^ Rest assured, Seiken Densetsu 3 will receive an entry. However, I have a couple of other titles to cover before I'll get to that one.
The Great Chronicle of Console RPGs Thread
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Game No. 63
Title: Chrono Trigger
Developer: Square
Platform: Super Famicom / SNES
Release Date: March 11, 1995 (Japan)
Comment: Arguably rivalling Final Fantasy VI's reputation among critics and players alike as the quintessential role-playing game for the SNES, Chrono Trigger was the brainchild of what has been called a Dream Team of Japanese role-playing game development, with Hironobu Sakaguchi, creator of the Final Fantasy series, Yuji Horii, creator of the Dragon Quest franchise, and Akira Toriyama, a manga artist perhaps best known for creating the Dragon Ball series, among its more renowned architects.
Taking place in a fictional world across multiple epochs, the plot of the game follows a group of individuals hailing from different eras as they travel across time in their efforts to prevent a creature known as Lavos from bringing forth a global cataclysm.
The gameplay is, at its core, similar to other Japanese role-playing games of its time, yet features a pair of innovations. It is viewed from a top-down perspective which alternates between a more zoomed out view, similar to that found in Final Fantasy titles, and a more up-close one, akin to that of A Link to the Past, and has the player explore an overworld dotted with towns, various landscapes and dungeons. One may interact with assorted NPCs, who offer wares for trade or other services. The game features a wide assortment of weapons, armour, accessories, and items which can boost attack power and stats, restore health and magicka, or cure status-ailments. Time travel constitutes a major element of gameplay and allows for an open-ended progression structure, which in turn affects which of the thirteen potential endings one receives. While there are seven playable characters present in the game, the active party can only accommodate three at any given time. Battles are turn-based but encounters are not random, as enemies are fully visible on-screen, and do not take place on the larger overworld map, instead occurring exclusively in smaller subareas. Furthermore, fights arise on the map itself rather than a separate battle screen, and participants are not static, as they may change position during combat. The game utilizes a modified version of the Active Battle system, in which both special and magical abilities are handled through a subsystem called "Tech". Aside from using these abilities individually, this system also allow for multiple party members to combine them to form a single, more powerful attack, as long as all characters involved have sufficient magic points available. Finally, the game incorporates a New Game Plus feature, allowing players to start over from the beginning whilst keeping their experience levels, Techs, and most of their equipment.
In its original incarnation, Chrono Trigger sold roughly 2.3 million copies, with the bulk being sold in Japan. At the time of its initial release the game appears to have been met by generally favourable reviews while retrospective assessments seem to have become increasingly enthusiastic. The soundtrack (composed by Yasunori Mitsuda and Nobuo Uematsu) and plot was repeatedly treated with praise in initial reviews, the latter receiving particular laudations for its multiple endings, which several critics argued increased the replay value of the title. While the graphics were mostly positively received, they occasionally were compared unfavourably with some of Square's past efforts in that department, specifically those present in Final Fantasy IV-VI. Retrospective examinations appear nearly universal in their commendations, echoing aforementioned sentiments regarding the story and how players can actively shape its outcome, while also directing praise towards what they recurrently call a memorable cast of characters. These critics have also emphasized the side quests and how these are utilized to provide more depth to the characters involved. Finally, critics seem to have looked back upon the battle system with a great degree of ardor, citing its detailed visuals, the challenge presented by the shifting formations of enemies, and the dynamics of the Tech system as welcome additions to the Active Battle System. Underscoring these latter-day reviews is a relatively consistent tendency of this game to be featured on top games lists in assorted publications, thus reinforcing its critical reputation as a landmark title among Japanese role playing video games.
Title: Chrono Trigger
Developer: Square
Platform: Super Famicom / SNES
Release Date: March 11, 1995 (Japan)
Comment: Arguably rivalling Final Fantasy VI's reputation among critics and players alike as the quintessential role-playing game for the SNES, Chrono Trigger was the brainchild of what has been called a Dream Team of Japanese role-playing game development, with Hironobu Sakaguchi, creator of the Final Fantasy series, Yuji Horii, creator of the Dragon Quest franchise, and Akira Toriyama, a manga artist perhaps best known for creating the Dragon Ball series, among its more renowned architects.
Taking place in a fictional world across multiple epochs, the plot of the game follows a group of individuals hailing from different eras as they travel across time in their efforts to prevent a creature known as Lavos from bringing forth a global cataclysm.
The gameplay is, at its core, similar to other Japanese role-playing games of its time, yet features a pair of innovations. It is viewed from a top-down perspective which alternates between a more zoomed out view, similar to that found in Final Fantasy titles, and a more up-close one, akin to that of A Link to the Past, and has the player explore an overworld dotted with towns, various landscapes and dungeons. One may interact with assorted NPCs, who offer wares for trade or other services. The game features a wide assortment of weapons, armour, accessories, and items which can boost attack power and stats, restore health and magicka, or cure status-ailments. Time travel constitutes a major element of gameplay and allows for an open-ended progression structure, which in turn affects which of the thirteen potential endings one receives. While there are seven playable characters present in the game, the active party can only accommodate three at any given time. Battles are turn-based but encounters are not random, as enemies are fully visible on-screen, and do not take place on the larger overworld map, instead occurring exclusively in smaller subareas. Furthermore, fights arise on the map itself rather than a separate battle screen, and participants are not static, as they may change position during combat. The game utilizes a modified version of the Active Battle system, in which both special and magical abilities are handled through a subsystem called "Tech". Aside from using these abilities individually, this system also allow for multiple party members to combine them to form a single, more powerful attack, as long as all characters involved have sufficient magic points available. Finally, the game incorporates a New Game Plus feature, allowing players to start over from the beginning whilst keeping their experience levels, Techs, and most of their equipment.
In its original incarnation, Chrono Trigger sold roughly 2.3 million copies, with the bulk being sold in Japan. At the time of its initial release the game appears to have been met by generally favourable reviews while retrospective assessments seem to have become increasingly enthusiastic. The soundtrack (composed by Yasunori Mitsuda and Nobuo Uematsu) and plot was repeatedly treated with praise in initial reviews, the latter receiving particular laudations for its multiple endings, which several critics argued increased the replay value of the title. While the graphics were mostly positively received, they occasionally were compared unfavourably with some of Square's past efforts in that department, specifically those present in Final Fantasy IV-VI. Retrospective examinations appear nearly universal in their commendations, echoing aforementioned sentiments regarding the story and how players can actively shape its outcome, while also directing praise towards what they recurrently call a memorable cast of characters. These critics have also emphasized the side quests and how these are utilized to provide more depth to the characters involved. Finally, critics seem to have looked back upon the battle system with a great degree of ardor, citing its detailed visuals, the challenge presented by the shifting formations of enemies, and the dynamics of the Tech system as welcome additions to the Active Battle System. Underscoring these latter-day reviews is a relatively consistent tendency of this game to be featured on top games lists in assorted publications, thus reinforcing its critical reputation as a landmark title among Japanese role playing video games.
Game No. 64
Title: King's Field II
Developer: From Software
Platform: PlayStation
Release Date: July 21, 1995 (Japan)
Comment: Released a mere seven months after its predecessor, King's Field II was the first installment in the series to see an international release.
You play as Alexander, a prince hailing from a land called Granitiki, who has embarked on a journey to the isle of Melanat to recover the Moonlight Sword, which has been stolen from his friend, the king of Verdite. However, en route to the island, the vessel is shipwrecked and Alexander is washed ashore on Melanat as the sole survivor of the crew. Cut off from the outside world, he is left with little choice but to pursue his quest.
Once more, the game is presented from a first-person perspective but eschews the separated level structure of the first title; instead opting for one large, seamless island, replete with multiple interconnected subareas. Keys still play a vital role as a means of progressing from one section of the isle to another, but certain keys can only be used once and thus one must either find additional ones or have them copied with the aid of NPCs. NPCs can also provide the player with healing potions or various side quests. While the combat mechanics of the first game reportedly remain unchanged, the ability to sprint has been introduced. Of further note is that the arsenal of weapons now includes bows and arrows. The way in which one acquires new spells has, however, been subjected to an overhaul. Instead of gaining spells as one raises experience levels, the player must obtain assorted crystals imbued with magical powers to cast spells and raise their magic stat.
The original PlayStation release of King's Field II sold roughly 160,000 copies worldwide and appears to have garnered generally favourable reviews. Most of the praise seems to have been directed at the sheer size of the island of Melanat, the extensiveness of the various dungeons, and the non-linear exploration possibilities these presented. Critics also complimented the game on its implementation of sound, which they though added to immersion. That said, reviewers appear to have been divided in their perceptions of the quality of the graphics; some found them to their liking, while others compared them unfavourably to other contemporary games sporting 3D-graphics. Likewise, critics seem to have been in disagreement on whether the game's relatively slow pacing was to its benefit or detriment; one writer arguing it added a sense of realism to gameplay, while others referred to it as sluggish. However, the one feature that appears to have been the most frequent target of criticism is the combat mechanics, which reviewers repeatedly described as simplistic and underdeveloped.
Title: King's Field II
Developer: From Software
Platform: PlayStation
Release Date: July 21, 1995 (Japan)
Comment: Released a mere seven months after its predecessor, King's Field II was the first installment in the series to see an international release.
You play as Alexander, a prince hailing from a land called Granitiki, who has embarked on a journey to the isle of Melanat to recover the Moonlight Sword, which has been stolen from his friend, the king of Verdite. However, en route to the island, the vessel is shipwrecked and Alexander is washed ashore on Melanat as the sole survivor of the crew. Cut off from the outside world, he is left with little choice but to pursue his quest.
Once more, the game is presented from a first-person perspective but eschews the separated level structure of the first title; instead opting for one large, seamless island, replete with multiple interconnected subareas. Keys still play a vital role as a means of progressing from one section of the isle to another, but certain keys can only be used once and thus one must either find additional ones or have them copied with the aid of NPCs. NPCs can also provide the player with healing potions or various side quests. While the combat mechanics of the first game reportedly remain unchanged, the ability to sprint has been introduced. Of further note is that the arsenal of weapons now includes bows and arrows. The way in which one acquires new spells has, however, been subjected to an overhaul. Instead of gaining spells as one raises experience levels, the player must obtain assorted crystals imbued with magical powers to cast spells and raise their magic stat.
The original PlayStation release of King's Field II sold roughly 160,000 copies worldwide and appears to have garnered generally favourable reviews. Most of the praise seems to have been directed at the sheer size of the island of Melanat, the extensiveness of the various dungeons, and the non-linear exploration possibilities these presented. Critics also complimented the game on its implementation of sound, which they though added to immersion. That said, reviewers appear to have been divided in their perceptions of the quality of the graphics; some found them to their liking, while others compared them unfavourably to other contemporary games sporting 3D-graphics. Likewise, critics seem to have been in disagreement on whether the game's relatively slow pacing was to its benefit or detriment; one writer arguing it added a sense of realism to gameplay, while others referred to it as sluggish. However, the one feature that appears to have been the most frequent target of criticism is the combat mechanics, which reviewers repeatedly described as simplistic and underdeveloped.
Game No. 65
Title: Seiken Densetsu 3
Developer: Square
Platform: Super Famicom
Release Date: September 30, 1995 (Japan)
Comment: Never officially released outside of Japan, the third installment in the Mana series kept expanding upon the gameplay mechanics formulated by its predecessors, whilst relating a tripartite plot featuring six protagonists.
The story follows six main characters in their efforts to obtain the Mana Sword, an ancient relic which played an instrumental role in the creation of the world, and prevent the eight Mana Beasts, destructive creatures with supposedly god-like powers, from being released from their imprisonment within the aptly named Mana Stones.
As was the case with its predecessors, the game is viewed from a top-down perspective and has players exploring an overworld comprising various outdoor areas, dungeons, and towns. As per usual in this series, one raises experience levels by fighting assorted enemies. When the game starts up, one must choose which three characters out of the six protagonists one wish to play as, and which one out of the three one will begin with. Depending on your choice, the plot reportedly plays out differently and certain side quests tied to each character become available. As before, players may switch between the current party members at any time, but this time, only two players can play cooperatively. The Ring Commands feature makes a return and apparently fills an identical function to that in the previous game. Yet again, battles occur in real-time, but the power gauge mechanic has been altered. Instead of charging continuously, players increase their gauge when they score hits on various foes. Once the gauge is filled, one can execute special attacks, which vary according to what party member one is currently in control of. Different weapon types are now bound to specific player characters, and the system where characters gained in skill levels as they used their weaponry has been scrapped. Likewise, the magic system has reportedly been subjected to an overhaul; while different types of magic still exist, the potency of individual spells is now dictated by a given character's magic related attributes and the effectiveness of particular spell schools against the type of enemy which is currently being fought. Introduced with this particular entry in the series is a class change system. Once a given character has reached level 18, one can visit a mana stone and choose between two different classes to upgrade that particular party member into. A second class change may be performed at level 38, given that the player has found a specific item required to attain the class in question. All of these classes provide different attribute enhancements as well as special abilities. Also inaugurated with this installment is a day/night cycle and weekday calendar. Certain activities can only be pursued at a given time of day, while some enemy encounters change according to the same pattern. Weekdays, on the other hand, are dedicated to specific elemental spirits, which in turn govern the different schools of magic, thus increasing the strength of spells under their influence for the duration of a full day's time.
Seiken Densetsu 3 has sold nearly 900,000 copies in Japan. However, I have chosen to refrain from commenting on how this game was received among professional critics, as the reviews I have found are few in numbers and almost exclusively retrospective. Though, I will mention that opinions among these appear to be mostly positive. For those interested, there apparently exists a fan-translation of the game.
Title: Seiken Densetsu 3
Developer: Square
Platform: Super Famicom
Release Date: September 30, 1995 (Japan)
Comment: Never officially released outside of Japan, the third installment in the Mana series kept expanding upon the gameplay mechanics formulated by its predecessors, whilst relating a tripartite plot featuring six protagonists.
The story follows six main characters in their efforts to obtain the Mana Sword, an ancient relic which played an instrumental role in the creation of the world, and prevent the eight Mana Beasts, destructive creatures with supposedly god-like powers, from being released from their imprisonment within the aptly named Mana Stones.
As was the case with its predecessors, the game is viewed from a top-down perspective and has players exploring an overworld comprising various outdoor areas, dungeons, and towns. As per usual in this series, one raises experience levels by fighting assorted enemies. When the game starts up, one must choose which three characters out of the six protagonists one wish to play as, and which one out of the three one will begin with. Depending on your choice, the plot reportedly plays out differently and certain side quests tied to each character become available. As before, players may switch between the current party members at any time, but this time, only two players can play cooperatively. The Ring Commands feature makes a return and apparently fills an identical function to that in the previous game. Yet again, battles occur in real-time, but the power gauge mechanic has been altered. Instead of charging continuously, players increase their gauge when they score hits on various foes. Once the gauge is filled, one can execute special attacks, which vary according to what party member one is currently in control of. Different weapon types are now bound to specific player characters, and the system where characters gained in skill levels as they used their weaponry has been scrapped. Likewise, the magic system has reportedly been subjected to an overhaul; while different types of magic still exist, the potency of individual spells is now dictated by a given character's magic related attributes and the effectiveness of particular spell schools against the type of enemy which is currently being fought. Introduced with this particular entry in the series is a class change system. Once a given character has reached level 18, one can visit a mana stone and choose between two different classes to upgrade that particular party member into. A second class change may be performed at level 38, given that the player has found a specific item required to attain the class in question. All of these classes provide different attribute enhancements as well as special abilities. Also inaugurated with this installment is a day/night cycle and weekday calendar. Certain activities can only be pursued at a given time of day, while some enemy encounters change according to the same pattern. Weekdays, on the other hand, are dedicated to specific elemental spirits, which in turn govern the different schools of magic, thus increasing the strength of spells under their influence for the duration of a full day's time.
Seiken Densetsu 3 has sold nearly 900,000 copies in Japan. However, I have chosen to refrain from commenting on how this game was received among professional critics, as the reviews I have found are few in numbers and almost exclusively retrospective. Though, I will mention that opinions among these appear to be mostly positive. For those interested, there apparently exists a fan-translation of the game.
King's Field II and god damn Chrono Trigger. Yep, it needed to wait. That's godlike taste.broadbandmink said:
Now I have to wait a few years for Valkyrie Profile, December 22, 1999. This list is looking great.
Edit: no its not ironic or sarcasm or anything. This list is looking good.
Game No. 66
Title: Secret of Evermore
Developer: Square Soft
Platform: SNES
Release Date: October 1, 1995 (North America)
Comment: The sole game developed by Square's American department, Secret of Evermore is an action role-playing game whose gameplay took several cues from the company's own Secret of Mana.
The story follows a boy, bearing a name of your choice, and his dog as they are accidentally sent from their small town of Podunk in the United States to the parallel world of Evermore, which they proceed to explore in order to find a way home.
The game is viewed from a top-down perspective and has the player explore an overworld dotted with various outdoor areas, dungeons, and towns; fighting enemies along the way in order to raise experience levels. The player may switch between the boy and his dog at any time. The game features a pause menu called the Action Ring system, which is reportedly a direct copy of the Ring Commands system in the Mana series, filling virtually the same function. Each of the four realms in Evermore have their own distinct currency, thus generating a need to convert one's cash reserves once you travel across boundaries to engage in trade. There are also merchants who only trade in goods which must be procured elsewhere before they are willing to part with their own wares. Battles occur in real-time and make use of a power gauge mechanic, again apparently lifted from the Mana franchise. However, apart from charging one's attack power, the gauge also affect the duration for which one can sprint. Weapons come in four varieties: axes, spears, swords, and a bazooka (!). As was the case with Secret of Mana, as certain weapons are used more frequently one will gain in skill levels, thereby unlocking new special attacks, which in turn are unleashed once the aforementioned power gauge is filled. In addition, certain weapons have secondary functions, required to overcome assorted obstacles preventing players from advancing. The magic system, on the other hand, arguably constitutes a more distinct gameplay mechanic of this game. In order to acquire spells, one must obtain so called "Formulas" from a specific category of NPCs called Alchemists. The game also eschews the staple feature of exhaustible magic points, instead requiring players to gather ingredients for the previously mentioned Formulas. To help in this endeavor, one may call upon assistance from the dog to sniff out ingredients in a given area. While there are reportedly "dozens" of Formulas present in the game, only nine can be equipped at a time. Formulas, like weapons, gain in potency with repeated use.
I regret to inform that I haven't been able to locate any sales figures for this title. Whilst being released in North America, Europe, Australia, and New Zeeland, the game has yet to see an official Japanese release. That said, the game appears to have been released to generally favourable reviews. However, while critics commended its graphics, plot, and welcomed what they deemed to be an increase in overall difficulty compared to Secret of Mana, the game was repeatedly compared in an unfavourable manner to past Square titles for the SNES in general, and Secret of Mana in particular. Retrospective assessments seem more mixed and this title still frequently receives uncomplimentary comparisons to Secret of Mana. It appears reviewers' perceptions towards the aforementioned difficulty level have shifted in recent years, arguing that it might deter more players than it attracts. Finally, the plot seems to have divided critics, some finding it likeable, while others criticize it for its numerous references to popular cultural phenomena that doesn't exist outside of the game itself.
Title: Secret of Evermore
Developer: Square Soft
Platform: SNES
Release Date: October 1, 1995 (North America)
Comment: The sole game developed by Square's American department, Secret of Evermore is an action role-playing game whose gameplay took several cues from the company's own Secret of Mana.
The story follows a boy, bearing a name of your choice, and his dog as they are accidentally sent from their small town of Podunk in the United States to the parallel world of Evermore, which they proceed to explore in order to find a way home.
The game is viewed from a top-down perspective and has the player explore an overworld dotted with various outdoor areas, dungeons, and towns; fighting enemies along the way in order to raise experience levels. The player may switch between the boy and his dog at any time. The game features a pause menu called the Action Ring system, which is reportedly a direct copy of the Ring Commands system in the Mana series, filling virtually the same function. Each of the four realms in Evermore have their own distinct currency, thus generating a need to convert one's cash reserves once you travel across boundaries to engage in trade. There are also merchants who only trade in goods which must be procured elsewhere before they are willing to part with their own wares. Battles occur in real-time and make use of a power gauge mechanic, again apparently lifted from the Mana franchise. However, apart from charging one's attack power, the gauge also affect the duration for which one can sprint. Weapons come in four varieties: axes, spears, swords, and a bazooka (!). As was the case with Secret of Mana, as certain weapons are used more frequently one will gain in skill levels, thereby unlocking new special attacks, which in turn are unleashed once the aforementioned power gauge is filled. In addition, certain weapons have secondary functions, required to overcome assorted obstacles preventing players from advancing. The magic system, on the other hand, arguably constitutes a more distinct gameplay mechanic of this game. In order to acquire spells, one must obtain so called "Formulas" from a specific category of NPCs called Alchemists. The game also eschews the staple feature of exhaustible magic points, instead requiring players to gather ingredients for the previously mentioned Formulas. To help in this endeavor, one may call upon assistance from the dog to sniff out ingredients in a given area. While there are reportedly "dozens" of Formulas present in the game, only nine can be equipped at a time. Formulas, like weapons, gain in potency with repeated use.
I regret to inform that I haven't been able to locate any sales figures for this title. Whilst being released in North America, Europe, Australia, and New Zeeland, the game has yet to see an official Japanese release. That said, the game appears to have been released to generally favourable reviews. However, while critics commended its graphics, plot, and welcomed what they deemed to be an increase in overall difficulty compared to Secret of Mana, the game was repeatedly compared in an unfavourable manner to past Square titles for the SNES in general, and Secret of Mana in particular. Retrospective assessments seem more mixed and this title still frequently receives uncomplimentary comparisons to Secret of Mana. It appears reviewers' perceptions towards the aforementioned difficulty level have shifted in recent years, arguing that it might deter more players than it attracts. Finally, the plot seems to have divided critics, some finding it likeable, while others criticize it for its numerous references to popular cultural phenomena that doesn't exist outside of the game itself.
Game No. 67
Title: Tactics Ogre: Let Us Cling Together
Developer: Quest
Platform: Super Famicom
Release Date: October 6, 1995 (Japan)
Comment: Although it is commonly perceived as part of the Ogre franchise, Tactics Ogre: Let Us Cling Together nevertheless came to inaugurate what has been referred to as a sub-series within it, still adhering to a tactical role-playing game formula, but featuring a different scope based around smaller battles.
The game takes place in the fictional realm of Valeria, which has been ravaged by civil between three larger ethnic groups. You play as Denam Pavel, who has witnessed the indiscriminate killing of his fellow townspeople and the abduction of his father at the hands of the Dark Knights, foreign troops in service of one of the major factions of the civil war. Denam, along with his sister Catiua and his friend Vyce Bozeck take it upon themselves to exact vengeance upon the Dark knights, whilst also amassing an army with which they intend to end the civil war besetting Valeria.
The game is viewed from an isometric projection perspective and gameplay is divided into two primary modes: The world map and the tactical map. As before, on the world map players may organize their characters, change the class of individual characters, manage items, and choose what stage to tackle next. The tactical map, as was the case in Ogre Battle, can be described as a more detailed map of the location a given stage takes place in. However, the stages in this entry are smaller in scale, reportedly restricted to individual towns or strongholds. Furthermore, instead of controlling entire squads, players now apparently direct individual characters across battlefields. Also, movement plays out upon a grid of squares, is completely turn-based, and the order by which characters move is dictated by their speed attribute. Once more, the game features numerous different character classes; this time introducing classes unique to each gender. As in Ogre Battle, in order to change class characters must meet certain requirements, which may include experience level, alignment, and stats. The alignment system has been subjected to an overhaul. It is now divided between three categories: Lawful, Neutral, and Chaotic. However, it is reportedly still tracked separately among individual characters. Scattered throughout the game are key decisions on various war related issues the player must make, which affect their alignment, along which branch the plot develops, character recruitment, and which ending they will receive. Even though I will admit that I've found less information on this title than its predecessor, I have found no references to either the tarot card feature or the day and night cycle of Ogre Battle, and I will therefore assume that these have been scrapped. However, should anyone who has actually played this game have information that refutes my surmise, feel free to add input and I will edit this entry accordingly.
The original Super Famicom release of Let Us Cling Together has sold in excess of 700,000 copies. American consumers would have to wait three years to play it; at its re-release for the first PlayStation. In Europe the title first saw an official release sixteen years down the road on the PlayStation Portable. I have only found a single review for the Super Famicom version. That one was positive, but one lone review is insufficient to make statements upon how this game was received amongst a larger audience, and thus I will abstain from commenting further.
Title: Tactics Ogre: Let Us Cling Together
Developer: Quest
Platform: Super Famicom
Release Date: October 6, 1995 (Japan)
Comment: Although it is commonly perceived as part of the Ogre franchise, Tactics Ogre: Let Us Cling Together nevertheless came to inaugurate what has been referred to as a sub-series within it, still adhering to a tactical role-playing game formula, but featuring a different scope based around smaller battles.
The game takes place in the fictional realm of Valeria, which has been ravaged by civil between three larger ethnic groups. You play as Denam Pavel, who has witnessed the indiscriminate killing of his fellow townspeople and the abduction of his father at the hands of the Dark Knights, foreign troops in service of one of the major factions of the civil war. Denam, along with his sister Catiua and his friend Vyce Bozeck take it upon themselves to exact vengeance upon the Dark knights, whilst also amassing an army with which they intend to end the civil war besetting Valeria.
The game is viewed from an isometric projection perspective and gameplay is divided into two primary modes: The world map and the tactical map. As before, on the world map players may organize their characters, change the class of individual characters, manage items, and choose what stage to tackle next. The tactical map, as was the case in Ogre Battle, can be described as a more detailed map of the location a given stage takes place in. However, the stages in this entry are smaller in scale, reportedly restricted to individual towns or strongholds. Furthermore, instead of controlling entire squads, players now apparently direct individual characters across battlefields. Also, movement plays out upon a grid of squares, is completely turn-based, and the order by which characters move is dictated by their speed attribute. Once more, the game features numerous different character classes; this time introducing classes unique to each gender. As in Ogre Battle, in order to change class characters must meet certain requirements, which may include experience level, alignment, and stats. The alignment system has been subjected to an overhaul. It is now divided between three categories: Lawful, Neutral, and Chaotic. However, it is reportedly still tracked separately among individual characters. Scattered throughout the game are key decisions on various war related issues the player must make, which affect their alignment, along which branch the plot develops, character recruitment, and which ending they will receive. Even though I will admit that I've found less information on this title than its predecessor, I have found no references to either the tarot card feature or the day and night cycle of Ogre Battle, and I will therefore assume that these have been scrapped. However, should anyone who has actually played this game have information that refutes my surmise, feel free to add input and I will edit this entry accordingly.
The original Super Famicom release of Let Us Cling Together has sold in excess of 700,000 copies. American consumers would have to wait three years to play it; at its re-release for the first PlayStation. In Europe the title first saw an official release sixteen years down the road on the PlayStation Portable. I have only found a single review for the Super Famicom version. That one was positive, but one lone review is insufficient to make statements upon how this game was received amongst a larger audience, and thus I will abstain from commenting further.
Game No. 68
Title: Terranigma
Developer: Quintet
Platform: Super Famicom / SNES
Release Date: October 20, 1995 (Japan)
Comment: Published by Enix in Japan and by Nintendo in Europe and Australia, Terranigma is an action role-playing game which takes place in a fictionalized version of Earth after a great cataclysm, which the main protagonist must reverse.
You play as a boy named Ark, who lives in Crysta, a village beneath the Earth's crust. By opening a forbidden door and touching a peculiar box he inadvertently freezes all the inhabitants of Crysta solid. The village elder, however, is unaffected and instructs Ark to go forth and restore the continents above ground in order to release the villagers.
The game is viewed from a top-down perspective similar to that of A Link to the Past. Gameplay reportedly largely follows the formula established in Quintet's own Soul Blazer. The world is divided into two larger areas, each dotted with towns and assorted dungeons. As the player fights monsters and defeats bosses the land will be restored and NPCs will be resurrected. These NPCs can offer optional quests or provide the player with new weapons, armour, and items. However, there's apparently a more prominent town-building element present in this game. By pursuing side quests, the player can help certain towns expand and thus they will gradually offer players a wider assortment of services and shops in return. Battles occur in real-time and are the player's primary source of experience points and gems, the latter of which are used as hard cash to buy new equipment, items, and spells. By increasing levels players raise their hit points while also enhancing their strength, defense and luck stats. Weapons, all of which are polearms, come with different techniques; depending on how one moves, a different attack is unleashed. Certain enemies can only be harmed by specific techniques, ostensibly to encourage players to become proficient with all of them. There's also a block maneuver which can protect Ark from incoming projectiles. The game eschews a magic points system in favour of disposable magic items. These items are derived from another set of objects called "Magirocks", which the player must collect and bring to a magic shop in order to have them converted into spell items. The repertoire of spells increase gradually as the player completes assorted quests and defeats bosses. As a final side note, the player's inventory is presented as a physical room, accessible through a magical box, which Ark can wander around in; a concept which would be expanded upon in Fable III, released fifteen years later.
The only sales figures I've been able to locate come from the developers themselves and only cover the Japanese market, where Terranigma reportedly sold roughly 200,000 copies. The game has never seen an official release in North America, which has been attributed to the closing of Enix' first subsidiary in that region the very same year. Reviews I've found are almost exclusively retrospective and therefore I will focus on these. The title appears to be held in a generally favourable regard, as critics cites its graphics and large amount of content as notable features, while also commending it for what they described as a cinematic story presentation. On the other hand, the single most common criticism levelled at the game, among the articles I've perused, seems to stem from an opinion that it copies the gameplay formula of Soul Blazer too closely, thereby retreading old ground.
Title: Terranigma
Developer: Quintet
Platform: Super Famicom / SNES
Release Date: October 20, 1995 (Japan)
Comment: Published by Enix in Japan and by Nintendo in Europe and Australia, Terranigma is an action role-playing game which takes place in a fictionalized version of Earth after a great cataclysm, which the main protagonist must reverse.
You play as a boy named Ark, who lives in Crysta, a village beneath the Earth's crust. By opening a forbidden door and touching a peculiar box he inadvertently freezes all the inhabitants of Crysta solid. The village elder, however, is unaffected and instructs Ark to go forth and restore the continents above ground in order to release the villagers.
The game is viewed from a top-down perspective similar to that of A Link to the Past. Gameplay reportedly largely follows the formula established in Quintet's own Soul Blazer. The world is divided into two larger areas, each dotted with towns and assorted dungeons. As the player fights monsters and defeats bosses the land will be restored and NPCs will be resurrected. These NPCs can offer optional quests or provide the player with new weapons, armour, and items. However, there's apparently a more prominent town-building element present in this game. By pursuing side quests, the player can help certain towns expand and thus they will gradually offer players a wider assortment of services and shops in return. Battles occur in real-time and are the player's primary source of experience points and gems, the latter of which are used as hard cash to buy new equipment, items, and spells. By increasing levels players raise their hit points while also enhancing their strength, defense and luck stats. Weapons, all of which are polearms, come with different techniques; depending on how one moves, a different attack is unleashed. Certain enemies can only be harmed by specific techniques, ostensibly to encourage players to become proficient with all of them. There's also a block maneuver which can protect Ark from incoming projectiles. The game eschews a magic points system in favour of disposable magic items. These items are derived from another set of objects called "Magirocks", which the player must collect and bring to a magic shop in order to have them converted into spell items. The repertoire of spells increase gradually as the player completes assorted quests and defeats bosses. As a final side note, the player's inventory is presented as a physical room, accessible through a magical box, which Ark can wander around in; a concept which would be expanded upon in Fable III, released fifteen years later.
The only sales figures I've been able to locate come from the developers themselves and only cover the Japanese market, where Terranigma reportedly sold roughly 200,000 copies. The game has never seen an official release in North America, which has been attributed to the closing of Enix' first subsidiary in that region the very same year. Reviews I've found are almost exclusively retrospective and therefore I will focus on these. The title appears to be held in a generally favourable regard, as critics cites its graphics and large amount of content as notable features, while also commending it for what they described as a cinematic story presentation. On the other hand, the single most common criticism levelled at the game, among the articles I've perused, seems to stem from an opinion that it copies the gameplay formula of Soul Blazer too closely, thereby retreading old ground.
Game No. 69
Title: Romancing SaGa 3
Developer: Square
Platform: Super Famicom
Release Date: November 11, 1995 (Japan)
Comment: The sixth installment in the SaGa series and also the final entry in the franchise developed for the Super Famicom, Romancing SaGa 3 stuck to the non-linear open-world elements nurtured by its two immediate predecessors.
The plot revolves around an astronomical event called the "Death Eclipse", which occurs every three hundred years, during which all life is extinguished on the planet upon which the game takes place. Kicking the story off sixteen years after the most recent eclipse, you play as one of eight potential main protagonists, who has set out to investigate the activities of the so called Devil King and Divine King, two historic figures who survived previous eclipses and subsequently rose to become supreme rulers of the lands.
Exploration and story progression reportedly plays out in the same fashion as the first Romancing SaGa; scrapping the kingdom building mechanics of the second game. However, the additions to character progression and the battle system made in Romancing SaGa 2 make a return and the latter has been endowed with a new feature. Whilst the Life Point system apparently remain unchanged, battle formations have been more closely knit to the Glimmer/Spark system. The main protagonist can now be taken out of a given battle to engage in a so called Commander Mode, which allows for the remaining party members to learn more potent weapon and spell techniques involving multiple characters. By experimenting with different weapons, spells and formations, players can gradually discover new combined techniques which may give them an edge in especially challenging battles. Another new feature introduced with this particular installment in the series is a mini-game, tied to one of the eight main protagonists, in which the player leads armies through a string of armed confrontations spread out throughout the main quest. In each battle, players must route the opposing army by advancing their own troops from one side of the battle screen to the other.
The original Super Famicom release of Romancing SaGa 3 has sold rouglhy 1.3 million copies to this date. Although never officially released outside of Japan, an English fan translation reportedly exists. I have only found two reviews of this game and therefore I will refrain from making any more generalized statements on how this game was received among critics. That said, I will mention that those two reviews seem to have given the title a mixed response.
Title: Romancing SaGa 3
Developer: Square
Platform: Super Famicom
Release Date: November 11, 1995 (Japan)
Comment: The sixth installment in the SaGa series and also the final entry in the franchise developed for the Super Famicom, Romancing SaGa 3 stuck to the non-linear open-world elements nurtured by its two immediate predecessors.
The plot revolves around an astronomical event called the "Death Eclipse", which occurs every three hundred years, during which all life is extinguished on the planet upon which the game takes place. Kicking the story off sixteen years after the most recent eclipse, you play as one of eight potential main protagonists, who has set out to investigate the activities of the so called Devil King and Divine King, two historic figures who survived previous eclipses and subsequently rose to become supreme rulers of the lands.
Exploration and story progression reportedly plays out in the same fashion as the first Romancing SaGa; scrapping the kingdom building mechanics of the second game. However, the additions to character progression and the battle system made in Romancing SaGa 2 make a return and the latter has been endowed with a new feature. Whilst the Life Point system apparently remain unchanged, battle formations have been more closely knit to the Glimmer/Spark system. The main protagonist can now be taken out of a given battle to engage in a so called Commander Mode, which allows for the remaining party members to learn more potent weapon and spell techniques involving multiple characters. By experimenting with different weapons, spells and formations, players can gradually discover new combined techniques which may give them an edge in especially challenging battles. Another new feature introduced with this particular installment in the series is a mini-game, tied to one of the eight main protagonists, in which the player leads armies through a string of armed confrontations spread out throughout the main quest. In each battle, players must route the opposing army by advancing their own troops from one side of the battle screen to the other.
The original Super Famicom release of Romancing SaGa 3 has sold rouglhy 1.3 million copies to this date. Although never officially released outside of Japan, an English fan translation reportedly exists. I have only found two reviews of this game and therefore I will refrain from making any more generalized statements on how this game was received among critics. That said, I will mention that those two reviews seem to have given the title a mixed response.
Game No. 70
Title: Dragon Quest VI: Realms of Revelation
Developer: Heartbeat
Platform: Super Famicom
Release Date: December 9, 1995 (Japan)
Comment: The sixth entry in the Dragon Quest series could be said to mark both a new beginning and the end of an era for the franchise. While still overseen by series creator Yuji Horii, development reins had been handed over from Chunsoft, which had developed the first five installments, to Heartbeat. On the other hand, its story formed the conclusion of the so called Zenithia trilogy, which had begun with Chapters of the Chosen on the NES five years earlier. Finally, the title was to become the last entry in the franchise developed for a Nintendo system until Sentinels of the Starry Skies, released fourteen years later.
The plot follows a nameless protagonist, who at the start of the game, along with two companions, launch an assault against a castle, in which a demon king named Murdaw resides. However, the trio turn out to be no match for the king as he proceeds to vanquish them. Immediately thereafter, the protagonist wakes up in a small town called Weaver's Peak and quickly comes to the realization that he cannot recall anything prior to the confrontation with Murdaw. Nevertheless, to suffer from amnesia is apparently no excuse to neglect one's chores, as the protagonist is sent to fetch a ceremonial crown from the town of Haggelton. His trip leads him to a large hole in the ground, into which he accidentally plummets after having rescued another man from doing so. The hole, it turns out, leads to another world, which bears an uncanny resemblance to his own.
The gameplay foundation established by prior installments in the series reportedly remains largely intact; albeit with two linked worlds to explore this time. While the developers added a handful of new features to the formula, they also decided to reincorporate the class system from III and expand upon it in a number of ways. First off, character levels and class levels are tracked separately, with character levels gained by collecting experience points and class levels obtained by winning battles against foes of comparably higher levels. Secondly, in addition to learning new spells as one advance in class levels, this title introduces class specific skills; both of which are carried over as characters change class. Thirdly, as party members attain the class level cap of at least two classes, those particular characters can class change into hybrid classes, which come with certain unique benefits. Other minor additions include two new mini-games in the form of the Slimopolis, where players can bet on slimes and win various items, and the Best Dresser Contest, where a character's outfit, recruited monster, and a new stat, Charisma, come into play in attaining assorted prizes. Furthermore, after one has finished the main quest, additional dungeons and recruitable characters become available. Also introduced with this entry are two future staple features: a world map and an item known simply as the Bag, which apparently functions as an extra storage unit in addition to each party member's inventory. Consequently, the banking system introduced in III now only stores excess money. Monster recruiting makes a return, and there's even a dedicated class for it called Monster Master, but it has reportedly been scaled back considerably in comparison to V. The dedicated combat screen has received a visual overhaul. It now takes up the entire screen and enemies now sport battle animations. Finally, the day/night cycle of previous installments has been scrapped and the time of day now changes according to specific plot events.
The original Super Famicom release of Dragon Quest VI has sold nearly 3.2 million copies. Apart from that, however, post-release information on this particular title is surprisingly scarce. I have only found three reviews. While two of these seem positive, I find that they hardly constitute a basis for further statements on how this game was received. The only other information I've found which might be of interest is that this game was in fact at least considered for English localization. Having said that, Heartbeat apparently had trouble finding a suitable distributor and as a result these plans were scrapped. Instead, Western players would have to wait nearly sixteen years before this title saw an official release for the Nintendo DS.
Title: Dragon Quest VI: Realms of Revelation
Developer: Heartbeat
Platform: Super Famicom
Release Date: December 9, 1995 (Japan)
Comment: The sixth entry in the Dragon Quest series could be said to mark both a new beginning and the end of an era for the franchise. While still overseen by series creator Yuji Horii, development reins had been handed over from Chunsoft, which had developed the first five installments, to Heartbeat. On the other hand, its story formed the conclusion of the so called Zenithia trilogy, which had begun with Chapters of the Chosen on the NES five years earlier. Finally, the title was to become the last entry in the franchise developed for a Nintendo system until Sentinels of the Starry Skies, released fourteen years later.
The plot follows a nameless protagonist, who at the start of the game, along with two companions, launch an assault against a castle, in which a demon king named Murdaw resides. However, the trio turn out to be no match for the king as he proceeds to vanquish them. Immediately thereafter, the protagonist wakes up in a small town called Weaver's Peak and quickly comes to the realization that he cannot recall anything prior to the confrontation with Murdaw. Nevertheless, to suffer from amnesia is apparently no excuse to neglect one's chores, as the protagonist is sent to fetch a ceremonial crown from the town of Haggelton. His trip leads him to a large hole in the ground, into which he accidentally plummets after having rescued another man from doing so. The hole, it turns out, leads to another world, which bears an uncanny resemblance to his own.
The gameplay foundation established by prior installments in the series reportedly remains largely intact; albeit with two linked worlds to explore this time. While the developers added a handful of new features to the formula, they also decided to reincorporate the class system from III and expand upon it in a number of ways. First off, character levels and class levels are tracked separately, with character levels gained by collecting experience points and class levels obtained by winning battles against foes of comparably higher levels. Secondly, in addition to learning new spells as one advance in class levels, this title introduces class specific skills; both of which are carried over as characters change class. Thirdly, as party members attain the class level cap of at least two classes, those particular characters can class change into hybrid classes, which come with certain unique benefits. Other minor additions include two new mini-games in the form of the Slimopolis, where players can bet on slimes and win various items, and the Best Dresser Contest, where a character's outfit, recruited monster, and a new stat, Charisma, come into play in attaining assorted prizes. Furthermore, after one has finished the main quest, additional dungeons and recruitable characters become available. Also introduced with this entry are two future staple features: a world map and an item known simply as the Bag, which apparently functions as an extra storage unit in addition to each party member's inventory. Consequently, the banking system introduced in III now only stores excess money. Monster recruiting makes a return, and there's even a dedicated class for it called Monster Master, but it has reportedly been scaled back considerably in comparison to V. The dedicated combat screen has received a visual overhaul. It now takes up the entire screen and enemies now sport battle animations. Finally, the day/night cycle of previous installments has been scrapped and the time of day now changes according to specific plot events.
The original Super Famicom release of Dragon Quest VI has sold nearly 3.2 million copies. Apart from that, however, post-release information on this particular title is surprisingly scarce. I have only found three reviews. While two of these seem positive, I find that they hardly constitute a basis for further statements on how this game was received. The only other information I've found which might be of interest is that this game was in fact at least considered for English localization. Having said that, Heartbeat apparently had trouble finding a suitable distributor and as a result these plans were scrapped. Instead, Western players would have to wait nearly sixteen years before this title saw an official release for the Nintendo DS.
Game No. 71
Title: Suikoden
Developer: Konami Computer Entertainment Tokyo
Platform: PlayStation
Release Date: December 15, 1995 (Japan)
Comment: Loosely based on the Chinese novel Shui Hu Zhuan, Suikoden is a role-playing game which set itself apart from its contemporaries by featuring a vast body of recruitable characters.
Set in a fictional world resembling feudal China, the plot of the game follows Tir McDohl, a citizen of the Scarlet Moon Empire who after an encounter involving the so called Rune of Life and Death learns that he is destined to become the so called "Tenkai Star", an individual prophesized to assemble the 108 Stars of Destiny and usher in a new age of prosperity. This, however, puts him at odds with the imperial court and he is thus forced to go into exile. As he gains further insight regarding the lengths to which the emperor and his administration are prepared to go in order to maintain their rule, Tir and his comrades decides to join a rebellion with the intent of overthrowing the Scarlet Moon Empire.
The game is viewed from a top-down perspective and has the player explore an overworld replete with towns and dungeons while completing various quests in order to advance the story. As mentioned above, it contains a considerable ensemble of characters to recruit. Though it should be mentioned that not all of them are playable. That said, such unplayable characters may offer other services, such as setting up shops at one's headquarters. While the usual assortment of armour and equipment shops are present, weapons are not bought but tied to specific party members. Be that as it may, smiths can instead offer to sharpen weapons; effectively upgrading them. Battles occur through random encounters, are turn-based, and the order by which individual participants engage each other is dictated by their speed attribute. The dedicated battle screen is viewed from an isometric projection perspective where one's party is situated in the lower right corner whilst enemies are situated in the upper left. Weapon range is a factor in combat and depending on whether a given character falls into the short, medium, or long range category they are likely to be better suited for fighting in either the front or back row of the party formation. Short range characters must fight in the front row. Meanwhile, medium range characters can fight in either row. Long range characters, while capable to fight in the front row, are reportedly better off in the back row and are the only ones possessing an ability to hit foes located in their corresponding back row. There are two other types of battle modes present: duels and army battles. Even though these differ in scope, they both apparently work according to a rock-paper-scissor mechanic, where the player must counter the opponents move with the appropriate command. The magic system is tied to Runes, such as the one mentioned above. As party members raise their magic stats they unlock an increasing amount of spell slots, to which they may assign assorted Runes. Furthermore, individual Runes may hold multiple spells of different levels, requiring spell slots of matching levels in order to be cast. Runes can also be used to augment weapons in different ways.
The original PlayStation release of Suikoden has sold approximately 600,000 copies. Critical reception back in the day seems to have been generally favourable, with reviewers citing the game's plot and cast of characters as engaging and detailed. Further praise was directed at the encounter rate of various foes, which has been described as balanced, and the battle system. However, opinions appear divided on the subject of the game's perceived length. While most reviews I've perused have referred to the title as offering a great many hours of play time, there have been those who've argued that seasoned players would probably finish it rather swiftly due to what they've regarded as a relatively low level of difficulty. Critics seemed less enthusiastic about the game's graphics and sound, which some thought inferior to those in similar games found on fourth generation systems such as the SNES, and it received some minor complaints regarding the amounts of written dialogue, which some opined could have been trimmed down.
Finally, a short note on this title's impact on future developments within the industry: Warren Spector, founder of Ion Storm's Austin studio, has cited the game as a source of inspiration while overseeing the development of the first Deus Ex. While he ranks Suikoden among his favourites, he considered its dialogue choices underdeveloped. He sought to expand upon this feature by implementing more elaborate dialogue trees whose options would carry perceptible consequences for the player and thereby constitute an important facet of gameplay.
Title: Suikoden
Developer: Konami Computer Entertainment Tokyo
Platform: PlayStation
Release Date: December 15, 1995 (Japan)
Comment: Loosely based on the Chinese novel Shui Hu Zhuan, Suikoden is a role-playing game which set itself apart from its contemporaries by featuring a vast body of recruitable characters.
Set in a fictional world resembling feudal China, the plot of the game follows Tir McDohl, a citizen of the Scarlet Moon Empire who after an encounter involving the so called Rune of Life and Death learns that he is destined to become the so called "Tenkai Star", an individual prophesized to assemble the 108 Stars of Destiny and usher in a new age of prosperity. This, however, puts him at odds with the imperial court and he is thus forced to go into exile. As he gains further insight regarding the lengths to which the emperor and his administration are prepared to go in order to maintain their rule, Tir and his comrades decides to join a rebellion with the intent of overthrowing the Scarlet Moon Empire.
The game is viewed from a top-down perspective and has the player explore an overworld replete with towns and dungeons while completing various quests in order to advance the story. As mentioned above, it contains a considerable ensemble of characters to recruit. Though it should be mentioned that not all of them are playable. That said, such unplayable characters may offer other services, such as setting up shops at one's headquarters. While the usual assortment of armour and equipment shops are present, weapons are not bought but tied to specific party members. Be that as it may, smiths can instead offer to sharpen weapons; effectively upgrading them. Battles occur through random encounters, are turn-based, and the order by which individual participants engage each other is dictated by their speed attribute. The dedicated battle screen is viewed from an isometric projection perspective where one's party is situated in the lower right corner whilst enemies are situated in the upper left. Weapon range is a factor in combat and depending on whether a given character falls into the short, medium, or long range category they are likely to be better suited for fighting in either the front or back row of the party formation. Short range characters must fight in the front row. Meanwhile, medium range characters can fight in either row. Long range characters, while capable to fight in the front row, are reportedly better off in the back row and are the only ones possessing an ability to hit foes located in their corresponding back row. There are two other types of battle modes present: duels and army battles. Even though these differ in scope, they both apparently work according to a rock-paper-scissor mechanic, where the player must counter the opponents move with the appropriate command. The magic system is tied to Runes, such as the one mentioned above. As party members raise their magic stats they unlock an increasing amount of spell slots, to which they may assign assorted Runes. Furthermore, individual Runes may hold multiple spells of different levels, requiring spell slots of matching levels in order to be cast. Runes can also be used to augment weapons in different ways.
The original PlayStation release of Suikoden has sold approximately 600,000 copies. Critical reception back in the day seems to have been generally favourable, with reviewers citing the game's plot and cast of characters as engaging and detailed. Further praise was directed at the encounter rate of various foes, which has been described as balanced, and the battle system. However, opinions appear divided on the subject of the game's perceived length. While most reviews I've perused have referred to the title as offering a great many hours of play time, there have been those who've argued that seasoned players would probably finish it rather swiftly due to what they've regarded as a relatively low level of difficulty. Critics seemed less enthusiastic about the game's graphics and sound, which some thought inferior to those in similar games found on fourth generation systems such as the SNES, and it received some minor complaints regarding the amounts of written dialogue, which some opined could have been trimmed down.
Finally, a short note on this title's impact on future developments within the industry: Warren Spector, founder of Ion Storm's Austin studio, has cited the game as a source of inspiration while overseeing the development of the first Deus Ex. While he ranks Suikoden among his favourites, he considered its dialogue choices underdeveloped. He sought to expand upon this feature by implementing more elaborate dialogue trees whose options would carry perceptible consequences for the player and thereby constitute an important facet of gameplay.
Game No. 72
Title: Tales of Phantasia
Developer: Wolf Team
Platform: Super Famicom
Release Date: December 15, 1995 (Japan)
Comment: Released on the very same day as the previous game in this chronicle, Tales of Phantasia marks the first installment in a long-running series of role-playing games featuring mutually independent stories sharing a common gameplay foundation.
The plot follows Cress Albane, a hunter and swordsman who spends his days in the village of Toltus hunting game with his friend Chester Burklight and practicing sword fighting with his father Miguel. While out hunting, Cress and Chester are summoned back to the village by the toll of a warning bell. Upon arrival, the pair find Toltus demolished and many of its inhabitants slain, including Cress father and Chester's sister. Mortally wounded, Cress' mother entrusts him with a pendant and urges him to leave the village with all haste. Initially intent on vengeance against the perpetrators responsible for the decimation of their fellow villagers, Cress and Chester soon realize that they have been drawn into events with more far-reaching repercussions than they first thought.
Oddly, all information I've found regarding gameplay concerns the battle system and nothing else. It is called the Linear Motion Battle System and has been referred to as a distinguishing feature of the series. It is viewed from a side-scrolling perspective, plays out in real-time, and can stretch over areas larger than what is initially visible once combat commences. The player is in direct control of Cress while other party members are controlled by the computer, although these can be assigned various tactical commands. By bringing up the pause menu players can not only assign pary members the aforementioned commands, but also use spells and items. Casting spells deplete so called Technical Points, which can be refilled with restorative items or by sleeping.
The original Super Famicom version of Tales of Phantasia has sold roughly 400,000 copies. Apart from that, however, post-release information on this particular title has proven hard to come by. I have only found five reviews. While these appear unanimously positive, I find that they hardly establish a foundation for additional accounts on how this game was received at the time of its original release. As a final note, there reportedly exists a fan translation in addition to the localized Game Boy Advance version.
Title: Tales of Phantasia
Developer: Wolf Team
Platform: Super Famicom
Release Date: December 15, 1995 (Japan)
Comment: Released on the very same day as the previous game in this chronicle, Tales of Phantasia marks the first installment in a long-running series of role-playing games featuring mutually independent stories sharing a common gameplay foundation.
The plot follows Cress Albane, a hunter and swordsman who spends his days in the village of Toltus hunting game with his friend Chester Burklight and practicing sword fighting with his father Miguel. While out hunting, Cress and Chester are summoned back to the village by the toll of a warning bell. Upon arrival, the pair find Toltus demolished and many of its inhabitants slain, including Cress father and Chester's sister. Mortally wounded, Cress' mother entrusts him with a pendant and urges him to leave the village with all haste. Initially intent on vengeance against the perpetrators responsible for the decimation of their fellow villagers, Cress and Chester soon realize that they have been drawn into events with more far-reaching repercussions than they first thought.
Oddly, all information I've found regarding gameplay concerns the battle system and nothing else. It is called the Linear Motion Battle System and has been referred to as a distinguishing feature of the series. It is viewed from a side-scrolling perspective, plays out in real-time, and can stretch over areas larger than what is initially visible once combat commences. The player is in direct control of Cress while other party members are controlled by the computer, although these can be assigned various tactical commands. By bringing up the pause menu players can not only assign pary members the aforementioned commands, but also use spells and items. Casting spells deplete so called Technical Points, which can be refilled with restorative items or by sleeping.
The original Super Famicom version of Tales of Phantasia has sold roughly 400,000 copies. Apart from that, however, post-release information on this particular title has proven hard to come by. I have only found five reviews. While these appear unanimously positive, I find that they hardly establish a foundation for additional accounts on how this game was received at the time of its original release. As a final note, there reportedly exists a fan translation in addition to the localized Game Boy Advance version.
This is great! Keep it up. I love reading these. Have you played all of these games?
I'd also be interested in your personal views on these games.
I'd also be interested in your personal views on these games.
Thank you! No, I have not. I try to gather as much information as possible before I add another game. But if you or anyone else find any factual errors, feel free to point them out and I'll gladly make the necessary amendments. I consider every entry in this chronicle to be a work-in-progress.Unspoken_Request said:
The one's I've actually played are the following:
Dragon Quest - I believe one might find this title quite bare-bones by today's standards, but if you can live with a lot of level-grinding, go ahead and try it.
Zelda II: The Adventure of Link - Fun, but relentlessly hard in places, and certain puzzles you need to solve in order to advance through the game are (IMHO) frustratingly cryptic.
Dragon Quest II - You still need to level-grind. A lot. But I personally think the explorative elements in this game are much more rewarding this time around.
Final Fantasy - Still a fascinating experience, IMHO. Be warned though that Square decided to implement some really steep shop prices for various gear, so you'll find yourself grinding for cash more often than not. Oh, and combat doesn't appear to have gone through any kind of optimization process either. A battle against, say, four enemies can last quite a while.
Final Fantasy II - I thought the character progression system in this game was interesting, but it also has some inherent flaws one can exploit in order to give one's party unfair advantages. Otherwise, the sluggish crawl of the combat system has been fixed, so now you'll have to be careful to not skip important status messages during fights.
Mother - A rather maze-like experience, if you ask me. But if you keep notes on things NPCs say as you explore the world you'll do fine. The ending is one of my favourites for any NES game, but since I intend on keeping these pages spoiler-free, I'll say nothing more on the matter.
Fire Emblem: Shadow Dragon and the Blade of Light - For a first-time outing, I found this to be a very smooth, well-executed experience. This is hard though, so train your units in the arenas when you get the chance, and make sure you train those with the best growth rates. Some might find this aspect to entail too much trial-and-error, but if you can look past that I'd bet you would find this game rewarding.
Final Fantasy III - My favourite among the games I've tried in the series so far. I thought the Job system was endlessly fun to experiment with, and I found gameplay on the whole to be much more balanced, with more emphasis on exploration and less so on grinding for experience and gear. Finally, the soundtrack was a delight to these ears.
Final Fantasy Adventure - If you like Zelda games, I can whole-heartedly recommend this!
Fire Emblem Gaiden - Less punishing than the first installment in the series, due to increased opportunities to train your units. Other than that, If you enjoyed the first game, I'd bet you'll feel right at home with this one.
I've also played a number of game's that I haven't added yet. But rest assured, we'll get to those.
I generally include games on basis of how much information there is available, but if you have any special requests, feel free to post them here and I'll be happy to oblige, as long as they fall within the scope of the thread. Bear in mind though that I wan't to do things in a chronological order, so depending on what title you wish to see, it might take a while.
Anyways, thanks for reading.
Game No. 73
Title: Shin Megami Tensei: Devil Summoner
Developer: Atlus
Platform: Sega Saturn
Release Date: December 25, 1995 (Japan)
Comment: The first installment in a sub-series within the MegaTen franchise, Shin Megami Tensei: Devil Summoner was the first title in the series to be released for a fifth generation console. Leaving the post-apocalyptic settings of prior entries behind, the game instead opts for a more contemporary Japanese setting in an unspecified year during the 1990s.
You play as a college student, bearing a name of one's choice, who, along with his girlfriend, is assailed by demons. Arriving in the nick of time, a demon hunter named Kyouji Kuzunoha comes to the pair's rescue. However, shortly after the incident, Kyouji is found dead. Furthermore, the protagonist is trapped in a warehouse and murdered by a man named Sid. Although a severe health complication, it proves to be but a temporary disruption for our protagonist, as he wakes up in the morgue. In possession of Kyouji's body. After escaping the morgue, he enlists the aid of Rei Reihou, Kyouji's female partner, and initiates an investigation into the events that led to his and Kyouji's untimely demise.
As in previous installments, the game features both a top-down perspective and a first-person perspective, depending on whether one is presently outdoors or indoors. The alignment system of preceding entries return, but since this particular title is reportedly a rather linear affair it only dictates what demons one is able to recruit. Other than that, I haven't been able to find much information on gameplay developments, save for one major feature: the Vice system. A measurement of recruited demons' loyalty towards the player, Vice is represented by abstract values from 1 to 10; with 10 denoting the highest loyalty. In order to maintain the allegiance of one's demons, players must do the following, depending on their type: retain a sizeable level gap between the player character and the given demon, with the PC having attained a superior level; continuously gift the particular demon with certain items; having the given demon successfully perform a command of one's choosing during combat. Should a demon's value of loyalty decrease sufficiently, they may start to behave unpredictably in battle or even leave the party.
The original Saturn release of Shin Megami Tensei: Devil Summoner has sold roughly 380,000 copies. I regret to inform that yet another "Megaten" title has yielded nearly nonexistent results in my search for professional reviews. However, the one review I've found appears positive. A North American localization was apparently planned, but got scrapped for undisclosed reasons.
Title: Shin Megami Tensei: Devil Summoner
Developer: Atlus
Platform: Sega Saturn
Release Date: December 25, 1995 (Japan)
Comment: The first installment in a sub-series within the MegaTen franchise, Shin Megami Tensei: Devil Summoner was the first title in the series to be released for a fifth generation console. Leaving the post-apocalyptic settings of prior entries behind, the game instead opts for a more contemporary Japanese setting in an unspecified year during the 1990s.
You play as a college student, bearing a name of one's choice, who, along with his girlfriend, is assailed by demons. Arriving in the nick of time, a demon hunter named Kyouji Kuzunoha comes to the pair's rescue. However, shortly after the incident, Kyouji is found dead. Furthermore, the protagonist is trapped in a warehouse and murdered by a man named Sid. Although a severe health complication, it proves to be but a temporary disruption for our protagonist, as he wakes up in the morgue. In possession of Kyouji's body. After escaping the morgue, he enlists the aid of Rei Reihou, Kyouji's female partner, and initiates an investigation into the events that led to his and Kyouji's untimely demise.
As in previous installments, the game features both a top-down perspective and a first-person perspective, depending on whether one is presently outdoors or indoors. The alignment system of preceding entries return, but since this particular title is reportedly a rather linear affair it only dictates what demons one is able to recruit. Other than that, I haven't been able to find much information on gameplay developments, save for one major feature: the Vice system. A measurement of recruited demons' loyalty towards the player, Vice is represented by abstract values from 1 to 10; with 10 denoting the highest loyalty. In order to maintain the allegiance of one's demons, players must do the following, depending on their type: retain a sizeable level gap between the player character and the given demon, with the PC having attained a superior level; continuously gift the particular demon with certain items; having the given demon successfully perform a command of one's choosing during combat. Should a demon's value of loyalty decrease sufficiently, they may start to behave unpredictably in battle or even leave the party.
The original Saturn release of Shin Megami Tensei: Devil Summoner has sold roughly 380,000 copies. I regret to inform that yet another "Megaten" title has yielded nearly nonexistent results in my search for professional reviews. However, the one review I've found appears positive. A North American localization was apparently planned, but got scrapped for undisclosed reasons.
Game No. 74
Title: Ys V: Lost Kefin, Kingdom of Sand
Developer: Nihon Falcom Corporation
Platform: Super Famicom
Release Date: December 29, 1995 (Japan)
Comment: The fifth installment in the Ys series was initially developed as a Super Famicom exclusive title and would turn out to be the last entry in the franchise to be developed primarily for a console system until Ys Seven, released fourteen years later.
As per usual, you play as the red haired, roaming swordsman Adol. This time around, his travels have led him to a region called Xandria, part of a larger realm called Afroca. While there, he learns that the surrounding desert has been expanding for some time, thus depopulating towns in the region. A merchant named Dorman hires Adol to find a number of crystals, which have some sort of connection to Kefin, a city that vanished more than five hundred years prior to the events depicted in the game. Hoping to find a means to aid the local inhabitants in their plight, Adol sets out to find the lost city of Kefin.
The game is once again viewed from a top-down perspective. Certain gameplay mechanics has been subjected to some revisions while others have been expanded upon. Battles still occur in real-time, but in this particular title one must execute an attack command in order to deal damage to enemies, instead of simply charging into them. Adol can now also actively defend himself using shields. While combat is still the primary source of experience points, there are now two separately tracked experience levels; physical and magical. Depending on whether one dispatches various foes with melee attacks or spells, different stats will be raised. Physical attacks raise melee strength and hit points, while spells increase magical ability and the defense stat. Magic is still tied to magically charged weapons, but the new Alchemy-system allows for the player to craft assorted spells by utilizing and combining elemental crystals of six types. Experimenting with these is encouraged, since certain enemies are resistant to some elements while frail when exposed to others.
Information on how Ys V was received from a commercial as well as critical standpoint in its original Super Famicom incarnation appears rather non-existent. The sole piece of post-release information I've found is that the game received a remake the following year entitled Ys V Expert, which reportedly featured an increased level of difficulty.
Title: Ys V: Lost Kefin, Kingdom of Sand
Developer: Nihon Falcom Corporation
Platform: Super Famicom
Release Date: December 29, 1995 (Japan)
Comment: The fifth installment in the Ys series was initially developed as a Super Famicom exclusive title and would turn out to be the last entry in the franchise to be developed primarily for a console system until Ys Seven, released fourteen years later.
As per usual, you play as the red haired, roaming swordsman Adol. This time around, his travels have led him to a region called Xandria, part of a larger realm called Afroca. While there, he learns that the surrounding desert has been expanding for some time, thus depopulating towns in the region. A merchant named Dorman hires Adol to find a number of crystals, which have some sort of connection to Kefin, a city that vanished more than five hundred years prior to the events depicted in the game. Hoping to find a means to aid the local inhabitants in their plight, Adol sets out to find the lost city of Kefin.
The game is once again viewed from a top-down perspective. Certain gameplay mechanics has been subjected to some revisions while others have been expanded upon. Battles still occur in real-time, but in this particular title one must execute an attack command in order to deal damage to enemies, instead of simply charging into them. Adol can now also actively defend himself using shields. While combat is still the primary source of experience points, there are now two separately tracked experience levels; physical and magical. Depending on whether one dispatches various foes with melee attacks or spells, different stats will be raised. Physical attacks raise melee strength and hit points, while spells increase magical ability and the defense stat. Magic is still tied to magically charged weapons, but the new Alchemy-system allows for the player to craft assorted spells by utilizing and combining elemental crystals of six types. Experimenting with these is encouraged, since certain enemies are resistant to some elements while frail when exposed to others.
Information on how Ys V was received from a commercial as well as critical standpoint in its original Super Famicom incarnation appears rather non-existent. The sole piece of post-release information I've found is that the game received a remake the following year entitled Ys V Expert, which reportedly featured an increased level of difficulty.
Game No. 75
Title: Shadowrun
Developer: Compile
Platform: Mega-CD
Release Date: February 23, 1996 (Japan)
Comment: The swan song of the Mega-CD, this third adaptation of the titular tabletop role-playing game eschewed the action role playing game mechanics of its SNES and Genesis predecessors in favour of a comparatively traditional role-playing game approach, whilst also adding gameplay elements more commonly associated with a subgenre of adventure games known as interactive fiction. While the title retains the setting's trademark blend of cyberpunk and fantasy themes, it gives these a distinct manga-based treatment.
Information concerning this game has proven hard to come by. The only details I've managed to find pertaining to the plot is that it takes place in Tokyo and that you play as four Shadowrunners who conduct some sort of investigation. Also, the story allegedly features a number of branching paths one may choose between.
The game is viewed from both a top-down perspective and a first person perspective. The top-down perspective is apparently present during the game's exploration segments, which ostensibly plays out in a similar manner to titles in the Phantasy Star series. Meanwhile, the first person perspective is reportedly utilized during interrogation sections with various NPCs. As in previous adaptations, various shops can be found which sell a wide assortment of equipment, including weapons, cyber implants, and spells. Firearms come in numerous different types and some reportedly allow for various different customizations. Battles are turn-based, occur at predetermined points throughout the game, and are once again engaged through use of firearms, melee weapons, and magic. As with the Genesis adaptation, characters have two types of health: physical and mental. If either gets depleted, they die. Melee attacks reduce physical health while firearms and spells drain mental health. When players issue attack commands a dice starts rolling on-screen. A further press of a button stops the dice and dictates the power of the attack, given that it is a successful hit.
As with its SNES and Genesis precursors, sales figures for this adaptation of Shadowrun appear nonexistent and so do reviews. Therefore, I'm reaching out to anybody who's actually played this game to contribute their overall impressions of it. Since it has never seen an official release outside of Japan I realize I might be clutching at straws here, but it never hurts trying.
Title: Shadowrun
Developer: Compile
Platform: Mega-CD
Release Date: February 23, 1996 (Japan)
Comment: The swan song of the Mega-CD, this third adaptation of the titular tabletop role-playing game eschewed the action role playing game mechanics of its SNES and Genesis predecessors in favour of a comparatively traditional role-playing game approach, whilst also adding gameplay elements more commonly associated with a subgenre of adventure games known as interactive fiction. While the title retains the setting's trademark blend of cyberpunk and fantasy themes, it gives these a distinct manga-based treatment.
Information concerning this game has proven hard to come by. The only details I've managed to find pertaining to the plot is that it takes place in Tokyo and that you play as four Shadowrunners who conduct some sort of investigation. Also, the story allegedly features a number of branching paths one may choose between.
The game is viewed from both a top-down perspective and a first person perspective. The top-down perspective is apparently present during the game's exploration segments, which ostensibly plays out in a similar manner to titles in the Phantasy Star series. Meanwhile, the first person perspective is reportedly utilized during interrogation sections with various NPCs. As in previous adaptations, various shops can be found which sell a wide assortment of equipment, including weapons, cyber implants, and spells. Firearms come in numerous different types and some reportedly allow for various different customizations. Battles are turn-based, occur at predetermined points throughout the game, and are once again engaged through use of firearms, melee weapons, and magic. As with the Genesis adaptation, characters have two types of health: physical and mental. If either gets depleted, they die. Melee attacks reduce physical health while firearms and spells drain mental health. When players issue attack commands a dice starts rolling on-screen. A further press of a button stops the dice and dictates the power of the attack, given that it is a successful hit.
As with its SNES and Genesis precursors, sales figures for this adaptation of Shadowrun appear nonexistent and so do reviews. Therefore, I'm reaching out to anybody who's actually played this game to contribute their overall impressions of it. Since it has never seen an official release outside of Japan I realize I might be clutching at straws here, but it never hurts trying.
Game No. 76
Title: Pokemon Red and Blue
Developer: Game Freak
Platform: Game Boy
Release Date #1: February 27, 1996 (Japan) - Red and Green
Release Date #2: October 15, 1996 (Japan) - Blue
Comment: In part inspired by game director and writer Satoshi Tajiri's childhood activities with insect collecting, Pokemon Red and Blue (or Green as the latter version was titled in Japan; the Japanese Blue version was a separate release featuring a number of enhancements and would later serve as the template for the localized versions released abroad) would mark the beginnings of the second most commercially viable video game franchise in a worldwide perspective. Or third, depending on whether or not one regard the main Super Mario platformers and the various spinoff titles as distinct franchises. In addition to training the titular monsters in a relatively traditional role-playing game fashion, Tajiri envisioned an exchange of them between players to be an important aspect of gameplay and realized that the link cable accessory of Nintendo's handheld system could serve this purpose. Furthermore, Shigeru Miyamoto reportedly put forth the proposal of producing different versions of the game, each containing a slightly different assortment of monsters, in order to spur this facet. Although initial sales expectations apparently weren't favourable among neither Game Freak nor Nintendo staff due to the significant decrease in revenue the original Game Boy had witnessed at the time, the first two releases in the series would go on to accumulate sales figures not seen on the handheld since Tetris. Two years later, a further enhanced version entitled Pokemon Yellow was released, featuring a plot which more closely mirrored that of the television anime series.
Taking place in the region of Kanto, a fictionalized take on a similarly named region in real-life Japan, the plot of the first Pokemon games follows a young aspiring Pokemon trainer, bearing a name of the player's choice, hailing from the small community of Pallet Town. At the start of the game, the trainer is summoned to the laboratory of Professor Oak, the resident Pokemon researcher, to pick a starting Pokemon. The player may choose between Bulbasaur, a hybrid grass/poison type; Charmander, a fire type; and Squirtle, a water type. Also present at the laboratory is Oak's grandson, who picks whatever Pokemon is at a type advantage against the protagonist's chosen type and challenges him to a battle. Regardless of the outcome, the trainer leaves Pallet Town to catch additional Pokemon and challenge other trainers with the long-term goal of becoming the leading trainer in the region.
After the player has chosen an initial Pokemon and completed the first of several battles with Oak's grandson, one can begin exploring the surrounding area. The game is viewed from a top-down perspective and exploration is initially fairly linear, but as one venture into new areas, overcome assorted physical obstacles, and defeat the trainers in each of the town gyms the world gradually opens up for more open-ended exploration. Towns provide the player with NPCs to talk to, Poke Marts where one can buy assorted items, and Poke Centers wherein one may replenish one's Pokemon's hit points and combat moves, change what Pokemon to bring along in the active team, and organize one's inventory.
However, most opportunities to catch Pokemon arise along the various routes outside of the towns. High grass and bodies of water are the most common habitats of these, but there also exist a number of underground caverns and other indoor complexes where they may be encountered. In order to catch wild Pokemon one must acquire so called Poke Balls with which to contain them. The success rates of these balls are dependent on factors such as the amount of hit points a targeted Pokemon has left and the type of ball being used. Once a particular Pokemon has been caught, a new entry on it is added to the so called Pokedex, an encyclopedia of sorts on the Pokemon present throughout the game. As the player acquires increasingly more Pokemon, they may have their Pokedex rated by Professor Oak, who then may gift the player with various items.
There are a grand total of 151 Pokemon to catch, but only six can be brought into your active team at any one time; the rest are sent to storage for the player to pick up at a later time. This is where party composition comes into play. There are fifteen types of Pokemon present in the game, each strong against some other types whilst weak against others, so building a team which can potentially counter a wide range of opposing types is of central importance. Bear in mind though that not all Pokemon are of a single type and while there are restrictions to what combat moves an individual Pokemon may learn they can oftentimes be taught moves of other types than their own.
Battles occur through a mixture of random encounters and scripted ones, are turn-based, and are viewed from a dedicated battle screen, where one's currently selected Pokemon is located in the left foreground whilst the opposing one is situated in the right background. Fights last until all participating Pokemon on one of the two opposing sides have fainted, until the opposing Pokemon has been caught, or until the player successfully issues a flee command. Should the currently selected Pokemon prove ill-suited to combat a given opponent, one may switch to another Pokemon that is part of the active team in the midst of battle.
Through fighting one's Pokemon gain experience and thus rise through levels, which gain them new combat moves and may also evolve them into more potent forms, which in turn bestow them with improved attributes. That said, any given Pokemon can only learn a total of four moves and once moves beyond the fourth become available players must choose either to replace an already existing move or abandon the new one. Also, some Pokemon do not learn moves on their own in their evolved forms and therefore players may choose to delay evolution of these Pokemon until later, or to teach them new moves using certain items. Furthermore, a number of Pokemon can only be evolved using special items.
As mentioned above, there are 151 Pokemon one can obtain. But since the different versions of the game each feature a number of unique Pokemon, one must trade with players in possession of a different version in order to secure all of them. Additionally, certain Pokemon only evolve upon trade, which thus gives further incentive to partake in such activities. Using the link cable, players may also battle each other. There's also limited support for trade with Gold, Silver and Crystal versions. Finally, using the Nintendo 64 Transfer Pak accessory one can send Pokemon teams into battle in the Pokemon Stadium games.
Pokemon Red and Blue has sold in excess of 31 million copies worldwide. Should we choose to include the Yellow version, which is part of the same generation of games, figures climb beyond the 45 million mark. Regardless, the first generation of Pokemon games still constitutes the commercial apex of role-playing games in terms of sheer number of copies sold.
Reviews, contemporary as well as retrospective, have been generally favourable. Contemporary praise was directed at the amount of customization available for each Pokemon, which critics argued added complexity and depth to the game's battle system. Further laudations were aimed at the game's pacing, more specifically how the various facets of gameplay were introduced to players at a gradual pace; the setting, specifically what reviewers referred to as a detailed lore relating to the titular monsters; and the multiplayer aspect, which was often singled out as an unique feature. However, critics appear to have been more divided on what type of audience the game was intended for. While most seem to agree that it was relatively a forgiving experience for newcomers to the genre, some reviewers maintained that it lacked the difficulty to provide more seasoned players with a sufficient challenge to keep them committed for a longer time. The game also faced criticism for its reliance on level grinding to overcome most obstacles and for lacking the option to choose a female protagonist.
While retrospective reviews have largely echoed the acclaim Red and Blue received at the time of their original releases, the criticism in recent years appear to have been informed to a significant degree by experiences with the series successor titles. In addition to reinforcing the aforementioned disapproval of the game's perceived lack of difficulty, latter-day assessments recurrently level dissatisfaction at its comparatively short main quest, the linear gym progression, and general lack of features compared to its follow-ups. Nevertheless, despite these remarks the first generation of Pokemon games seem to retain a reputation amongst critics and players alike as a seminal title in the original Game Boy's catalogue.
Title: Pokemon Red and Blue
Developer: Game Freak
Platform: Game Boy
Release Date #1: February 27, 1996 (Japan) - Red and Green
Release Date #2: October 15, 1996 (Japan) - Blue
Comment: In part inspired by game director and writer Satoshi Tajiri's childhood activities with insect collecting, Pokemon Red and Blue (or Green as the latter version was titled in Japan; the Japanese Blue version was a separate release featuring a number of enhancements and would later serve as the template for the localized versions released abroad) would mark the beginnings of the second most commercially viable video game franchise in a worldwide perspective. Or third, depending on whether or not one regard the main Super Mario platformers and the various spinoff titles as distinct franchises. In addition to training the titular monsters in a relatively traditional role-playing game fashion, Tajiri envisioned an exchange of them between players to be an important aspect of gameplay and realized that the link cable accessory of Nintendo's handheld system could serve this purpose. Furthermore, Shigeru Miyamoto reportedly put forth the proposal of producing different versions of the game, each containing a slightly different assortment of monsters, in order to spur this facet. Although initial sales expectations apparently weren't favourable among neither Game Freak nor Nintendo staff due to the significant decrease in revenue the original Game Boy had witnessed at the time, the first two releases in the series would go on to accumulate sales figures not seen on the handheld since Tetris. Two years later, a further enhanced version entitled Pokemon Yellow was released, featuring a plot which more closely mirrored that of the television anime series.
Taking place in the region of Kanto, a fictionalized take on a similarly named region in real-life Japan, the plot of the first Pokemon games follows a young aspiring Pokemon trainer, bearing a name of the player's choice, hailing from the small community of Pallet Town. At the start of the game, the trainer is summoned to the laboratory of Professor Oak, the resident Pokemon researcher, to pick a starting Pokemon. The player may choose between Bulbasaur, a hybrid grass/poison type; Charmander, a fire type; and Squirtle, a water type. Also present at the laboratory is Oak's grandson, who picks whatever Pokemon is at a type advantage against the protagonist's chosen type and challenges him to a battle. Regardless of the outcome, the trainer leaves Pallet Town to catch additional Pokemon and challenge other trainers with the long-term goal of becoming the leading trainer in the region.
After the player has chosen an initial Pokemon and completed the first of several battles with Oak's grandson, one can begin exploring the surrounding area. The game is viewed from a top-down perspective and exploration is initially fairly linear, but as one venture into new areas, overcome assorted physical obstacles, and defeat the trainers in each of the town gyms the world gradually opens up for more open-ended exploration. Towns provide the player with NPCs to talk to, Poke Marts where one can buy assorted items, and Poke Centers wherein one may replenish one's Pokemon's hit points and combat moves, change what Pokemon to bring along in the active team, and organize one's inventory.
However, most opportunities to catch Pokemon arise along the various routes outside of the towns. High grass and bodies of water are the most common habitats of these, but there also exist a number of underground caverns and other indoor complexes where they may be encountered. In order to catch wild Pokemon one must acquire so called Poke Balls with which to contain them. The success rates of these balls are dependent on factors such as the amount of hit points a targeted Pokemon has left and the type of ball being used. Once a particular Pokemon has been caught, a new entry on it is added to the so called Pokedex, an encyclopedia of sorts on the Pokemon present throughout the game. As the player acquires increasingly more Pokemon, they may have their Pokedex rated by Professor Oak, who then may gift the player with various items.
There are a grand total of 151 Pokemon to catch, but only six can be brought into your active team at any one time; the rest are sent to storage for the player to pick up at a later time. This is where party composition comes into play. There are fifteen types of Pokemon present in the game, each strong against some other types whilst weak against others, so building a team which can potentially counter a wide range of opposing types is of central importance. Bear in mind though that not all Pokemon are of a single type and while there are restrictions to what combat moves an individual Pokemon may learn they can oftentimes be taught moves of other types than their own.
Battles occur through a mixture of random encounters and scripted ones, are turn-based, and are viewed from a dedicated battle screen, where one's currently selected Pokemon is located in the left foreground whilst the opposing one is situated in the right background. Fights last until all participating Pokemon on one of the two opposing sides have fainted, until the opposing Pokemon has been caught, or until the player successfully issues a flee command. Should the currently selected Pokemon prove ill-suited to combat a given opponent, one may switch to another Pokemon that is part of the active team in the midst of battle.
Through fighting one's Pokemon gain experience and thus rise through levels, which gain them new combat moves and may also evolve them into more potent forms, which in turn bestow them with improved attributes. That said, any given Pokemon can only learn a total of four moves and once moves beyond the fourth become available players must choose either to replace an already existing move or abandon the new one. Also, some Pokemon do not learn moves on their own in their evolved forms and therefore players may choose to delay evolution of these Pokemon until later, or to teach them new moves using certain items. Furthermore, a number of Pokemon can only be evolved using special items.
As mentioned above, there are 151 Pokemon one can obtain. But since the different versions of the game each feature a number of unique Pokemon, one must trade with players in possession of a different version in order to secure all of them. Additionally, certain Pokemon only evolve upon trade, which thus gives further incentive to partake in such activities. Using the link cable, players may also battle each other. There's also limited support for trade with Gold, Silver and Crystal versions. Finally, using the Nintendo 64 Transfer Pak accessory one can send Pokemon teams into battle in the Pokemon Stadium games.
Pokemon Red and Blue has sold in excess of 31 million copies worldwide. Should we choose to include the Yellow version, which is part of the same generation of games, figures climb beyond the 45 million mark. Regardless, the first generation of Pokemon games still constitutes the commercial apex of role-playing games in terms of sheer number of copies sold.
Reviews, contemporary as well as retrospective, have been generally favourable. Contemporary praise was directed at the amount of customization available for each Pokemon, which critics argued added complexity and depth to the game's battle system. Further laudations were aimed at the game's pacing, more specifically how the various facets of gameplay were introduced to players at a gradual pace; the setting, specifically what reviewers referred to as a detailed lore relating to the titular monsters; and the multiplayer aspect, which was often singled out as an unique feature. However, critics appear to have been more divided on what type of audience the game was intended for. While most seem to agree that it was relatively a forgiving experience for newcomers to the genre, some reviewers maintained that it lacked the difficulty to provide more seasoned players with a sufficient challenge to keep them committed for a longer time. The game also faced criticism for its reliance on level grinding to overcome most obstacles and for lacking the option to choose a female protagonist.
While retrospective reviews have largely echoed the acclaim Red and Blue received at the time of their original releases, the criticism in recent years appear to have been informed to a significant degree by experiences with the series successor titles. In addition to reinforcing the aforementioned disapproval of the game's perceived lack of difficulty, latter-day assessments recurrently level dissatisfaction at its comparatively short main quest, the linear gym progression, and general lack of features compared to its follow-ups. Nevertheless, despite these remarks the first generation of Pokemon games seem to retain a reputation amongst critics and players alike as a seminal title in the original Game Boy's catalogue.
Game No. 77
Title: Super Mario RPG
Developer: Square
Platform: Super Famicom / SNES
Release Date: March 9, 1996 (Japan)
Comment: A collaborative project by Square and Nintendo, Super Mario RPG was the last Mario game released for the SNES while also being the first game in the franchise to venture into role playing game territory. The game was developed to take advantage of the Nintendo SA-1 chip, a microprocessor included with the cartridge which allowed for implementation of graphics featuring more advanced character and background models, as well as lighting, shadow, and reflection effects. Well-received both critically and commercially, it has come to be regarded as a spiritual predecessor to the Paper Mario and Mario & Luigi series.
Princess Toadstool is yet again in distress and Mario has made a dash for Bowser's Castle. Upon confronting his recurring antagonist, a massive sword comes crashing from above, catapulting Mario, Peach, and Bowser into different directions, while also sprinkling what appear to be star fragments across the land. Making his way back to the Mushroom Kingdom, Mario meets with the kingdom chancellor, who urges him to mount another rescue attempt for Princess Toadstool and investigate this enigmatic sword.
The game is viewed from an isometric projection perspective and gameplay intermixes exploration segments featuring a prominent platforming element with turn-based battles. Carried over from the main platform titles are the series signature boxes emblazoned with question marks and blocks of the invisible kind, both of which may contain various items. Between areas populated with hostile creatures players will encounter towns in which they may speak to NPCs and buy equipment to improve their party members' stats. There are also assorted mini-games spread out throughout the world, some of which may offer special rewards upon completion. While players start off with Mario as the sole protagonist, the party will expand to eventually include five members, out of which three can be brought into battle at any given time. Enemies are visible in the field and battles ensue once players collide with them. Each character feature unique attacks and special techniques, the latter of requires so called "Flower Points" to be performed. Flower Points come in finite numbers, the amount of which can only be increased and replenished using certain items. Combat also incorporates a feature which would become a staple of future Mario RPGs in the so called "Timed Hits" system. When a command is issued, be it an attack, defensive move, item employment, or special technique, a timed button press can be performed by the player to boost its effects. By defeating enemies in battle team members gain experience points. Once a given character raise a level their stats improve, and the player is also granted a choice to provide one of three types of stats with a growth bonus. The three types are: hit points, magical attacks and defense, and physical attacks and defense.
The original SNES release of Super Mario RPG sold in excess of 2 million copies worldwide. As contemporary reviews appear fairly scarce I will focus on retrospective ones. Latter day assessments seem largely universal in their admiration for this game, praising the graphics and audio, often described as pushing the SNES to its technical limits, the soundtrack (composed by Yoko Shimomura), and the sense of humour permeating the storytelling. However, critics appear somewhat divided on whether the platforming elements were well-implemented or not. On a sharper note, reviewers have repeatedly called into question what they regard to be a difficulty level lacking in challenge for players well acquainted with the genre in question, further arguing that the battle system becomes an exercise in repetitiveness as a result. Yet, the perhaps single most recurring target of criticism might be the title's perceived lack of replay value, as writers frequently claim that most of what the game has to offer will likely be encountered on the first playthrough. Nevertheless, neither of these objections seem to have prevented Super Mario RPG from establishing a regular presence on top games lists in various publications.
Title: Super Mario RPG
Developer: Square
Platform: Super Famicom / SNES
Release Date: March 9, 1996 (Japan)
Comment: A collaborative project by Square and Nintendo, Super Mario RPG was the last Mario game released for the SNES while also being the first game in the franchise to venture into role playing game territory. The game was developed to take advantage of the Nintendo SA-1 chip, a microprocessor included with the cartridge which allowed for implementation of graphics featuring more advanced character and background models, as well as lighting, shadow, and reflection effects. Well-received both critically and commercially, it has come to be regarded as a spiritual predecessor to the Paper Mario and Mario & Luigi series.
Princess Toadstool is yet again in distress and Mario has made a dash for Bowser's Castle. Upon confronting his recurring antagonist, a massive sword comes crashing from above, catapulting Mario, Peach, and Bowser into different directions, while also sprinkling what appear to be star fragments across the land. Making his way back to the Mushroom Kingdom, Mario meets with the kingdom chancellor, who urges him to mount another rescue attempt for Princess Toadstool and investigate this enigmatic sword.
The game is viewed from an isometric projection perspective and gameplay intermixes exploration segments featuring a prominent platforming element with turn-based battles. Carried over from the main platform titles are the series signature boxes emblazoned with question marks and blocks of the invisible kind, both of which may contain various items. Between areas populated with hostile creatures players will encounter towns in which they may speak to NPCs and buy equipment to improve their party members' stats. There are also assorted mini-games spread out throughout the world, some of which may offer special rewards upon completion. While players start off with Mario as the sole protagonist, the party will expand to eventually include five members, out of which three can be brought into battle at any given time. Enemies are visible in the field and battles ensue once players collide with them. Each character feature unique attacks and special techniques, the latter of requires so called "Flower Points" to be performed. Flower Points come in finite numbers, the amount of which can only be increased and replenished using certain items. Combat also incorporates a feature which would become a staple of future Mario RPGs in the so called "Timed Hits" system. When a command is issued, be it an attack, defensive move, item employment, or special technique, a timed button press can be performed by the player to boost its effects. By defeating enemies in battle team members gain experience points. Once a given character raise a level their stats improve, and the player is also granted a choice to provide one of three types of stats with a growth bonus. The three types are: hit points, magical attacks and defense, and physical attacks and defense.
The original SNES release of Super Mario RPG sold in excess of 2 million copies worldwide. As contemporary reviews appear fairly scarce I will focus on retrospective ones. Latter day assessments seem largely universal in their admiration for this game, praising the graphics and audio, often described as pushing the SNES to its technical limits, the soundtrack (composed by Yoko Shimomura), and the sense of humour permeating the storytelling. However, critics appear somewhat divided on whether the platforming elements were well-implemented or not. On a sharper note, reviewers have repeatedly called into question what they regard to be a difficulty level lacking in challenge for players well acquainted with the genre in question, further arguing that the battle system becomes an exercise in repetitiveness as a result. Yet, the perhaps single most recurring target of criticism might be the title's perceived lack of replay value, as writers frequently claim that most of what the game has to offer will likely be encountered on the first playthrough. Nevertheless, neither of these objections seem to have prevented Super Mario RPG from establishing a regular presence on top games lists in various publications.