appears on the ceiling with 02 on it. There is also a mechanical grinding sound to further give credence that the room is rotating as opposed to you being able to scale walls. Since this is a new addition to the room, you check out this portal which opens up as you approach it. You fall through and are now in another four-walled room where a cat-walk comes slicing out of the walls, although it is harmless. These are the tutorial levels, giving you the basics for how the puzzles work in the game, and how to get you in the right frame of mind so to be able to solve them. For the most part. Each new mechanic introduced in the 20 tutorial levels is visualized by one of five different color-coded rooms:
- Beige/Yellow: Catwalks and sliding blocks (blocks can kill you).
- Blue: Teleportation squares.
- Green: Electricity barriers (electricity can kill you).
- Red: Buttons that require a block to pass over them (which then remains stationary).
Thursday, November 19, 2020
MIDI Week Singles: "City of Wind - Windia" - Final Fantasy Mystic Quest (SNES)
"City of Wind - Windia" from Final Fantasy Mystic Quest on the Super Nintendo Entertainment System (1992)
Composer: Yasuhiro Kawakami
Album: Final Fantasy USA: Mystic Quest Sound Collections
Label: NTT Publishing Company, Ltd.
Publisher: Square
Developer: Square
The town music in Final Fantasy Mystic Quest is unique in that you first hear it when you arrive in the forest town of Foresta on your way to the Bone Dungeon, Aquaria (which oddly enough is not featured on the official soundtrack), and towards the Wintry Cave. Later, you arrive in the city of fire, Fire Burg which has a variation on the Forestia theme with more of a rock feel to it. When you reach the City of Wind, Windia, you once again hear another variation on the town music, although this one is closer in tone to Forestia. The main difference between the Windia theme and all the other variations used for other towns is that here there is a wind sound effect that plays throughout the entire song.
As I sat at work, listening to the song and looking out at the grey sky and trees blowing in the wind between intermittent rain, I knew that this was going to be a perfect song to use. The melody itself is calming and peaceful and for me, the wind does not sound menacing at all, just that it is ever-present, and as far as sound effect integrated into the music on a 16-bit video game goes, I do not mind this at all and actually makes me feel a little bit colder; like when you watch a movie where people walk through knee-deep snow and you feel colder. That is what this song does for me, thinking of the upcoming wintry months full of cold and wind, but only the good associated feelings, as well as watching The Kid play this when she was about eight-years-old, then playing it myself. Good memories.
~JWfW/JDub/The Faceplantman/Jaconian
Instrumental
Wednesday, November 11, 2020
MIDI Week Singles: "Valor & Honor" - The Elder Scrolls Adventures: Redguard (PC)
"Valor & Honor" from The Elder Scrolls Adventures: Redguard on the PC (1998)
Composer: Chip Ellinghaus & Grant Slawson
Album: The Elder Scrolls Adventures: Redguard Original Game Audio
Label: Bethesda Softworks
Publisher: Bethesda Softworks
Developer: Bethesda Softworks
It has been a couple of years since I played The Elder Scrolls Adventures: Redguard and I guess I never wrote a full-on review article, but I did play and finish this back in 2016. The game takes place on the small island of Stros M'Kai in the Hammerfell province during the 2E 864 while Tiber Septim is consolidating his power and bringing the various parts of Tamriel under his rule.
The song opens somewhat militaristic ally, which you could argue for either the Crowns or the Forebears depending if you are against or for Imperial rule. The second theme opening with the flute (1:55) could be showcasing more of the island as a quiet and tranquil place, but then that is disrupted by the third theme (2:16) which is the music that crops up nearly every time you are engaged in combat, which happens a lot in this game.
I like this track because it showcases three different sides to TESA:R, being the Imperial occupation of a small port city, wind through palm trees, and engaging in combat against a fellow Redguard pirate or a enclave of goblins living behind a waterfall. It is just good showcase of music from a game that I, for the most part, enjoyed playing.
~JWfW/JDub/The Faceplantman/Jaconian
Fraught With Danger And Travail
Monday, November 9, 2020
Game EXP: Wolfenstein: The Old Blood (PC)
L'Infer a Doucement Touché Notre Sol
Friday, November 6, 2020
Game EXP: Wolfenstein: The New Order (PC)
I might have missed how to aim while dual-wielding since the regular button to aim became the firing button for the second sniper rifle. |
And you know what, according to Metacritic, TNO was the 14th most discussed game in 2014, so there would be very little reason to go into a long-winded thesis about the game so I will probably end up keeping this one kind of short as I already covered a lot in what I wanted to say in my First Impressions article even if it was only for the first 1/3rd - 1/2 of the game.
Something about using the map to explore as much as possible, uncovering as many hidden areas and having issues with being able to access them, especially access points visible on the map and pretty sure I could tell where they were in-game, but never often explaining how to get to them.
One thing that surprised me by the time I finished TNO was that there was no Castle Wolfenstein, with the closest location being Deahshead island fortress at the very beginning and then at the end. But oh boy do you travel around in this game, almost to the detriment of keeping the story tight and concise. You start the game on an airplane flying towards Deathshead island, then you wake up in Poland, travel to Germany, London, then up to the sodding Moon, and down to the bottom of the ocean, then you are back up in the air plummeting towards a building fighting your way either back down or up I do not recall, then you are back underwater and finally finishing again at Deathshead compound (a la not Castle Wolfenstein but it might as well be). Do not get me wrong though, it was a kick running on the Moon shooting Nazis with specially modified weapons but especially looking back, it did feel a bit Forest Gump-like with all of the locations BJ ended up visiting so that he could help stop the Nazis from their continued take over of the world.