The Great Chronicle of Console RPGs Thread
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Game No. 45
Title: Secret of Mana
Developer: Square
Platform: Super Famicom / SNES
Release Date: August 6, 1993 (Japan)
Comment: A widely acclaimed title in the SNES catalogue, the second installment in the Mana series expanded upon the foundation laid in the first game by adding the so-called Ring Command menu system to the combat mechanics while also incorporating a cooperative multiplayer feature which allowed a second and third player to participate in any given gaming session.
The story follows three protagonists, bearing names of one's choice, who struggle to prevent an empire from subjugating their world using an ancient airborne warship. Like its predecessor, the game is viewed from a top-down perspective and has the player exploring an overworld containing various outdoor areas, dungeons, and several towns; fighting enemies along the way in order to raise experience levels. The player may switch between the three protagonists at any time and, as mentioned above, a total of three players are able to play cooperatively, a feature which has reportedly been retained in subsequent releases of this title. It should be noted that the AI behaviour of those characters that are not directly under a player's control can be customized. Each player character have their own distinct field of specialization; combat, defensive magic, and offensive magic respectively. Another added feature is the Ring Commands, a circular menu which pauses the game and hovers above the currently selected player character. It allows players to, among other things, change equipment and cast spells on the fly. Battles still occur in real-time and the power gauge makes a return. Weapons, however, have become upgradeable by way of so-called Weapon Orbs, which can be found throughout the game. As certain weapons are used more frequently one will gain in skill levels, thereby unlocking new special attacks. As was the case in the first game, certain weapons have secondary functions, which can be used to surmount various obstacles that prevent the player from advancing. Magic abilities are now unlocked by rescuing elemental spirits. There are a total of eight such spirits and they each represent a different type of magic. Spells granted by these spirits work in a manner similar to the aforementioned weapons insofar as repeated use of a given spell will raise its skill level.
Secret of Mana has sold roughly 1.8 million copies worldwide, making it the most commercially successful title in the franchise. Approximately four fifths of those sales are reportedly Japanese, which sort of surprise me given the amount of praise this game frequently receive in various international publications, where it is often featured in all manner of top games lists, and among video game enthusiasts on web forums such as this one. Anyway, the game was released to generally favorable reviews. The game's graphics, soundtrack (composed by Hiroki Kikuta), plot, and cooperative multiplayer were repeatedly lauded. Retrospective reviews have seemingly kept complimenting the game to a similar degree.
Title: Secret of Mana
Developer: Square
Platform: Super Famicom / SNES
Release Date: August 6, 1993 (Japan)
Comment: A widely acclaimed title in the SNES catalogue, the second installment in the Mana series expanded upon the foundation laid in the first game by adding the so-called Ring Command menu system to the combat mechanics while also incorporating a cooperative multiplayer feature which allowed a second and third player to participate in any given gaming session.
The story follows three protagonists, bearing names of one's choice, who struggle to prevent an empire from subjugating their world using an ancient airborne warship. Like its predecessor, the game is viewed from a top-down perspective and has the player exploring an overworld containing various outdoor areas, dungeons, and several towns; fighting enemies along the way in order to raise experience levels. The player may switch between the three protagonists at any time and, as mentioned above, a total of three players are able to play cooperatively, a feature which has reportedly been retained in subsequent releases of this title. It should be noted that the AI behaviour of those characters that are not directly under a player's control can be customized. Each player character have their own distinct field of specialization; combat, defensive magic, and offensive magic respectively. Another added feature is the Ring Commands, a circular menu which pauses the game and hovers above the currently selected player character. It allows players to, among other things, change equipment and cast spells on the fly. Battles still occur in real-time and the power gauge makes a return. Weapons, however, have become upgradeable by way of so-called Weapon Orbs, which can be found throughout the game. As certain weapons are used more frequently one will gain in skill levels, thereby unlocking new special attacks. As was the case in the first game, certain weapons have secondary functions, which can be used to surmount various obstacles that prevent the player from advancing. Magic abilities are now unlocked by rescuing elemental spirits. There are a total of eight such spirits and they each represent a different type of magic. Spells granted by these spirits work in a manner similar to the aforementioned weapons insofar as repeated use of a given spell will raise its skill level.
Secret of Mana has sold roughly 1.8 million copies worldwide, making it the most commercially successful title in the franchise. Approximately four fifths of those sales are reportedly Japanese, which sort of surprise me given the amount of praise this game frequently receive in various international publications, where it is often featured in all manner of top games lists, and among video game enthusiasts on web forums such as this one. Anyway, the game was released to generally favorable reviews. The game's graphics, soundtrack (composed by Hiroki Kikuta), plot, and cooperative multiplayer were repeatedly lauded. Retrospective reviews have seemingly kept complimenting the game to a similar degree.
Game No. 46
Title: Shining Force II
Developer: Sonic! Software Planning
Platform: Sega Genesis / Mega Drive
Release Date: October 1, 1993 (Japan)
Comment: Shining Force II stuck to the formula established in the previous entry in the series but featured a more open-ended story progression.
The story begins when a thief named Slade steals two jewels and thus unwittingly breaks a magic seal imprisoning a demon king called Zeon. The very next day, King Granseal is struck with illness and Sir Astral, the king's advisor, along with his apprentices sets out to investigate what's afoot. You play as Bowie, a squire, one of Sir Astral's apprentices, and leader of the Shining Force.
The game is once again viewed from a top-down perspective but the overworld is reportedly significantly more non-linear in this installment; apparently featuring a fixed amount of hidden treasures for those who choose to explore it. Raising experience levels of individual units reportedly works in much the same manner as it did in the previous title, but certain units feature branching promotion trees once they reach level 20. However, these alternative promotion classes apparently require the use of certain hidden items, which thus must be found before they unlock. Judging by the different sources I've perused, battles play out in a fashion identical to that in the game's immediate predecessor. Victory conditions have, however, been reduced to two possible outcomes: annihilate all opponents or eliminate the enemy commander. As before, even when defeated units keep their experience and slain units may be revived, and should Bowie perish players will reset to the nearest visited church.
Only partial sales figures are available for the original Genesis version of Shining Force II. These are limited to the Japansese market, where sales halted just short of the 200,000 mark. Critical reception, on the other hand, appears to have been generally favorable, both at the time of its original release and in retrospective assessments. Overall, critics seem to regard the title as an improvement over the first Shining Force in every regard, with particular praise directed at its more open overworld. There are, however, details where reviewers appear more divided; the soundtrack, for instance, has been perceived by some as "too cheerful" to accompany a plot they describe as serious in tone.
Title: Shining Force II
Developer: Sonic! Software Planning
Platform: Sega Genesis / Mega Drive
Release Date: October 1, 1993 (Japan)
Comment: Shining Force II stuck to the formula established in the previous entry in the series but featured a more open-ended story progression.
The story begins when a thief named Slade steals two jewels and thus unwittingly breaks a magic seal imprisoning a demon king called Zeon. The very next day, King Granseal is struck with illness and Sir Astral, the king's advisor, along with his apprentices sets out to investigate what's afoot. You play as Bowie, a squire, one of Sir Astral's apprentices, and leader of the Shining Force.
The game is once again viewed from a top-down perspective but the overworld is reportedly significantly more non-linear in this installment; apparently featuring a fixed amount of hidden treasures for those who choose to explore it. Raising experience levels of individual units reportedly works in much the same manner as it did in the previous title, but certain units feature branching promotion trees once they reach level 20. However, these alternative promotion classes apparently require the use of certain hidden items, which thus must be found before they unlock. Judging by the different sources I've perused, battles play out in a fashion identical to that in the game's immediate predecessor. Victory conditions have, however, been reduced to two possible outcomes: annihilate all opponents or eliminate the enemy commander. As before, even when defeated units keep their experience and slain units may be revived, and should Bowie perish players will reset to the nearest visited church.
Only partial sales figures are available for the original Genesis version of Shining Force II. These are limited to the Japansese market, where sales halted just short of the 200,000 mark. Critical reception, on the other hand, appears to have been generally favorable, both at the time of its original release and in retrospective assessments. Overall, critics seem to regard the title as an improvement over the first Shining Force in every regard, with particular praise directed at its more open overworld. There are, however, details where reviewers appear more divided; the soundtrack, for instance, has been perceived by some as "too cheerful" to accompany a plot they describe as serious in tone.
Game No. 47
Title: Ys IV: Mask of the Sun
Developer: Tonkin House
Platform: Super Famicom
Release Date: November 19, 1993 (Japan)
Comment: The first three installments in the Ys series of action role-playing games were originally developed for the NEC series of home computer systems and thus lie beyond the scope of this thread. Ys IV, however, marked a shift in the history of this franchise in the sense that it was the first title developed primarily with console systems in mind. Furthermore, there are two versions of this particular entry in the franchise; the other one is called Ys IV: The Dawn of Ys and was developed for the PC Engine / TurboGrafx-16 by Hudson Soft. The two versions share a similar plot, but differ in gameplay mechanics. In this chronicle entry I've chosen to focus chiefly on the Super Famicom version.
The main protagonist of the game is Adol, an adventurer and a swordsman who discovers a message in a bottle originating from a distant land called Celceta. Presumably, the land is in some sort of peril and a man named Luta Gemma dispatched the aforementioned message in a plea for aid. Thus Adol sets out to investigate the matter further by boarding a ship destined for Celceta.
The game is viewed from a top-down perspective. Battles occur in real-time and damage is dealt to enemies by charging into them. By defeating enemies in combat Adol gains experience points, thus raising levels and improving his strength stat. Magic is present in the game by way of magically charged weapons that are able to cast various spells, which are mostly of an offensive nature.
Information on how Ys IV was received from a commercial standpoint is rather non-existent and reviews focusing on the original release don't come in high enough quantities to adequately give an overall impression of how this game was perceived in qualitative terms, at least in my personal estimation. Thus, I will pass the torch to those who've actually played the game and hope they will be willing to share their impressions with the rest of us.
Title: Ys IV: Mask of the Sun
Developer: Tonkin House
Platform: Super Famicom
Release Date: November 19, 1993 (Japan)
Comment: The first three installments in the Ys series of action role-playing games were originally developed for the NEC series of home computer systems and thus lie beyond the scope of this thread. Ys IV, however, marked a shift in the history of this franchise in the sense that it was the first title developed primarily with console systems in mind. Furthermore, there are two versions of this particular entry in the franchise; the other one is called Ys IV: The Dawn of Ys and was developed for the PC Engine / TurboGrafx-16 by Hudson Soft. The two versions share a similar plot, but differ in gameplay mechanics. In this chronicle entry I've chosen to focus chiefly on the Super Famicom version.
The main protagonist of the game is Adol, an adventurer and a swordsman who discovers a message in a bottle originating from a distant land called Celceta. Presumably, the land is in some sort of peril and a man named Luta Gemma dispatched the aforementioned message in a plea for aid. Thus Adol sets out to investigate the matter further by boarding a ship destined for Celceta.
The game is viewed from a top-down perspective. Battles occur in real-time and damage is dealt to enemies by charging into them. By defeating enemies in combat Adol gains experience points, thus raising levels and improving his strength stat. Magic is present in the game by way of magically charged weapons that are able to cast various spells, which are mostly of an offensive nature.
Information on how Ys IV was received from a commercial standpoint is rather non-existent and reviews focusing on the original release don't come in high enough quantities to adequately give an overall impression of how this game was perceived in qualitative terms, at least in my personal estimation. Thus, I will pass the torch to those who've actually played the game and hope they will be willing to share their impressions with the rest of us.
Game No. 48
Title: Illusion of Gaia
Developer: Quintet
Platform: Super Famicom / SNES
Release Date: November 27, 1993 (Japan)
Comment: Published by Enix in Japan and worldwide by Nintendo, Illusion of Gaia is an action role-playing game which takes place in a fictionalized version of Earth, replete with fantastical elements.
You play as Will, a boy who at the beginning of the game meets a being called Gaia who warns him of a comet approaching the Earth. Will is tasked with travelling the world to search for means by which to protect the planet. The game is viewed from a top-down perspective reminiscent of that in A Link to the Past. The world is reportedly uncovered in a fairly linear fashion, with players gaining access to new areas as they progress through the storyline whilst at the same time permanently leaving previously visited regions behind. As the game progresses, Will becomes able to shift into two alternate forms; Freedan and Shadow, each with their own set of unique abilities. The game eschews an experience points system in favour of a mechanic where defeated enemies drops jewels, which can be used to improve stats such as attack and defense power as well as hit points. Furthermore, there's no in-game currency or equipment and thus no shops to be found. There is, however, a restorative item present in the game in the form of herbs. Even though the game has a save feature, defeated enemies also drops stones, which provides the player with extra lives given that one has gathered one hundred of them. Battles occur in real-time and depending on which form is currently in use attack power and range is modified accordingly.
Illusion of Gaia appears to have sold roughly 650,000 copies worldwide. Reviews written at the time of the game's original release seem to have been generally favourable, complimenting its plot while giving the mechanic for stat improvement a more mixed response, oft describing it as functional in theory but dependent on significant amounts of grinding in practice if the player does not want to face the end-game underleveled. Retrospective assessments have remained comparably positive. While the story have garnered a more mixed reception among these critics, the game's pacing has been described as well-balanced, pointing to its mix of action and puzzle segments.
Title: Illusion of Gaia
Developer: Quintet
Platform: Super Famicom / SNES
Release Date: November 27, 1993 (Japan)
Comment: Published by Enix in Japan and worldwide by Nintendo, Illusion of Gaia is an action role-playing game which takes place in a fictionalized version of Earth, replete with fantastical elements.
You play as Will, a boy who at the beginning of the game meets a being called Gaia who warns him of a comet approaching the Earth. Will is tasked with travelling the world to search for means by which to protect the planet. The game is viewed from a top-down perspective reminiscent of that in A Link to the Past. The world is reportedly uncovered in a fairly linear fashion, with players gaining access to new areas as they progress through the storyline whilst at the same time permanently leaving previously visited regions behind. As the game progresses, Will becomes able to shift into two alternate forms; Freedan and Shadow, each with their own set of unique abilities. The game eschews an experience points system in favour of a mechanic where defeated enemies drops jewels, which can be used to improve stats such as attack and defense power as well as hit points. Furthermore, there's no in-game currency or equipment and thus no shops to be found. There is, however, a restorative item present in the game in the form of herbs. Even though the game has a save feature, defeated enemies also drops stones, which provides the player with extra lives given that one has gathered one hundred of them. Battles occur in real-time and depending on which form is currently in use attack power and range is modified accordingly.
Illusion of Gaia appears to have sold roughly 650,000 copies worldwide. Reviews written at the time of the game's original release seem to have been generally favourable, complimenting its plot while giving the mechanic for stat improvement a more mixed response, oft describing it as functional in theory but dependent on significant amounts of grinding in practice if the player does not want to face the end-game underleveled. Retrospective assessments have remained comparably positive. While the story have garnered a more mixed reception among these critics, the game's pacing has been described as well-balanced, pointing to its mix of action and puzzle segments.
Game No. 49
Title: Romancing SaGa 2
Developer: Square
Platform: Super Famicom
Release Date: December 10, 1993 (Japan)
Comment: The fifth installment in the SaGa series is perhaps best remembered for introducing the Life Point and Glimmer/Spark systems, but it also handled character progression differently compared to both earlier and later games in the franchise by putting players in control of a line of sovereigns defending their realm in a storyline that spans multiple generations.
You play as the emperor or empress, depending on your choice, of the fictional dominion of Avalon, who must protect the realm from seven former heroes, all of which have returned as demons with the intent of wreaking havoc upon everything that cross their path.
In addition to the rulers players create for themselves, there are also three predefined sovereigns who will fall under the player's control during fixed points during the game's plot. Of key importance in order to rule one's realm are the Treasurer, the Accountant, and the Chancellor. The Treasurer provides the player with information on taxes and can allocate funds to develop new equipment or spells, as well as build new facilities throughout the realm. The Accountant keeps tabs on how much money one earns through each battle. The Chancellor keeps the player informed of tasks which must be tended to. It is through these quests one advance the story, but there are also various other NPC's the player can talk to. Such interactions may lead to assorted side quests. As the player accomplishes tasks throughout different regions these territories will swear allegiance to the throne and one's tax funds will increase, which can thus be invested in further developments. At the end of each emperor's/empress' reign one must choose one out of four potential successors, whose traits will be calculated from the current player character, allies the player has made pacts with, and a random value generator working behind the scenes. Character progression and the battle system have, once more, received certain alterations. Firstly, individual characters' proficiencies with certain weaponry are no longer tied to a single weapon, but to all weapons within the same type. Second, battle formations have been expanded upon. One starts out with a few of these formations, but as players recruit new members to their parties they will gain knowledge of additional formations. Third, this entry introduces a staple of future installments in the series in the form of the Life Point system. After battles, party members' hit points will be refilled and any negative stat ailments will be removed due to these Life Points. However, Life Points always come in fixed numbers and should a given character lose all of their hit points in battle, or be dealt successful blows while they are unconscious, they will lose Life Points accordingly and risk getting removed from the party altogether. Life Points can be restored by certain potions found throughout the game. Finally, the game also introduces the so called Glimmer/Spark system, which presents party members with a random chance of learning new weapon techniques by simply using particular weapons.
The original Super Famicom version has sold roughly 1.5 million copies since its release. Reviews have, unfortunately, eluded me with this particular title, so if someone has actually played this their observations would be most welcome.
Title: Romancing SaGa 2
Developer: Square
Platform: Super Famicom
Release Date: December 10, 1993 (Japan)
Comment: The fifth installment in the SaGa series is perhaps best remembered for introducing the Life Point and Glimmer/Spark systems, but it also handled character progression differently compared to both earlier and later games in the franchise by putting players in control of a line of sovereigns defending their realm in a storyline that spans multiple generations.
You play as the emperor or empress, depending on your choice, of the fictional dominion of Avalon, who must protect the realm from seven former heroes, all of which have returned as demons with the intent of wreaking havoc upon everything that cross their path.
In addition to the rulers players create for themselves, there are also three predefined sovereigns who will fall under the player's control during fixed points during the game's plot. Of key importance in order to rule one's realm are the Treasurer, the Accountant, and the Chancellor. The Treasurer provides the player with information on taxes and can allocate funds to develop new equipment or spells, as well as build new facilities throughout the realm. The Accountant keeps tabs on how much money one earns through each battle. The Chancellor keeps the player informed of tasks which must be tended to. It is through these quests one advance the story, but there are also various other NPC's the player can talk to. Such interactions may lead to assorted side quests. As the player accomplishes tasks throughout different regions these territories will swear allegiance to the throne and one's tax funds will increase, which can thus be invested in further developments. At the end of each emperor's/empress' reign one must choose one out of four potential successors, whose traits will be calculated from the current player character, allies the player has made pacts with, and a random value generator working behind the scenes. Character progression and the battle system have, once more, received certain alterations. Firstly, individual characters' proficiencies with certain weaponry are no longer tied to a single weapon, but to all weapons within the same type. Second, battle formations have been expanded upon. One starts out with a few of these formations, but as players recruit new members to their parties they will gain knowledge of additional formations. Third, this entry introduces a staple of future installments in the series in the form of the Life Point system. After battles, party members' hit points will be refilled and any negative stat ailments will be removed due to these Life Points. However, Life Points always come in fixed numbers and should a given character lose all of their hit points in battle, or be dealt successful blows while they are unconscious, they will lose Life Points accordingly and risk getting removed from the party altogether. Life Points can be restored by certain potions found throughout the game. Finally, the game also introduces the so called Glimmer/Spark system, which presents party members with a random chance of learning new weapon techniques by simply using particular weapons.
The original Super Famicom version has sold roughly 1.5 million copies since its release. Reviews have, unfortunately, eluded me with this particular title, so if someone has actually played this their observations would be most welcome.
Game No. 50
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Title: Phantasy Star IV: The End of the Millennium
Developer: Sega
Platform: Sega Genesis / Mega Drive
Release Date: December 17, 1993 (Japan)
Comment: Generally considered a return to form for the franchise, the fourth and final entry in the Phantasy Star series concludes the story of the Algol Solar System.
Players control Chaz Ashley, a hunter, who is charged with tracking down biomonsters, abnormal manifestations of the planet Motavia's flora and fauna. These biomonsters have been reported in increasing numbers across the planet ever since an event called the Great Collapse, during which vast expanses of Motavia withered away into deserts. During a routine mission, Chaz learns that the devices controlling the planet's climate and biosphere are malfunctioning and he takes it upon himself to find out why, recruiting additional members to his party along the way. Gameplay is reportedly much the same as prior installments in the series and therefore readers may refer to those entries for more information. Nevertheless, there is an exception: Combat now allows one to execute so called combination attacks, where two or more characters merge their assaults into one, more potent strike. However, these combinations are hidden and must be discovered by the player by way of experimentation.
As with all the previous installments in this franchise, sales figures remain elusive. However, critical reception at the time of the game's original release appears to have been generally favourable, with reviewers citing the graphics and music (composed by Izuho Numata and Masaki Nakagaki) as an improvement over III, while the game's plot generated a more mixed response. Judging by the retrospective reviews I have perused, IV's reputation seems to have improved as years have gone by, receiving near universal acclaim among various publications. Although these critics in most cases regard the game's graphics and sound as outdated, they consistently praise the included gameplay features and the sheer amount of content the title has to offer. Finally, it appears that the majority of these reviewers consider the storyline to provide a fitting conclusion to the series' overall story arc.
Title: Phantasy Star IV: The End of the Millennium
Developer: Sega
Platform: Sega Genesis / Mega Drive
Release Date: December 17, 1993 (Japan)
Comment: Generally considered a return to form for the franchise, the fourth and final entry in the Phantasy Star series concludes the story of the Algol Solar System.
Players control Chaz Ashley, a hunter, who is charged with tracking down biomonsters, abnormal manifestations of the planet Motavia's flora and fauna. These biomonsters have been reported in increasing numbers across the planet ever since an event called the Great Collapse, during which vast expanses of Motavia withered away into deserts. During a routine mission, Chaz learns that the devices controlling the planet's climate and biosphere are malfunctioning and he takes it upon himself to find out why, recruiting additional members to his party along the way. Gameplay is reportedly much the same as prior installments in the series and therefore readers may refer to those entries for more information. Nevertheless, there is an exception: Combat now allows one to execute so called combination attacks, where two or more characters merge their assaults into one, more potent strike. However, these combinations are hidden and must be discovered by the player by way of experimentation.
As with all the previous installments in this franchise, sales figures remain elusive. However, critical reception at the time of the game's original release appears to have been generally favourable, with reviewers citing the graphics and music (composed by Izuho Numata and Masaki Nakagaki) as an improvement over III, while the game's plot generated a more mixed response. Judging by the retrospective reviews I have perused, IV's reputation seems to have improved as years have gone by, receiving near universal acclaim among various publications. Although these critics in most cases regard the game's graphics and sound as outdated, they consistently praise the included gameplay features and the sheer amount of content the title has to offer. Finally, it appears that the majority of these reviewers consider the storyline to provide a fitting conclusion to the series' overall story arc.
Game No. 51
Title: Shadowrun
Developer: BlueSky Software
Platform: Sega Genesis
Release Date: 1994 (North America)
Comment: I regret to inform that I have been unable to pinpoint a more exact date of release for this title. Reportedly a North American exclusive, this second adaptation of the titular tabletop role-playing game also took the action role-playing game route and retained the setting's signature mix of cyberpunk and fantasy themes. However, the gameplay of this particular title has been described as more open-ended than that of its SNES precursor.
Yet again, the game takes place in the 2050s and you play as a man named Joshua as he investigates the murder of his brother, Michael, a Shadowrunner. The game is viewed from a top-down perspective. At the start of the game, the player will have to choose one out of three classes for Joshua, which will decide his starting stats and equipment.
During the initial story segment, the player is restricted to roam a comparatively small area. But once this part has been completed the greater city of Seattle opens up. Travel to different parts of the city is usually accomplished by taking a Taxi, but there are reportedly other means of transportation present in the game. The game features three parallel plot lines, which apparently may be tackled in any order. Once all three have been accomplished, they interweave with each other to set the stage for the endgame.
Scattered across the city are various shops, through which the player can acquire all manner of equipment, including weapons, cyber implants, and spells. There are also NPCs called "contacts" that provide the player with side quests, information, services, and wares for sale.
The developers have incorporated a reputation system into the game, which affects the disposition of NPCs towards the player. This includes not only the aforementioned contacts, but also the three gangs present in the city, each with their own territory. Through these gangs the player may also attain membership in either the Mafia or the Yakuza, which will grant certain benefits such as exclusive items and discounts. Also present in the game are various kinds of randomized events, which the player must choose how to react to. Depending on the outcome, these events may grant the player assorted benefits or penalties.
Mercenaries-for-hire make a return, and as before, these cannot be controlled directly. The cost of these mercenaries is dictated by the time extent of the contract and the disposition of the mercenary in question towards the player, which may rise and fall depending on whether missions they accompany the player on are successful or not.
Battles occur in real-time and are engaged primarily through use of firearms, melee weapons, and magic. Aiming is automatic, but each weapon has a cool-down time and players must restock on ammunition from time to time. Magic attacks can potentially become devastating, but since spells also harm the player character one is encouraged to search for protective gear and/or take measures to moderate spell power and successful casting rate in order to alleviate this problem. Magic is apparently also affected negatively by cyber implants. The player character runs on two types of health: physical and mental health. If either gets depleted, one loses consciousness and wakes up at a local hospital with a 10 percent cash penalty and with any mercenaries lost.
Karma (experience points) and nuyen are once again present, and the former may yet again be distributed among various stats as one rises through experience levels, but they are earned somewhat differently in this particular adaptation. Apart from combat, karma and cash can also be earned through completing shadowruns (quests) or progressing through the game's plot. These shadowruns are handed out by agents working for various corporations and involve diverse types of activities of varying difficulty. Compensation fees for such work may be negotiated.
Computer hacking remains a vital facet of gameplay. In order to hack various terminals one will need to use a so-called "cyberdeck", which may be modified or replaced by more advanced models in order to hack into more well-defended systems. Once inside cyberspace, the game switches to a third-person perspective and the interface alters accordingly. Cyberspace consists of a network of nodes, which represent different units of an individual system, each controlling different functions. These nodes are guarded by protection software which the player must overcome in order to properly hack them. Depending on what type of node a player successfully hack, it may yield results such as data theft, data erasure, crashing computer systems, and shutting down security systems inside certain facilities. Stolen data may later be sold and thus provide the player with additional cash.
As with its SNES counterpart, sales figures for this adaptation of Shadowrun appear nonexistent. Reviews, on the other hand, do exist. However, they seem to be fairly few in numbers and therefore I am hesitant to make any further appraisal of how this game has been received among critics in a more overall perspective. Nevertheless, as a final note I'd like to add that those reviews I've found appear positive.
Title: Shadowrun
Developer: BlueSky Software
Platform: Sega Genesis
Release Date: 1994 (North America)
Comment: I regret to inform that I have been unable to pinpoint a more exact date of release for this title. Reportedly a North American exclusive, this second adaptation of the titular tabletop role-playing game also took the action role-playing game route and retained the setting's signature mix of cyberpunk and fantasy themes. However, the gameplay of this particular title has been described as more open-ended than that of its SNES precursor.
Yet again, the game takes place in the 2050s and you play as a man named Joshua as he investigates the murder of his brother, Michael, a Shadowrunner. The game is viewed from a top-down perspective. At the start of the game, the player will have to choose one out of three classes for Joshua, which will decide his starting stats and equipment.
During the initial story segment, the player is restricted to roam a comparatively small area. But once this part has been completed the greater city of Seattle opens up. Travel to different parts of the city is usually accomplished by taking a Taxi, but there are reportedly other means of transportation present in the game. The game features three parallel plot lines, which apparently may be tackled in any order. Once all three have been accomplished, they interweave with each other to set the stage for the endgame.
Scattered across the city are various shops, through which the player can acquire all manner of equipment, including weapons, cyber implants, and spells. There are also NPCs called "contacts" that provide the player with side quests, information, services, and wares for sale.
The developers have incorporated a reputation system into the game, which affects the disposition of NPCs towards the player. This includes not only the aforementioned contacts, but also the three gangs present in the city, each with their own territory. Through these gangs the player may also attain membership in either the Mafia or the Yakuza, which will grant certain benefits such as exclusive items and discounts. Also present in the game are various kinds of randomized events, which the player must choose how to react to. Depending on the outcome, these events may grant the player assorted benefits or penalties.
Mercenaries-for-hire make a return, and as before, these cannot be controlled directly. The cost of these mercenaries is dictated by the time extent of the contract and the disposition of the mercenary in question towards the player, which may rise and fall depending on whether missions they accompany the player on are successful or not.
Battles occur in real-time and are engaged primarily through use of firearms, melee weapons, and magic. Aiming is automatic, but each weapon has a cool-down time and players must restock on ammunition from time to time. Magic attacks can potentially become devastating, but since spells also harm the player character one is encouraged to search for protective gear and/or take measures to moderate spell power and successful casting rate in order to alleviate this problem. Magic is apparently also affected negatively by cyber implants. The player character runs on two types of health: physical and mental health. If either gets depleted, one loses consciousness and wakes up at a local hospital with a 10 percent cash penalty and with any mercenaries lost.
Karma (experience points) and nuyen are once again present, and the former may yet again be distributed among various stats as one rises through experience levels, but they are earned somewhat differently in this particular adaptation. Apart from combat, karma and cash can also be earned through completing shadowruns (quests) or progressing through the game's plot. These shadowruns are handed out by agents working for various corporations and involve diverse types of activities of varying difficulty. Compensation fees for such work may be negotiated.
Computer hacking remains a vital facet of gameplay. In order to hack various terminals one will need to use a so-called "cyberdeck", which may be modified or replaced by more advanced models in order to hack into more well-defended systems. Once inside cyberspace, the game switches to a third-person perspective and the interface alters accordingly. Cyberspace consists of a network of nodes, which represent different units of an individual system, each controlling different functions. These nodes are guarded by protection software which the player must overcome in order to properly hack them. Depending on what type of node a player successfully hack, it may yield results such as data theft, data erasure, crashing computer systems, and shutting down security systems inside certain facilities. Stolen data may later be sold and thus provide the player with additional cash.
As with its SNES counterpart, sales figures for this adaptation of Shadowrun appear nonexistent. Reviews, on the other hand, do exist. However, they seem to be fairly few in numbers and therefore I am hesitant to make any further appraisal of how this game has been received among critics in a more overall perspective. Nevertheless, as a final note I'd like to add that those reviews I've found appear positive.
Game No. 52
Title: Fire Emblem: Mystery of the Emblem
Developer: Intelligent Systems
Platform: Super Famicom
Release Date: January 21, 1994 (Japan)
Comment: The series debut on the Super Famicom, Mystery of the Emblem reinstated the gameplay mechanics of the first installment at the expense of the majority of those introduced in Gaiden. Furthermore, the title features two games in one package; Book One, which is a remake of Shadow Dragon and the Blade of Light, and Book Two, which is a direct sequel. Note that this chronicle entry will focus primarily on Book Two.
The story once again follows Marth, prince of Altea, as Hardin, recently crowned emperor of Akaneia and a former ally of Marth, requests his assistance with suppressing a rebellion in the kingdom of Grust. Reluctantly, Marth complies. However, as he hunts down the rebels, he learns of the ill-treatment of the Grustian population under Hardin's rule and instead sets out to acquire the means to confront his emperor. Now branded a renegade, Marth must also recruit allies, both old and new, to his cause.
The plot is told through twenty-two chapters/missions, whereof the last chapter is divided into three parts. The game is once again viewed from a top-down perspective. Gameplay is reportedly virtually identical to that of the first game, save for two new features. The first of which is a command that allows cavalier units to dismount their horses and fight on foot. It should be noted, however, that while on foot these units are restricted to certain weapon types. During indoor missions, cavalier and airborne units automatically dismount to fight alongside infantry. The second new feature is that the movement range of individual units is now visually illustrated.
Mystery of the Emblem has sold roughly 700,000 copies in its original Super Famicom incarnation. I regret to inform that professional reviews keep eluding me with this series. That said, the visual representation of the movement range of individual units became a staple feature of future titles in the series. As always, if somebody has actually played the game in question, feel free to share your anecdotes, impressions and observations relating to it.
Title: Fire Emblem: Mystery of the Emblem
Developer: Intelligent Systems
Platform: Super Famicom
Release Date: January 21, 1994 (Japan)
Comment: The series debut on the Super Famicom, Mystery of the Emblem reinstated the gameplay mechanics of the first installment at the expense of the majority of those introduced in Gaiden. Furthermore, the title features two games in one package; Book One, which is a remake of Shadow Dragon and the Blade of Light, and Book Two, which is a direct sequel. Note that this chronicle entry will focus primarily on Book Two.
The story once again follows Marth, prince of Altea, as Hardin, recently crowned emperor of Akaneia and a former ally of Marth, requests his assistance with suppressing a rebellion in the kingdom of Grust. Reluctantly, Marth complies. However, as he hunts down the rebels, he learns of the ill-treatment of the Grustian population under Hardin's rule and instead sets out to acquire the means to confront his emperor. Now branded a renegade, Marth must also recruit allies, both old and new, to his cause.
The plot is told through twenty-two chapters/missions, whereof the last chapter is divided into three parts. The game is once again viewed from a top-down perspective. Gameplay is reportedly virtually identical to that of the first game, save for two new features. The first of which is a command that allows cavalier units to dismount their horses and fight on foot. It should be noted, however, that while on foot these units are restricted to certain weapon types. During indoor missions, cavalier and airborne units automatically dismount to fight alongside infantry. The second new feature is that the movement range of individual units is now visually illustrated.
Mystery of the Emblem has sold roughly 700,000 copies in its original Super Famicom incarnation. I regret to inform that professional reviews keep eluding me with this series. That said, the visual representation of the movement range of individual units became a staple feature of future titles in the series. As always, if somebody has actually played the game in question, feel free to share your anecdotes, impressions and observations relating to it.
Game No. 53
Title: Shin Megami Tensei II
Developer: Atlus
Platform: Super Famicom
Release Date: March 18, 1994 (Japan)
Comment: A direct sequel to the first Shin Megami Tensei, II kept the gameplay foundation of its immediate predecessor intact while elaborating further upon it.
Taking place 50 years after the end of the preceding game, living conditions in the wake of the nuclear conflict have become increasingly severe as the air has become progressively more unbreathable. In order to counter this problem, the citizens of Tokyo Millennium, a city built upon the foundations of the old Tokyo, have shielded their city under a protective barrier. The city is administered by a theocracy, following a so-called Messian religion, residing in the Center district. Townspeople who are not part of the clergy inhabit the Valhalla district, which suffers from frequent demon infestations. In order to gain citizenship in the Central district, people compete in a gladiatorial tournament. One such contestant is a man named Hawk (whose name may be altered by the player), an amnesiac and the main protagonist of the game. Victorious, he gains citizenship to the Center district and is summoned to the Bishop, the supreme leader of the Messian religion, who tells him that he is in fact Aleph, a messiah foretold to save mankind from its current peril. Sent on various assignments throughout Tokyo Millennium, Hawk/Aleph soon learns through his own experience of the lengths at which the clergy are prepared to go to fulfill their ends. He must therefore make a decision on whether he want to keep serving the clergy, side with the people of the Valhalla district, or pursue a third path of his own choosing.
As before, the game features both a top-down perspective and a first-person perspective, depending on whether one's party is presently outdoors or indoors. The alignment system of the previous installment makes a return, but is reportedly more integrated with the game's plot this time. A fair amount of demons have apparently had their alignments shifted in an attempt by the developers to facilitate potentially more diverse party arrangements. Demons are reportedly more customizable in terms of what spells and special attacks the player can assign to them in this entry. Add to this that the game introduces a feature wherein magic spells, held by demons subjected to the franchise's trademark demon fusion system, can be passed down to the fused demon. Another new feature is the ability to fuse demons with assorted weapons. Battles yet again occur through random encounters and are turn-based, but one's party can now be split in two rows, which affect the amount of damage individual party members receive. Furthermore, battles may now feature two demons to fight simultaneously. Other changes include the introduction of casinos, where players can gamble for special items not obtainable elsewhere, and an overhaul of the inventory system, in that items of notable importance are deposited in dedicated item slots. Finally, the game introduced a staple feature of future installments in the series in the form of a coloured bar, indicating the probability of an enemy attack.
The original Super Famicom version of Shin Megami Tensei II sold in excess of 350,000 copies. However, it appears yet another "Megaten" title has yelded no results in my search for professional reviews. Nevertheless, I've found multiple reports indicating that this entry marked a step down in terms of difficulty for the series.
Title: Shin Megami Tensei II
Developer: Atlus
Platform: Super Famicom
Release Date: March 18, 1994 (Japan)
Comment: A direct sequel to the first Shin Megami Tensei, II kept the gameplay foundation of its immediate predecessor intact while elaborating further upon it.
Taking place 50 years after the end of the preceding game, living conditions in the wake of the nuclear conflict have become increasingly severe as the air has become progressively more unbreathable. In order to counter this problem, the citizens of Tokyo Millennium, a city built upon the foundations of the old Tokyo, have shielded their city under a protective barrier. The city is administered by a theocracy, following a so-called Messian religion, residing in the Center district. Townspeople who are not part of the clergy inhabit the Valhalla district, which suffers from frequent demon infestations. In order to gain citizenship in the Central district, people compete in a gladiatorial tournament. One such contestant is a man named Hawk (whose name may be altered by the player), an amnesiac and the main protagonist of the game. Victorious, he gains citizenship to the Center district and is summoned to the Bishop, the supreme leader of the Messian religion, who tells him that he is in fact Aleph, a messiah foretold to save mankind from its current peril. Sent on various assignments throughout Tokyo Millennium, Hawk/Aleph soon learns through his own experience of the lengths at which the clergy are prepared to go to fulfill their ends. He must therefore make a decision on whether he want to keep serving the clergy, side with the people of the Valhalla district, or pursue a third path of his own choosing.
As before, the game features both a top-down perspective and a first-person perspective, depending on whether one's party is presently outdoors or indoors. The alignment system of the previous installment makes a return, but is reportedly more integrated with the game's plot this time. A fair amount of demons have apparently had their alignments shifted in an attempt by the developers to facilitate potentially more diverse party arrangements. Demons are reportedly more customizable in terms of what spells and special attacks the player can assign to them in this entry. Add to this that the game introduces a feature wherein magic spells, held by demons subjected to the franchise's trademark demon fusion system, can be passed down to the fused demon. Another new feature is the ability to fuse demons with assorted weapons. Battles yet again occur through random encounters and are turn-based, but one's party can now be split in two rows, which affect the amount of damage individual party members receive. Furthermore, battles may now feature two demons to fight simultaneously. Other changes include the introduction of casinos, where players can gamble for special items not obtainable elsewhere, and an overhaul of the inventory system, in that items of notable importance are deposited in dedicated item slots. Finally, the game introduced a staple feature of future installments in the series in the form of a coloured bar, indicating the probability of an enemy attack.
The original Super Famicom version of Shin Megami Tensei II sold in excess of 350,000 copies. However, it appears yet another "Megaten" title has yelded no results in my search for professional reviews. Nevertheless, I've found multiple reports indicating that this entry marked a step down in terms of difficulty for the series.
Game No. 54
Title: Final Fantasy VI
Developer: Square
Platform: Super Famicom / SNES
Release Date: April 4, 1994 (Japan)
Comment: Widely regarded as the pinnacle of the series, Final Fantasy VI is oft perceived as a watershed title in the franchise. It was the first installment not to be directed by franchise creator Hironobu Sakaguchi; a responsibility instead held by Yoshinori Kitase and Hiroyuki Ito. The game eschewed the medieval fantasy setting of prior entries in favour of environments featuring aesthetics commonly associated with steampunk. VI was also the last title in the main series to be released on a fourth generation console and for a Nintendo system.
Featuring a cast of fourteen playable characters, the plot of the game follows a rebel faction called the Returners in their efforts to prevent an emperor named Gestahl and his general Kefka from achieving world dominion by combining a magical entity known as "espers" with machinery in order to build a formidable military force.
The gameplay formula established in earlier installments is largely kept unaltered. Nevertheless, there are changes and additions to the mechanics worth mentioning. The Job system has, once more, been scrapped in favour of playable characters with preset classes and unique strengths, weaknesses, and special abilities. Character customization in this particular installment reportedly revolves heavily around a type of special items called "Relics", which can bestow upon a given party member a range of different beneficial effects. Each character can equip two relics simultaneously. Summons have apparently taken a more prominent role in this entry. By equipping another kind of special items called "magicite" an individual party member is thereby not only able to summon assorted monsters to aid them in battle, but also gradually learn new spells and gain various stat boosts, depending on which magicite they have currently equipped. For the first time in the series, members of the active party can be swapped for another at any time, with the exception for certain sections in the game. Battles now feature so-called Desperation Attacks, unique to each party member, that become available when they are low on health; this feature would, albeit under different names, become a staple of future titles in the franchise. It is also possible to have a second player join in during battle scenarios and thereby tackle various foes cooperatively.
In its initial incarnation, Final Fantasy VI sold more than 3.4 million copies worldwide. At the time of its original release VI appears to have been met by universal critical acclaim and retrospective assessments seem to have remained similarly rapturous. The plot, the characterizations, the sheer amount of content and its perceived impact on the title's lasting value, along with improvements in graphics and sound, all became subject of praise in initial reviews. Retrospective examinations echoes the laudations directed at the volumes of activities present in the game, asserting that they strengthen its replay value. Another recurring target of commendation in later years has been VI's perceived contributions to storytelling in video games in general, critics citing how the developers simultaneously weave together a compelling plot while still taking time to give each character in the ensemble some measure of character development. However, sentiments towards how the game has aged from a graphical standpoint appear decidedly mixed, and the encounter rate of various foes still seemingly has its fair share of detractors. The English translation of the game, while generally considered an improvement over that of IV, has also been called into question. Even so, neither of these factors appear to have affected VI's popular and critical reputation as a landmark title among role playing video games in general, as the game commands a near mandatory presence on top games lists in assorted publications.
Title: Final Fantasy VI
Developer: Square
Platform: Super Famicom / SNES
Release Date: April 4, 1994 (Japan)
Comment: Widely regarded as the pinnacle of the series, Final Fantasy VI is oft perceived as a watershed title in the franchise. It was the first installment not to be directed by franchise creator Hironobu Sakaguchi; a responsibility instead held by Yoshinori Kitase and Hiroyuki Ito. The game eschewed the medieval fantasy setting of prior entries in favour of environments featuring aesthetics commonly associated with steampunk. VI was also the last title in the main series to be released on a fourth generation console and for a Nintendo system.
Featuring a cast of fourteen playable characters, the plot of the game follows a rebel faction called the Returners in their efforts to prevent an emperor named Gestahl and his general Kefka from achieving world dominion by combining a magical entity known as "espers" with machinery in order to build a formidable military force.
The gameplay formula established in earlier installments is largely kept unaltered. Nevertheless, there are changes and additions to the mechanics worth mentioning. The Job system has, once more, been scrapped in favour of playable characters with preset classes and unique strengths, weaknesses, and special abilities. Character customization in this particular installment reportedly revolves heavily around a type of special items called "Relics", which can bestow upon a given party member a range of different beneficial effects. Each character can equip two relics simultaneously. Summons have apparently taken a more prominent role in this entry. By equipping another kind of special items called "magicite" an individual party member is thereby not only able to summon assorted monsters to aid them in battle, but also gradually learn new spells and gain various stat boosts, depending on which magicite they have currently equipped. For the first time in the series, members of the active party can be swapped for another at any time, with the exception for certain sections in the game. Battles now feature so-called Desperation Attacks, unique to each party member, that become available when they are low on health; this feature would, albeit under different names, become a staple of future titles in the franchise. It is also possible to have a second player join in during battle scenarios and thereby tackle various foes cooperatively.
In its initial incarnation, Final Fantasy VI sold more than 3.4 million copies worldwide. At the time of its original release VI appears to have been met by universal critical acclaim and retrospective assessments seem to have remained similarly rapturous. The plot, the characterizations, the sheer amount of content and its perceived impact on the title's lasting value, along with improvements in graphics and sound, all became subject of praise in initial reviews. Retrospective examinations echoes the laudations directed at the volumes of activities present in the game, asserting that they strengthen its replay value. Another recurring target of commendation in later years has been VI's perceived contributions to storytelling in video games in general, critics citing how the developers simultaneously weave together a compelling plot while still taking time to give each character in the ensemble some measure of character development. However, sentiments towards how the game has aged from a graphical standpoint appear decidedly mixed, and the encounter rate of various foes still seemingly has its fair share of detractors. The English translation of the game, while generally considered an improvement over that of IV, has also been called into question. Even so, neither of these factors appear to have affected VI's popular and critical reputation as a landmark title among role playing video games in general, as the game commands a near mandatory presence on top games lists in assorted publications.
Game No. 55
Title: Langrisser II
Developer: Career Soft
Platform: Sega Genesis
Release Date: August 26, 1994 (Japan)
Comment: The second installment in the Langrisser series has never been released outside of Japan, but has nevertheless been remade and re-released across multiple platforms since its original Sega Genesis incarnation.
You play as Elwin, a swordsman who enlists his aid to a woman named Riana, who is pursued by the order of the Blue Dragon Knights of the Rayguard Empire for reasons unknown. Once again, the game consists of twenty battle scenarios, all with their own sets of objectives one needs to accomplish. Apart from a few new unit types and an increased difficulty, gameplay is reportedly identical to that of Warsong.
However, there exists an alternate version of this entry in the franchise, entitled Der Langrisser. Initially developed for the Super Famicom and the PC-FX, this remake apparently features more small-scale battle scenarios, a lowered difficulty, and a branching storyline, which brings the grand total number of battle scenarios up to over seventy five, while also including several possible endings.
Commercial statistics have yet again eluded me and reviews of the game in question are so scarce (I have managed to find one for each version) that I will refrain from commenting upon how this game was received critically. Nonetheless, for those who might find this title to be of interest, the reviews that I've found were positive.
Title: Langrisser II
Developer: Career Soft
Platform: Sega Genesis
Release Date: August 26, 1994 (Japan)
Comment: The second installment in the Langrisser series has never been released outside of Japan, but has nevertheless been remade and re-released across multiple platforms since its original Sega Genesis incarnation.
You play as Elwin, a swordsman who enlists his aid to a woman named Riana, who is pursued by the order of the Blue Dragon Knights of the Rayguard Empire for reasons unknown. Once again, the game consists of twenty battle scenarios, all with their own sets of objectives one needs to accomplish. Apart from a few new unit types and an increased difficulty, gameplay is reportedly identical to that of Warsong.
However, there exists an alternate version of this entry in the franchise, entitled Der Langrisser. Initially developed for the Super Famicom and the PC-FX, this remake apparently features more small-scale battle scenarios, a lowered difficulty, and a branching storyline, which brings the grand total number of battle scenarios up to over seventy five, while also including several possible endings.
Commercial statistics have yet again eluded me and reviews of the game in question are so scarce (I have managed to find one for each version) that I will refrain from commenting upon how this game was received critically. Nonetheless, for those who might find this title to be of interest, the reviews that I've found were positive.
Game No. 56
Title: EarthBound
Developers: Ape & HAL Laboratory
Platform: Super Famicom / SNES
Release Date: August 27, 1994 (Japan)
Comment: Released five years after its predecessor, Earthbound, the second game in the Mother series, is to date the only title in the franchise to see an official release outside of Japan. Though initially released to comparatively moderate commercial interest among consumers and indifference among video game critics, the game came to garner a cult following as the years went on and is today often referred to amongst video game journalists as a singular title in the SNES catalogue.
Once more, the plot of the game follows a boy, named Ness, who lives in the small town of Onett in the fictional country of Eagleland, which by all accounts is based on the United States, sometime during the 1990s. When he, along with his neighbor Pokey, inspects a nearby crashed meteorite he learns that an extraterrestrial named Giygas has turned animals, humans and various objects into instruments acting in accordance with his own malevolent purposes. However, a newfound, unlikely ally in the form of a bee from the future informs Ness of a series of melodies that, if they were assembled, could be used to thwart Giygas plans. Thus Ness sets out to find these tunes.
The player controls Ness from an oblique projection perspective and has him explore an overworld dotted with towns and assorted dungeons. Transition between towns and the surrounding wilderness is, as was the case with Mother, completely seamless. Overall, the various gameplay elements implemented in the first installment has been kept fundamentally intact.
Combat, however, has been subjected to an overhaul. Battles do not occur through random encounters this time. Instead, enemies are fully visible on-screen and one has to physically run into them to initiate combat. Depending on which direction the player strikes/is struck by foes from, certain advantages/disadvantages, such as first-strike opportunities, may be granted. As the party raises experience levels, weaker enemies will eventually try to flee, and should one still choose to hunt such an adversary down it will count as an automatic victory. Fights are still turn-based though. They are yet again shown through a dedicated battle screen from a first-person perspective, and the order by which individual participants engage each other is dictated by each character's speed attribute. The game introduces a new attribute called "Guts" which determine both the chance to score critical hits and an individual party member's probability of surviving one. Also, battles feature an innovation called "rolling HP", a system wherein a party member hit by an attack gradually loses hit points, which the player can react to by using health replenishing items or by trying to commence a last-ditch counterattack.
Earthbound sold in excess of 400,000 copies, yet only roughly 140,000 of these were sold in North America. Nintendo reportedly perceived the title as a failed export, and both the American marketing campaign, apparently based around the series' signature sense of humour, and the game's inflated pricing due to it being packaged with a strategy guide has been identified as contributing factors to its poor commercial performance in the North American market. It has been further claimed that these comparatively modest sales figures combined with the arrival of a new generation of console hardware played part in Nintendo's decision to call off all plans for a European release.
Whilst reading reviews written at the time of the game's original release, I noticed that while English speaking critics indeed gave EarthBound a mixed response, German publications were decidedly more positive, commending the title for its satirized contemporary setting and humorous depiction of various aspects of popular culture, while otherwise regarding its gameplay mechanics to be a fairly conventional, yet solid. As mentioned above, the game received a cooler reception among English speaking reviewers, who considered the game's graphics to be simplistic, and appeared divided in their opinions on what they described as an oft surrealistic storyline combined with what they deemed to be a lower-than-average difficulty level for a game in the genre, thus leading some critics to question the development team's intended audience.
However, as time has gone by, views among critics in general appear to have shifted in EarthBound's favour to such a degree that it has been elevated to a state of universal acclaim. Sentiments towards certain aspects of the game seem to have headed for a complete reverse, as the visual presentation of the game has received plentiful praise in recent years, one reviewer even likening it to Charles M. Schulz' cartoon aesthetics. Keiichi Suzuki's and Hirokazu Tanaka's soundtrack, with its allusions to different styles of pop music, has often been described as a highlight. While critics appear to agree that the plot and gameplay alike, at their core, offer very little that have not been done before, even when one takes the game's original release in the mid-nineties into consideration, they still maintain that EarthBound's modern day setting, combined with its satirical and comical features, when applied to the narrative and gameplay mechanics, add to what they refer to as the game's unique appeal. In addition, the English translation has repeatedly been recognized as uncommonly thorough and polished for its time. This turnabout among critics has also been accompanied by an increased presence on assorted top games lists in various publications.
Title: EarthBound
Developers: Ape & HAL Laboratory
Platform: Super Famicom / SNES
Release Date: August 27, 1994 (Japan)
Comment: Released five years after its predecessor, Earthbound, the second game in the Mother series, is to date the only title in the franchise to see an official release outside of Japan. Though initially released to comparatively moderate commercial interest among consumers and indifference among video game critics, the game came to garner a cult following as the years went on and is today often referred to amongst video game journalists as a singular title in the SNES catalogue.
Once more, the plot of the game follows a boy, named Ness, who lives in the small town of Onett in the fictional country of Eagleland, which by all accounts is based on the United States, sometime during the 1990s. When he, along with his neighbor Pokey, inspects a nearby crashed meteorite he learns that an extraterrestrial named Giygas has turned animals, humans and various objects into instruments acting in accordance with his own malevolent purposes. However, a newfound, unlikely ally in the form of a bee from the future informs Ness of a series of melodies that, if they were assembled, could be used to thwart Giygas plans. Thus Ness sets out to find these tunes.
The player controls Ness from an oblique projection perspective and has him explore an overworld dotted with towns and assorted dungeons. Transition between towns and the surrounding wilderness is, as was the case with Mother, completely seamless. Overall, the various gameplay elements implemented in the first installment has been kept fundamentally intact.
Combat, however, has been subjected to an overhaul. Battles do not occur through random encounters this time. Instead, enemies are fully visible on-screen and one has to physically run into them to initiate combat. Depending on which direction the player strikes/is struck by foes from, certain advantages/disadvantages, such as first-strike opportunities, may be granted. As the party raises experience levels, weaker enemies will eventually try to flee, and should one still choose to hunt such an adversary down it will count as an automatic victory. Fights are still turn-based though. They are yet again shown through a dedicated battle screen from a first-person perspective, and the order by which individual participants engage each other is dictated by each character's speed attribute. The game introduces a new attribute called "Guts" which determine both the chance to score critical hits and an individual party member's probability of surviving one. Also, battles feature an innovation called "rolling HP", a system wherein a party member hit by an attack gradually loses hit points, which the player can react to by using health replenishing items or by trying to commence a last-ditch counterattack.
Earthbound sold in excess of 400,000 copies, yet only roughly 140,000 of these were sold in North America. Nintendo reportedly perceived the title as a failed export, and both the American marketing campaign, apparently based around the series' signature sense of humour, and the game's inflated pricing due to it being packaged with a strategy guide has been identified as contributing factors to its poor commercial performance in the North American market. It has been further claimed that these comparatively modest sales figures combined with the arrival of a new generation of console hardware played part in Nintendo's decision to call off all plans for a European release.
Whilst reading reviews written at the time of the game's original release, I noticed that while English speaking critics indeed gave EarthBound a mixed response, German publications were decidedly more positive, commending the title for its satirized contemporary setting and humorous depiction of various aspects of popular culture, while otherwise regarding its gameplay mechanics to be a fairly conventional, yet solid. As mentioned above, the game received a cooler reception among English speaking reviewers, who considered the game's graphics to be simplistic, and appeared divided in their opinions on what they described as an oft surrealistic storyline combined with what they deemed to be a lower-than-average difficulty level for a game in the genre, thus leading some critics to question the development team's intended audience.
However, as time has gone by, views among critics in general appear to have shifted in EarthBound's favour to such a degree that it has been elevated to a state of universal acclaim. Sentiments towards certain aspects of the game seem to have headed for a complete reverse, as the visual presentation of the game has received plentiful praise in recent years, one reviewer even likening it to Charles M. Schulz' cartoon aesthetics. Keiichi Suzuki's and Hirokazu Tanaka's soundtrack, with its allusions to different styles of pop music, has often been described as a highlight. While critics appear to agree that the plot and gameplay alike, at their core, offer very little that have not been done before, even when one takes the game's original release in the mid-nineties into consideration, they still maintain that EarthBound's modern day setting, combined with its satirical and comical features, when applied to the narrative and gameplay mechanics, add to what they refer to as the game's unique appeal. In addition, the English translation has repeatedly been recognized as uncommonly thorough and polished for its time. This turnabout among critics has also been accompanied by an increased presence on assorted top games lists in various publications.
Game No. 57
Title: J.R.R. Tolkien's The Lord of the Rings, Vol. I
Developer: Interplay
Platform: SNES
Release Date: October, 1994 (North America)
Comment: Published and developed by Interplay, J.R.R. Tolkien's The Lord of the Rings, Vol. I is a role-playing game based upon The Fellowship of the Ring, the first book in Tolkien's trilogy of fantasy novels. Given its title, it was presumably the first installment in a planned trilogy of games. However, since it apparently flopped commercially, Interplay instead decided to cancel any further adaptations.
You initially play as Frodo Baggins and gather the other members of the Fellowship as you progress through the game, save for Boromir, who reportedly only makes a fleeting appearance. Of note is that the game ends at an earlier point than its source material, as the last region to be traversed in the game is the Mines of Moria.
The game is viewed from a top-down perspective and the world is apparently explored in a fairly linear fashion, with players gaining access to new areas as they finish quest for various NPCs who are encountered throughout the storyline. By way of the SNES Multitap accessory, the game supports cooperative play for up to four players. Any member of the fellowship not currently under direct player control is directed by the computer A.I.
Apart from the aforementioned vague statements which refer to "poor sales", I haven't found any solid sales figures for this title. Reviews, however, are rather plentiful. Those written at the time of the game's original release seem to indicate a mixed critical response, on the one hand praising its sound, commending what they consider to be a faithful adaptation of its source material as far as plot is concerned, and lauding the amount of content to explore, while on the other hand criticizing what they deem to be lackluster graphics, finding fault with the combat system, which has repeatedly been referred to as generic, and complaining about what they perceive as a general lack of challenge present in the game. Retrospective assessments appear generally unfavourable. While the sound still seem to elicit positive reactions among these critics, pretty much everything else is subjected to comparatively harsh criticism, and the game often gets accused of taking advantage of the reputation of the piece of literature it is based upon in order to attract consumers.
Title: J.R.R. Tolkien's The Lord of the Rings, Vol. I
Developer: Interplay
Platform: SNES
Release Date: October, 1994 (North America)
Comment: Published and developed by Interplay, J.R.R. Tolkien's The Lord of the Rings, Vol. I is a role-playing game based upon The Fellowship of the Ring, the first book in Tolkien's trilogy of fantasy novels. Given its title, it was presumably the first installment in a planned trilogy of games. However, since it apparently flopped commercially, Interplay instead decided to cancel any further adaptations.
You initially play as Frodo Baggins and gather the other members of the Fellowship as you progress through the game, save for Boromir, who reportedly only makes a fleeting appearance. Of note is that the game ends at an earlier point than its source material, as the last region to be traversed in the game is the Mines of Moria.
The game is viewed from a top-down perspective and the world is apparently explored in a fairly linear fashion, with players gaining access to new areas as they finish quest for various NPCs who are encountered throughout the storyline. By way of the SNES Multitap accessory, the game supports cooperative play for up to four players. Any member of the fellowship not currently under direct player control is directed by the computer A.I.
Apart from the aforementioned vague statements which refer to "poor sales", I haven't found any solid sales figures for this title. Reviews, however, are rather plentiful. Those written at the time of the game's original release seem to indicate a mixed critical response, on the one hand praising its sound, commending what they consider to be a faithful adaptation of its source material as far as plot is concerned, and lauding the amount of content to explore, while on the other hand criticizing what they deem to be lackluster graphics, finding fault with the combat system, which has repeatedly been referred to as generic, and complaining about what they perceive as a general lack of challenge present in the game. Retrospective assessments appear generally unfavourable. While the sound still seem to elicit positive reactions among these critics, pretty much everything else is subjected to comparatively harsh criticism, and the game often gets accused of taking advantage of the reputation of the piece of literature it is based upon in order to attract consumers.
Game No. 58
Title: Breath of Fire II
Developer: Capcom
Platform: Super Famicom / SNES
Release Date: December 2, 1994 (Japan)
Comment: Set half a millennium after its predecessor, Breath of Fire II largely stuck to the gameplay formula laid down in the first game, while also adding three new major features; battle formations, a town building element, and character fusion.
Once more, the protagonist is named Ryu, an orphan whose friend, named Bow, is wrongly accused of theft. Escaping punishment, the two friends go separate ways, with Ryu setting out to clear Bow's name. The game is yet again presented from a top-down perspective and leaves most gameplay mechanics derived from its predecessor unchanged. Exceptions to this are a few minor tweaks and three more substantial additions. First of all, the user interface is now text-based instead of icon-based. A new so-called "Monster Meter" has been included, which indicates the likelihood of monster encounters in a given area. Also, while one's active party still consists of four active members, switching characters is now reportedly restricted to certain areas. But of perhaps greater significance are two other features. The first one is a town building element, wherein one constructs an entire municipality, which can feature up to three different architectural styles, with the help of carpenters. This town can then be inhabited by special NPCs, which players must find as they explore the world. Each NPC invited to the town can fulfil unique functions of benefit for the player. The second feature is the so-called Shaman System, a mechanic where one may fuse party members with shamans found throughout the game. Depending on which shaman and party member players choose to fuse, and whether or not a second shaman is added to the fusion, a variety of results may occur, including a boost to the given party member's stats or a transformation into a completely different form. Furthermore, while battles occur in much the same way as they did in the first game, an assortment of battle formations has been added into the equation, each with their own sets of benefits and drawbacks.
I've only managed to find partial sales figures for the original Super Famicom / SNES version of this game and those once more originate from Japan, where it sold in excess of 350,000 copies. At the time of its original release critical reception seems to have been generally favourable, and retrospective assessments appear equally approving. Initial reviews repeatedly praised the game's graphics, its plot and characters, and the amount of content included, which several critics maintained added replay value. They were, however, less enthusiastic about the sound and music facet, which has repeatedly been described as underdeveloped, and the combat system, which despite the aforementioned additions still received criticism for lack of depth and repetitiveness. Retrospective examinations largely echo the sentiments expressed above, but also stress the game's tendency to reward players who go out of their way to explore non-essential side quests and the like, thus ostensibly making the game a considerably steeper challenge for players content with sticking to the main quest. Overall, critics seem to regard Breath of Fire II to be a clear improvement over its predecessor. That said, I've found multiple accounts that refer to the game's English translation as sub-par.
Title: Breath of Fire II
Developer: Capcom
Platform: Super Famicom / SNES
Release Date: December 2, 1994 (Japan)
Comment: Set half a millennium after its predecessor, Breath of Fire II largely stuck to the gameplay formula laid down in the first game, while also adding three new major features; battle formations, a town building element, and character fusion.
Once more, the protagonist is named Ryu, an orphan whose friend, named Bow, is wrongly accused of theft. Escaping punishment, the two friends go separate ways, with Ryu setting out to clear Bow's name. The game is yet again presented from a top-down perspective and leaves most gameplay mechanics derived from its predecessor unchanged. Exceptions to this are a few minor tweaks and three more substantial additions. First of all, the user interface is now text-based instead of icon-based. A new so-called "Monster Meter" has been included, which indicates the likelihood of monster encounters in a given area. Also, while one's active party still consists of four active members, switching characters is now reportedly restricted to certain areas. But of perhaps greater significance are two other features. The first one is a town building element, wherein one constructs an entire municipality, which can feature up to three different architectural styles, with the help of carpenters. This town can then be inhabited by special NPCs, which players must find as they explore the world. Each NPC invited to the town can fulfil unique functions of benefit for the player. The second feature is the so-called Shaman System, a mechanic where one may fuse party members with shamans found throughout the game. Depending on which shaman and party member players choose to fuse, and whether or not a second shaman is added to the fusion, a variety of results may occur, including a boost to the given party member's stats or a transformation into a completely different form. Furthermore, while battles occur in much the same way as they did in the first game, an assortment of battle formations has been added into the equation, each with their own sets of benefits and drawbacks.
I've only managed to find partial sales figures for the original Super Famicom / SNES version of this game and those once more originate from Japan, where it sold in excess of 350,000 copies. At the time of its original release critical reception seems to have been generally favourable, and retrospective assessments appear equally approving. Initial reviews repeatedly praised the game's graphics, its plot and characters, and the amount of content included, which several critics maintained added replay value. They were, however, less enthusiastic about the sound and music facet, which has repeatedly been described as underdeveloped, and the combat system, which despite the aforementioned additions still received criticism for lack of depth and repetitiveness. Retrospective examinations largely echo the sentiments expressed above, but also stress the game's tendency to reward players who go out of their way to explore non-essential side quests and the like, thus ostensibly making the game a considerably steeper challenge for players content with sticking to the main quest. Overall, critics seem to regard Breath of Fire II to be a clear improvement over its predecessor. That said, I've found multiple accounts that refer to the game's English translation as sub-par.
Game No. 59
Title: King?s Field
Developer: From Software
Platform: PlayStation
Release Date: December 16, 1994 (Japan)
Comment: The debut game of From Software, King?s Field is a role-playing game with an emphasis on dungeon crawling, bearing certain similarities to Ultima Underworld, and also stands as an early example of a role-playing game for the first PlayStation.
You play as John Alfred Forester, a royal descendant who has embarked on a journey to find his father and free the fictional realm of Verdite from the clutches of a malevolent force of undead. The game is presented from a first-person perspective and features five distinct levels to explore. Gameplay can reportedly be summed up as follows. First, one explores the initially accessible areas. Second, while doing the first one must fend off the various enemies present throughout the level. Three, once one finds a key, another section of the level opens up for exploration and then the process begins anew, until one locates a teleporter by which one may proceed to the next level. Weapons are either bought in shops or found in treasure chests throughout the levels. Magic spells on the other hand are acquired through raising experience levels and by interacting with certain NPCs. Battles occur in real-time and apparently feature From Software?s signature sharp learning curve.
The original PlayStation version of King?s Field sold roughly 80,000 copies. I regret to inform that I haven?t found any information on how this game was received among professional video game critics. That said, it seems as though this game (and the rest of the series) has garnered a cult following throughout the years. And even though this particular installment has never seen an official release outside of Japan, there reportedly exists a fan-translation.
Title: King?s Field
Developer: From Software
Platform: PlayStation
Release Date: December 16, 1994 (Japan)
Comment: The debut game of From Software, King?s Field is a role-playing game with an emphasis on dungeon crawling, bearing certain similarities to Ultima Underworld, and also stands as an early example of a role-playing game for the first PlayStation.
You play as John Alfred Forester, a royal descendant who has embarked on a journey to find his father and free the fictional realm of Verdite from the clutches of a malevolent force of undead. The game is presented from a first-person perspective and features five distinct levels to explore. Gameplay can reportedly be summed up as follows. First, one explores the initially accessible areas. Second, while doing the first one must fend off the various enemies present throughout the level. Three, once one finds a key, another section of the level opens up for exploration and then the process begins anew, until one locates a teleporter by which one may proceed to the next level. Weapons are either bought in shops or found in treasure chests throughout the levels. Magic spells on the other hand are acquired through raising experience levels and by interacting with certain NPCs. Battles occur in real-time and apparently feature From Software?s signature sharp learning curve.
The original PlayStation version of King?s Field sold roughly 80,000 copies. I regret to inform that I haven?t found any information on how this game was received among professional video game critics. That said, it seems as though this game (and the rest of the series) has garnered a cult following throughout the years. And even though this particular installment has never seen an official release outside of Japan, there reportedly exists a fan-translation.
Game No. 60
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Title: Lunar: Eternal Blue
Developer: Game Arts & Studio Alex
Platform: Sega CD / Mega-CD
Release Date: December 22, 1994 (Japan)
Comment: The second installment in the Lunar series largely stuck to the gameplay formula introduced in the first game, while making more extensive use of the Sega CD's hardware capabilities; featuring enhanced graphics, longer cutscenes, and increased amounts of voice acting.
The game's story is set one thousand years after the first and follows Hiro, an explorer, who meets a woman named Lucia and subsequently enlists his aid in her quest to prevent a malicious being named Zophar from undoing their world.
The game yet again utilizes a top-down perspective and gameplay is reportedly nearly identical to that of its predecessor, save for a few details. First off, as a party member named Ruby increase in experience levels, she'll receive so-called Magic Experience Points, which can be used either to save one's current game or improve the potency of various party members' magical abilities. Finally, battles now allow for players to position party members beforehand in order to adapt to specific combat conditions.
While I haven't been able to locate solid sales figures for Eternal Blue, reports maintain that it sold well in Japan, while sales in North America apparently were significantly weaker upon its release in that region the following year. These commercial developments in the American market has been attributed to the arrival of fifth generation consoles such as the PlayStation and Sega Saturn around the same time, which has been identified as contributing factors in lessening the commercial appeal of Sega CD games on a more general level. At the time of its original release critical reception appears to have been generally favourable. Most praise seems to have been directed at the game's plot and characters, citing the former to be well-written and the latter as likeable and, at times, humourous. However, it also received repeated criticism for what has been described as a linear story progression. Eternal Blue's reputation among video game critics appears to have improved with age, as retrospective reviews seem universally positive to a greater or lesser degree. While these pundits echo the sentiments expressed above regarding the game's plot, they also maintain that both its graphics and sound has aged comparatively well.
Title: Lunar: Eternal Blue
Developer: Game Arts & Studio Alex
Platform: Sega CD / Mega-CD
Release Date: December 22, 1994 (Japan)
Comment: The second installment in the Lunar series largely stuck to the gameplay formula introduced in the first game, while making more extensive use of the Sega CD's hardware capabilities; featuring enhanced graphics, longer cutscenes, and increased amounts of voice acting.
The game's story is set one thousand years after the first and follows Hiro, an explorer, who meets a woman named Lucia and subsequently enlists his aid in her quest to prevent a malicious being named Zophar from undoing their world.
The game yet again utilizes a top-down perspective and gameplay is reportedly nearly identical to that of its predecessor, save for a few details. First off, as a party member named Ruby increase in experience levels, she'll receive so-called Magic Experience Points, which can be used either to save one's current game or improve the potency of various party members' magical abilities. Finally, battles now allow for players to position party members beforehand in order to adapt to specific combat conditions.
While I haven't been able to locate solid sales figures for Eternal Blue, reports maintain that it sold well in Japan, while sales in North America apparently were significantly weaker upon its release in that region the following year. These commercial developments in the American market has been attributed to the arrival of fifth generation consoles such as the PlayStation and Sega Saturn around the same time, which has been identified as contributing factors in lessening the commercial appeal of Sega CD games on a more general level. At the time of its original release critical reception appears to have been generally favourable. Most praise seems to have been directed at the game's plot and characters, citing the former to be well-written and the latter as likeable and, at times, humourous. However, it also received repeated criticism for what has been described as a linear story progression. Eternal Blue's reputation among video game critics appears to have improved with age, as retrospective reviews seem universally positive to a greater or lesser degree. While these pundits echo the sentiments expressed above regarding the game's plot, they also maintain that both its graphics and sound has aged comparatively well.
Game No. 61
Title: Lunar: Walking School
Developer: Game Arts & Studio Alex
Platform: Sega Game Gear
Release Date: January 12, 1995 (Japan)
Comment: Released hot on the heels of its Sega CD predecessor, Lunar: Walking School signaled the series transition to handheld systems and has as yet never been released outside of Japan.
The story is set hundreds of years before The Silver Star and follows Ellie and Lena, two former field workers who've decided to register for a school of magic on an island called Ien. On arrival, they discover that the school and the surrounding area has been completely abandoned, thus prompting them to initiate a search for the people who previously resided there. The game is viewed from a top-down perspective and gameplay is reportedly similar to that of its predecessors, if somewhat simplified. Also, battles are presented from a first person perspective this time around.
Yet again, sales figures have eluded me and I'm afraid I haven't been able to locate a sufficient amount of reviews for Walking School to comment upon its reception among professional critics. Consequently, if anyone has actually played this (a fan translation apparently exists), your general impressions would be much appreciated.
Title: Lunar: Walking School
Developer: Game Arts & Studio Alex
Platform: Sega Game Gear
Release Date: January 12, 1995 (Japan)
Comment: Released hot on the heels of its Sega CD predecessor, Lunar: Walking School signaled the series transition to handheld systems and has as yet never been released outside of Japan.
The story is set hundreds of years before The Silver Star and follows Ellie and Lena, two former field workers who've decided to register for a school of magic on an island called Ien. On arrival, they discover that the school and the surrounding area has been completely abandoned, thus prompting them to initiate a search for the people who previously resided there. The game is viewed from a top-down perspective and gameplay is reportedly similar to that of its predecessors, if somewhat simplified. Also, battles are presented from a first person perspective this time around.
Yet again, sales figures have eluded me and I'm afraid I haven't been able to locate a sufficient amount of reviews for Walking School to comment upon its reception among professional critics. Consequently, if anyone has actually played this (a fan translation apparently exists), your general impressions would be much appreciated.
Game No. 62
Title: Front Mission
Developer: G-Craft
Platform: Super Famicom
Release Date: February 24, 1995 (Japan)
Comment: Published by Square, the first installment in the Front Mission series of tactical role-playing games took a cue from the Fire Emblem franchise in terms of gameplay mechanics, but featured a futuristic setting replete with mechas, which are referred to as "wanzers" in-game.
The game is set in 2090 on Huffman Island, a fictional isle in the Pacific Ocean which has been contested for decades by two superpowers; the United States of the New Continent (USN), a union of North and South American countries, and the Oceania Cooperative Union (OCU), a league of Asian nations and Australia. The story follows Royd Clive, a captain of the OCU who, along with a reconnaissance platoon, sets out on an assignment to investigate a USN munitions facility. Little does he know, however, that a detachment of USN wanzers, led by an officer named Driscoll, are lying in wait for him.
The plot is reportedly presented through various cut-scenes and game progression is linear. By way of a world map players visit cities and towns to prepare and outfit their troops, and battle zones to carry out missions. Mission objectives may include taking out particular targets, annihilating all opposition, escort missions, or protection of specific allied targets. As missions are accomplished, those battle zones that have been cleared become inaccessible, while new ones become available. There are also arenas scattered across the game, in which players can fight A.I. controlled enemies to earn money. The game is viewed from an isometric projection perspective. Battle zones are grid-based and all activities taking place in these are turn-based. Gameplay revolves heavily around the aforementioned wanzers, which feature five modules, each with its own special function and health bar. Each module can be customized with assorted weapons systems, computers and components which increase performance stats, and auxiliary backpacks that grant special abilities. Weapons systems are further divided into four classes: melee weapons, short-range weapons, long-range weapons, and support fire weapons. Each of these weapons classes come with certain advantages and drawbacks, thus forming a rock-paper-scissors relationship between them. Players may also equip their wanzers with shields in order to absorb a percentage of damage sustained from enemy attacks. Apart from lack of funds, the one factor limiting customization of a given wanzer is the combined weight of all installed parts, which must not exceed its power output. There is also a supply truck, which can be used to repair wanzers and supply them with additional ammunition. When two units clash, the game switches to a zoomed in perspective and the wanzers will proceed to attack each other with whatever weapon has been chosen beforehand. Individual units gain proficiency points in accordance with what types of weapons they use, which may be used to gain various skills. Enemies reportedly consist of other wanzers, vehicles, aircraft, and mobile weapons platforms. However, in contrast to wanzers, other enemy types are usually made up of a single module.
Front Mission has sold roughly 600,000 copies in its initial Super Famicom version. Even though I've been able to locate professional reviews, I find their quantity insufficient to properly assess the overall critical reception this game has received. That said, the majority of those reviews that I've actually found seem positive.
Title: Front Mission
Developer: G-Craft
Platform: Super Famicom
Release Date: February 24, 1995 (Japan)
Comment: Published by Square, the first installment in the Front Mission series of tactical role-playing games took a cue from the Fire Emblem franchise in terms of gameplay mechanics, but featured a futuristic setting replete with mechas, which are referred to as "wanzers" in-game.
The game is set in 2090 on Huffman Island, a fictional isle in the Pacific Ocean which has been contested for decades by two superpowers; the United States of the New Continent (USN), a union of North and South American countries, and the Oceania Cooperative Union (OCU), a league of Asian nations and Australia. The story follows Royd Clive, a captain of the OCU who, along with a reconnaissance platoon, sets out on an assignment to investigate a USN munitions facility. Little does he know, however, that a detachment of USN wanzers, led by an officer named Driscoll, are lying in wait for him.
The plot is reportedly presented through various cut-scenes and game progression is linear. By way of a world map players visit cities and towns to prepare and outfit their troops, and battle zones to carry out missions. Mission objectives may include taking out particular targets, annihilating all opposition, escort missions, or protection of specific allied targets. As missions are accomplished, those battle zones that have been cleared become inaccessible, while new ones become available. There are also arenas scattered across the game, in which players can fight A.I. controlled enemies to earn money. The game is viewed from an isometric projection perspective. Battle zones are grid-based and all activities taking place in these are turn-based. Gameplay revolves heavily around the aforementioned wanzers, which feature five modules, each with its own special function and health bar. Each module can be customized with assorted weapons systems, computers and components which increase performance stats, and auxiliary backpacks that grant special abilities. Weapons systems are further divided into four classes: melee weapons, short-range weapons, long-range weapons, and support fire weapons. Each of these weapons classes come with certain advantages and drawbacks, thus forming a rock-paper-scissors relationship between them. Players may also equip their wanzers with shields in order to absorb a percentage of damage sustained from enemy attacks. Apart from lack of funds, the one factor limiting customization of a given wanzer is the combined weight of all installed parts, which must not exceed its power output. There is also a supply truck, which can be used to repair wanzers and supply them with additional ammunition. When two units clash, the game switches to a zoomed in perspective and the wanzers will proceed to attack each other with whatever weapon has been chosen beforehand. Individual units gain proficiency points in accordance with what types of weapons they use, which may be used to gain various skills. Enemies reportedly consist of other wanzers, vehicles, aircraft, and mobile weapons platforms. However, in contrast to wanzers, other enemy types are usually made up of a single module.
Front Mission has sold roughly 600,000 copies in its initial Super Famicom version. Even though I've been able to locate professional reviews, I find their quantity insufficient to properly assess the overall critical reception this game has received. That said, the majority of those reviews that I've actually found seem positive.
