The Great Chronicle of Console RPGs Thread

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Game No. 109

Spoiler

Title: Final Fantasy VIII
Developer: Square
Platform: PlayStation
Release Date: February 11, 1999 (Japan)

Comment: The eight installment in the Final Fantasy series is perhaps best remembered for a number of departures from earlier games in the franchise. Aesthetically, the title distanced itself from the comparatively disproportionate character designs of prior entries in favour of more "realistic" ones; an approach that would be revisited in later installments. In terms of gameplay, the magic point-based spell system, which had been predominant since IV, was scrapped and replaced with the so called Junction system.

The plot features an ensemble cast, with Squall Leonhart, a cadet in a mercenary organization called SeeD, taking center stage. As Squall and company hone their skills at the Balamb Garden military academy the military dictatorship of Galbadia launches an invasion against the dukedom of Dollet. When Dollet employ SeeD for military assistance the administration at Balamb Garden decides to utilize the operation as a field exam for its cadets.

The underlying gameplay foundation of prior entries is maintained in most aspects. Yet, as indicated above, the game does provide additions, alterations, and disposals of various mechanics. As was the case with VII, the primary framework for character customization has been replaced with a new one. Consequently, the Materia system has been scrapped in favour of the aforementioned Junction system. Summons, or Guardian Forces as they are called in this particular installment, are of central importance to this arrangement. When a Guardian Force is assigned to a given character, their options in combat expand beyond merely being able to attack, thus allowing them to cast spells, summon their Guardian Force, use items, and execute a command called Draw.

Since magic points have been scrapped, spells now instead have a finite number of uses before they run out. In order to restock on spells, party members must utilize the Draw command, either on assorted enemies or specific Draw points, which are scattered throughout the world. In addition to usage in battles, spells can also be joined with character attributes and stats, thereby boosting them. Thus, the Junction system not only governs the use of summons and spells, but effectively fills a function provided by armour and/or accessories in earlier entries in the series.

Another feature of note comes in the form of a mini-game called "Triple Triad", a collectible card game which can be initiated with NPCs wherever the player encounters such. Worth mentioning is that this mini-game is actually linked to the Junction system in the sense that cards obtained through matches against various NPCs can be converted into items and spells.

Similarly to gameplay in general, the battle system has seen its fair share of revisions. Each party member now comes with a single unique weapon that is constantly equipped. There are no other weapons available for purchase, but existing weaponry can be upgraded. Limit Breaks make a return, but they now feature a trigger mechanism similar to the Desperation Attacks of VI; a given character's Limit Break will become available once their hit points have been sufficiently reduced. Also, these attacks have been expanded upon in that they now incorporate an element of interactivity, which can range from bestowing them with an accompanying spell to timed button sequences, thereby allowing for players to further strengthen the Limit Breaks. Like summons in other Final Fantasy titles, Guardian Forces can partake directly in fights. Activating them comes with a charge time, however, during which they shield the character linked to them. Guardian Forces come with their own separate amount of hit points, which when depleted by enemy attacks renders them unconscious and cancels the summoning.

The levelling system has been subjected to an overhaul. Firstly, the experience points required to raise levels are fixed at 1000 points, as opposed to the ever increasing amounts of earlier installments. Second, VIII marks the introduction of level-scaled enemies to the franchise. Thirdly, boss battles do not net the party with experience points, although they yield Ability Points. Furthermore, Ability Points gained in combat are distributed among one's Guardian Forces, who automatically accumulate said points towards unlocking special abilities of various kinds. Once obtained, these abilities can be used by any party member who is currently allotted the Guardian Force in question.

The PlayStation version of Final Fantasy VIII has sold nearly 8 million copies worldwide. Critics appear to have been nearly unanimously bestowing the game with commendations. Publications repeatedly delivered praise towards the plot and characterizations, describing the former as featuring multiple layers while complimenting the latter for providing ample time to develop the relationships of the protagonists; reviewers recurrently mentioned the courtship of Squall and Rinoa in this regard. The graphics and Nobuo Uematsu's soundtrack received further laudations, along with the Junction system, which while regarded by certain writers as "dense" received plentiful approval for its manifold customization possibilities, and its perceived lasting value, which when taking side quests into account has been projected to provide roughly 60 hours of time investment to fully finish. Still, the title did not completely escape criticism, as several critics argued that the in-game depiction of its art direction was held back by the aging hardware of the PlayStation. Additionally, while the application of CGI-cinematics as a vehicle to narrate the story had been yet another subject of praise for VII, reviewers' sentiments seem to have shifted in VIII's disfavour in this respect, as a number of them expressed opinions that the various cut-scenes relied on motion picture presentation techniques which they thought could have been replaced with in-game sequences that featured more interaction.

 

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Game No. 110

Spoiler

Title: SaGa Frontier 2
Developer: Square Product Development Division 2
Platform: PlayStation
Release Date: April 1, 1999 (Japan)

Comment: The eight installment in the SaGa series, SaGa Frontier 2 saw the developers subject the gameplay formula of prior games in the franchise to an overhaul while also providing a new aesthetic presentation. The open-world elements of the game's predecessors were scrapped, although it retained the multiple story scenarios of its immediate PlayStation precursor. Graphically, the title was given a hand-drawn watercolour appearance in order to distinguish it from its contemporaries.

The plot takes place in a fictional world called Sandail, which reportedly draws inspiration from medieval Germanic cultures. The aforementioned scenarios are chiefly concerned with two families whose stories interweave with one another. One relates the struggles of Gustave XIII, former heir apparent of the kingdom of Finney, as he attempts to carve out an existence for himself, after he has been forced into exile by his own father in the wake of the discovery that he lacks an "Anima", a magic entity inherent to all living beings. The other follows a treasure hunter named Will Knights and his descendants. Will travels the lands, searching for information relating to an enigmatic relic known as The Egg, which was somehow responsible for the death of his parents. However, the Knights family's encounters with The Egg does not end with Will, as his son, Rich, and granddaughter, Ginny, will both experience the relic's continued influence firsthand.

As mentioned above, the open-world structure of previous games in the series has been discarded, but the individual scenarios can apparently be tackled in a non-linear order, although the scenarios themselves are by all accounts relatively linear. The game is viewed from an overhead perspective where two-dimensional, sprite-based characters are projected onto hand-drawn backgrounds. The life form based classes has, yet again, been removed, this time in favour of a so-called Role system. These Roles are acquired as one progress through the scenarios and by recruiting specific characters to the party. Each Role bestows the assigned party member with certain stat boosts and special abilities, and can be switched as players see fit. Battles are still turn-based, occur when one collides with wandering enemies, feature three-dimensional backgrounds and a moving camera, and the order by which each participant issues and executes combat commands is dictated by their speed stat. The "Glimmer/Spark"-system is left intact and so is the Combo mechanic. Reintroduced from the very first two titles in the franchise is the weapon deterioration that occurs with repeated use. Though, it is now possible to counter this complication by repairing weaponry at blacksmiths. Also, possibly inspired by the Suikoden series, battles now come in three different types, which can be both chosen by players and predetermined by the plot: Duels, which feature one-on-one engagements; Team, where up to four party members take on an assortment of adversaries; Strategic, involving a large number of participants on both sides.

The original PlayStation release of SaGa Frontier 2 has sold in excess of 900,000 copies. Professional reviews appear to have been mixed. The graphics seem to be the one feature that have received the most recurrent praise, followed by the battle system; specifically the addition of the Duel mode. However, critics appear divided on the subject of the game's plot, some finding it interesting while others considering it to be lacking in surprise factor. Perhaps more severe, the design decision to split up the story into shorter scenarios has repeatedly been criticized for giving the plot a fragmented presentation, as critics have opined that such narration prevents players from familiarizing themselves with the various characters for any longer stretch of time. Furthermore, possibly a manifestation of reviewers growing increasingly accustomed to such a feature, the title has received relatively frequent disapproval for its lack of voice acting.

 

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Game No. 111

Spoiler

Title: Shadow Madness
Developer: Craveyard Studios
Platform: PlayStation
Release Date: April 39, 1999 (North America)

Comment: While the Western computer role-playing game market had witnessed a commercial resurgence during the second half of the 90s, European and American developers still appear to have been reluctant to develop games in the genre for consoles. Nevertheless, there were exceptions. Published by Crave Entertainment, Shadow Madness is a title that took a cue from games in the Final Fantasy series in terms of gameplay mechanics, which might owe to the fact that it was designed and written by Ted Woolsey and Paul Reed, who had both previously worked for Square's American division.

The plot follows a man called Stinger whose hometown has been brought to naught by a plague of unknown origin. He soon learns that his homestead was neither the first nor the last to be struck by this pestilence, prompting him to set out on a journey across the world of Arkose with the intent of discovering the origins of the epidemic and the means to halt it.

The game is viewed from an overhead perspective featuring three dimensional characters projected against pre-rendered backgrounds. Gameplay exhibits a relatively high amount of staples of the genre. Progress is achieved through exploration of various locations and interaction with NPCs. There are recruitable characters to find, each with unique strengths and weaknesses. An active party may consist of Stinger and two other party members at any given time. Battles are presented through three dimensional graphics, occur through random encounters, and utilize a combat system which reportedly resembles the Active Time Battle system. All the usual tactical choices appear to be present here, including physical attacks, items, spellcasting, and summons. In addition to featuring the otherwise common Flee option, the title also incorporates an alternative method for avoiding battles in that it is possible for the party to hide by issuing such a command upon hearing certain audio cues. A final mention will touch upon the level cap, which peaks at a comparatively low total of the 15th level.

Shadow Madness has sold roughly 180,000 copies. Professional reviews appear decidedly mixed. Most praise seems to have been directed at the plot, but the ability to hide from enemy encounters and the option to adjust the difficulty level on the fly also appears to have been perceived as welcome inclusions. However, critics seem to have given most other aspects of gameplay a noticeably cooler reception, as several opined that the game followed the template established by assorted Final Fantasy titles too closely without adding any distinguishing features of its own. That said, the most recurrent criticism appears to have been levelled at the graphics, which were often described as blocky and lacking in details compared to those in contemporary titles.

 

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Game No. 112

Spoiler

Title: Elemental Gimmick Gear
Developer: Birthday
Platform: Dreamcast
Release Date: May 27, 1999 (Japan)

Comment: An early example of a role-playing video game released for a sixth generation console, Elemental Gimmick Gear is an action role-playing game featuring thematic elements of both fantasy and science-fiction and a visual presentation including both hand-drawn, two dimensional artwork and a three-dimensional graphics engine for boss battles.

The game takes place in the fictional world of Tokion. While excavating a dome-shaped ruin in the midst of a jungle, a group of scientists uncovered an egg-shaped mecha which in turn contained a man in a state of dormancy. Despite the scientists' most sincere efforts, the man would not awaken. Instead, they moved him and the mecha to a laboratory for further examination. Eventually, the scientists gained sufficient knowledge of the inner workings of the mecha in order to commence production of copies and utilize these as vehicles. A century later, the ruin where the mecha had been discovered witnesses a surge of activity. A large number of tentacles begin to extend themselves across the land, devastating everything that gets in their path. Following in the wake of these tentacles is a mist surrounding the ruins. Concurrent with these events, the dormant man wake from his slumber. Despite the fact that he possesses no memory of his past, he is nevertheless deemed suitable to investigate the cause behind the spread of the tentacles.

The game is viewed from a top-down perspective featuring two dimensional graphics. Gameplay has been compared to that of installments in the Legend of Zelda series. Progress is mainly achieved through exploration of the overworld and the various dungeons scattered throughout it. While one mostly stays inside the aforementioned mecha, there are reportedly segments where one is encouraged to travel on foot. The mecha sports a range of abilities that can be used both in combat and to solve assorted puzzles in dungeons. It should be noted though that these must first be obtained by exploration before one can make use of them. Likewise, the mecha's attack, defense and "mind" stats can be upgraded in a similar manner. Using abilities depletes the mecha's energy reserves (which effectively represent one's hit points), which must be restored for continued usage. All battles are fought in real-time, and while encounters with wandering enemies utilize the top-down two dimensional visuals present throughout the majority of the game, boss battles utilize three dimensional graphics presented from an overhead perspective, whilst still featuring the same combat abilities found in the game's exploration segments.

I regret to inform that I've been unable to track down any sales figures for Elemental Gimmick Gear. Professional reviews, on the other hand, are readily available. Critical reception appears to have been mixed. The target of the most frequent laudations seems to have been the boss battles, as critics opined that these featured superior graphics in comparison to the rest of the game and provided an appropriate amount of challenge. Further praise was directed at the various puzzles, Haruyoshi Rokudo's soundtrack, and the plot. However, at the same time, reviewers seem to have regarded the title's English translation as its chief shortcoming, to the point that they considered parts of the narration unintelligible. Also, while writers of assorted publications usually commended the game's art direction, they recurrently criticized the graphics from a more technical standpoint, arguing that they didn't fully utilize the hardware capabilities of the Dreamcast.

 

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Game No. 113

Spoiler

Title: Persona 2: Innocent Sin
Developer: Atlus
Platform: PlayStation
Release Date: June 24, 1999 (Japan)

Comment: Retaining the high school setting and themes lifted from Jungian psychology while also incorporating concepts associated with Kotodama, a belief of Japanese origins that postulates that words and names possess mystical powers, as well as entities extracted from the Cthulhu Mythos, Persona 2: Innocent Sin came to refine the gameplay elements established in its immediate predecessor. While an official translation to English was considered, it was later dropped. Sources differ as to why this decision was made; one claiming that discussions held by members of the development team had raised concerns regarding how certain design decisions would be received among American audiences, specifically the inclusion of possibilities for same-sex romantic relationships among party members and various references to Nazism; however, another argues that the primary cause for this decision was that an insufficient amount of staff was available for the task in question and that development focus had shifted towards work on a sequel, entitled Eternal Punishment. Nevertheless, a fan translation eventually saw the light of day, and twelve years later the game received an official international release on the PlayStation Portable.

The plot takes place in 1999, in a fictional city called Sumaru. You play as Tatsuya Suou, a student who attends Seven Sisters high school. At the beginning of the story, Tatsuya, his schoolmate Lisa Silverman, and a student of the nearby Kasugayama high school named Eikichi Mishina, enter a heated argument during which they are pulled into the realm of Philemon. Philemon informs the three students that they possess Personas and warns them of an impending menace in the form of rumours that manifest as real phenomenon. After regaining consciousness, the students decide to verify Philemon's claim by personally investigating a rumour which maintains that calling one's own cell phone number will summon a demon called The Joker. It turns out Philemon's assertion was accurate. What's worse, The Joker appears to know Tatsuya, Lisa, and Eikichi, and accuses them of wrongdoings they cannot remember. The demon is further angered by the students' continued denial of any earlier encounters with him and drains Tatsuya and Eikichi of their so called "Ideal Energy" using a crystal skull. After doing so, The Joker vanishes, leaving the disconcerted students to find a way to track him down.

The most immediately noticeable alteration might probably be the removal of the first-person perspective, which was used in indoor locations in previous titles, in favour of utilization of an isometric projection view throughout the entire game. Active party size has been reduced to five characters at any given time and lunar cycles have been scrapped. Introduced in this game and unique to this particular title and its immediate sequel is a Rumour system. As players encounter assorted rumours throughout Sumaru, they can attempt to spread them by enlisting the aid of a local detective agency, thereby causing them to manifest themselves across the city. These can trigger the appearance of a range of elements, including character-specific gear and previously unavailable shops. Battles are still turn-based and occur through a mixture of predetermined story events and random encounters, only this time they do not take place upon a grid of squares. All the usual combat options are present and remain largely unchanged, including weapons, items, Personas, and the ability to talk to demons. However, Personas can now perform combined attacks by utilizing the new Fusion Spells. By having two or more party members initiate specific sequences of spells, players can summon multiple Personas in a single, more devastating strike.

Sales figures for the original PlayStation version of Persona 2: Innocent Sin appear rather uncertain, as I've only been able to find statistics that are delimited to the year 1999. Nevertheless, said figures indicate sales in excess of 250,000 copies. I regret to inform that I've only been able to find three professional reviews and therefore I will refrain from making any further statements on how this game was received. That said, all reviews referred to above seem positive.

 

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Game No. 114

Spoiler

Title: Vandal Hearts II
Developer: Konami Computer Entertainment Nagoya
Platform: PlayStation
Release Date: July 8, 1999 (Japan)

Comment: The second installment in the Vandal Hearts series of tactical role-playing games is perhaps best remembered for introducing a mechanic where the player and the computer controlled opponents took turns simultaneously, without crossing the divide into real-time territory.

The game takes place in the fictional country of Natra. Players assume the role of Joshua, beginning the story during his childhood and subsequently relating events in which he partakes as an adult. During this time, Natria is plunged into a civil war fueled by foreign political interests. Joshua eventually becomes a leading figure in a group of bandits called the Red Wolves. In his travels, he makes acquaintance with a baron named Pratau, who persuades Joshua to utilize his influence in order to rally people behind the Red Wolves in an attempt to confront the other factions of the civil war and restore peace to Natria.

Navigation and presentation of various locations on the world map is reportedly handled in a manner identical to that of the game's predecessor, thereby relying on a menu system featuring pre-rendered backdrops. During the course of the plot players are presented with a number of significant decisions to make, which in turn affect which of the multiple endings one will receive. The class system has apparently been completely scrapped in favour of a mechanic where players can design individual unit builds by switching their equipped armours and weapons. Repeated use of assorted weaponry will increase a given unit's effectiveness with whatever they have currently equipped as well as bestow them with various special abilities. Of note is also that special abilities can be transferred from one weapon to another as long as they are of the same type. Armour will directly affect not only the defense rating of one's units, but also their hit points, magic points, and movement rate. Battle scenarios still utilize three-dimensional graphics for the different battlefields and two-dimensional sprites for the combatants. They are presented through an adjustable isometric projection perspective and play out upon a grid of squares on terrain featuring various height differences. The one alteration of significance would arguably be the introduction of the Dual-Turn system, in which the player and the computer controlled adversaries first issue their commands, which are then executed simultaneously.

Oddly, I haven't been able to find figures of how Vandal Hearts II fared commercially in the Japanese market. Elsewhere, the game has sold somewhere around 100,000 copies. The title appears to have been met with a generally favourable reception. Critics praised the amount of character customization that the classless system provided, the difficulty curve, which they repeatedly referred to as well-balanced, and the branching storyline, which they argued offered replay value. Nevertheless, the plot itself seems to have divided reviewers, some adding it to the list of strong points, while others criticized what they perceived as an ensemble of one-dimensional individuals who were given little to no character development. Finally, the unpredictable nature of the Dual-Turn system appears to have produced both adherents and detractors in roughly equal quantities; the main point of contention seemingly revolving around whether it contributed anything worthwhile to the tactical gameplay.

 

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Game No. 115

Spoiler

Title: Ogre Battle 64: Person of Lordly Caliber
Developer: Quest & Dual Corporation
Platform: Nintendo 64
Release Date: July 14, 1999 (Japan)

Comment: As observant readers of this thread have probably already noticed, there haven't been any entries on games for the N64 prior to this one. While I have found a handful of titles, I consider Ogre Battle 64: Person of Lordly Caliber to be the first that has attracted a sufficient body of writing to build a chronicle entry upon. I'd argue that this general absence of standout role-playing games for the N64 might at least partially be attributed to the exodus of third-party developers from consoles manufactured by Nintendo in the wake of the arrival of Sony's PlayStation, which, by the time of this particular title's release, had firmly established itself as the commercial powerhouse of the fifth generation of consoles. That said, Quest had apparently decided to make an attempt at establishing a cross-platform presence, releasing ports of the first Ogre Battle and Tactics Ogre for the PlayStation and Saturn while developing Person of Lordly Caliber exclusively for the N64. From a gameplay perspective, the developers sought to refine the mechanics introduced in The March of the Black Queen.

Taking place in the realm of Palatinius, the game has players assume the role of Magnus Gallant, a recently graduated army captain, who during his first assignments learns of the military's repressive methods in their efforts to stifle unrest among the lower social strata. When the already volatile conditions escalate into all-out civil war, Magnus decides to turn against his former masters by siding with the revolutionary forces.

As Magnus, the player is in charge of a battalion that may consist of a grand total of 50 individual troopers, which can be organized into larger units consisting of a leader and up to four additional members. Introduced in this title is the option to organize one's units into larger formations called Legions, which lets multiple units act in unison. The campaign is divided into chapters, each one a distinct mission with its own set of objectives which must be accomplished in order to advance. Objectives may range from capturing strongholds to defeating certain high-profile units. Each chapter is accessed through a world map, where players can organize their troops, train them under certain preset conditions, and get briefed on the specifics of the next mission before entering the field map, which is viewed from a top-down perspective. Gameplay on the field maps occurs in real-time, although the game pauses when players issue commands. Players start out at their headquarters, where one can exchange troops and gear between units, purchase additional equipment, and revive fallen members of units. The loss of one's headquarters result in immediate mission failure. Scattered across the field maps are strongholds that must be seized. These strongholds, when in the player's possession, offer the same services as one's headquarters. Each field map is littered with enemy units as well as neutral units that become visible when they enter a given units' field of view and can be engaged at the player's discretion. When units clash on the battlefield the game switches to an isometric projection view. Like in March of the Black Queen, these skirmishes are played out in an automated fashion dictated by one of the preset tactics the player has assigned the given unit. However, it is possible to interrupt these proceedings in order to switch tactics or issue a general retreat order. How individual troopers will perform is based upon their class and position within their unit, which one may rearrange beforehand. As before, skirmishes go on for a handful of turns, after which the unit that has dealt the most damage to their adversary or annihilated the opposing unit wins. Should Magnus perish under such conditions the game ends and the player must revert to their latest game save. The game features over seventy different character classes (not including computer controlled enemy classes) divided across male and female-specific human classes with additional classes spread out among six non-human troop types. As before, there are certain requirements individual troops must meet before they can class change, including experience level, alignment, stats, and use of certain equipment. As previously mentioned, the alignment system returns, and is tracked across individual troops. Whether one's alignment rises or lowers is primarily dictated by the relative unit alignment in relation to the enemy unit they are fighting. There are six possible endings, each dependent on one's overall alignment score.

The original N64 release of Person of Lordly Caliber has sold in excess of 400,000 copies worldwide. Critics appear to have given the game a generally favourable reception. Praise has been directed at the volumes of content it provides players with; a single playthrough has been estimated to require roughly 50 hours to accomplish. Add to this that various writers have recurrently stressed that the title's branching storyline lends itself to multiple playthroughs, a factor they argue adds further replay value. Additionally, the plot itself has received repeated laudations for its intrigue, characterizations, and handling of issues commonly associated with both politics and warfare. Further commendations have been levelled at the class system and the potential for customization reviewers maintain it offers. Nevertheless, at the same time, critics seem to agree that the game's chief hindrance in terms of commercial appeal is what they regard to be a steep learning curve, with an abundance of details to pay attention to at all times in order to effectively evaluate strategic conditions and adapt accordingly.

 

[broadbandmink]

I realize that additions of new entries have slowed down to a crawl recently, and I'm afraid it will stay that way for the foreseeable future, as I am getting increasingly preoccupied with non-gaming related activities.

That said, I will try to maintain a frequency of at least one addition a week.

 

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Game No. 116

Spoiler

Title: Legend of Mana
Developer: Square
Platform: PlayStation
Release Date: July 15, 1999 (Japan)

Comment: Bringing the series back to a Western audience, the fourth installment in the Mana series retained the core action role-playing mechanics of its precursors, while putting less emphasis on storytelling in favour of implementation of a non-linear quest structure that would allow players to influence the development of the world around them.

The plot takes place in the fictional world of Fa'Diel. Nine hundred years prior to the events depicted in the game, the Mana Tree was almost completely burnt to the ground. This sparked an armed conflict between the various inhabitants of the world, as they attempted to secure control of the remaining mana for themselves. In the aftermath of this global struggle, the Mana Tree fell into a deep slumber as it began to grow anew while the assorted realms were stored in Artifacts. At the start of the game proper, a nameless, silent protagonist (whose gender is chosen by the player) has assumed responsibility for restoring Fa'Diel.

Once again, the game is viewed from a top-down perspective. The visuals, however, are hand-drawn, lending this particular entry in the series a graphical presentation similar to that of SaGa Frontier 2. Exploration and story progression has been subjected to a major overhaul in the form of the new Land Make system. By placing Artifacts on one of the thirty six empty squares on the world map, players generate new lands to explore. Each land can contain a major quest line, various side quests, NPCs, shops, enemies, and bosses. Upon completion of all the major quests in a given area, the player is granted another Artifact that can be placed anywhere on the world map. How these artifacts are placed in relation to each other further affects each land's so called Mana Level, which in turn dictates the potency of certain magic spells therein. There are three major quest arcs present throughout the game, concluded with a final quest arc which becomes available as soon as players have completed the requisite portions of the first three arcs. Players cannot switch between party members any longer, but a second player may still join in. Experience points are still accumulated through combat and affect both the player character as well as both party members currently tagging along. Of note is that experience points are actual physical objects in this title, manifesting themselves as crystals that burst out of defeated enemies, which players must run over to obtain. I've found no mention of the class change mechanic of the preceding installment, so I'll assume it has been removed. Also, judging by the various sources I've perused, it appears The Ring Commands feature has been scrapped. As before, battles occur in real-time and the power gauge mechanic from Seiken Densetsu 3 has been retained, although abilities are tied to individual weapons rather than party members this time around. Another new and completely optional feature is a house where the player may forge enhanced weapons, armor, and musical instruments by melding pieces of equipment with assorted raw materials found throughout the game; grow fruit in an orchard tended by a sentient tree named Trent; raise pets and build golems who can fill the third party member slot; and face off against another player in an arena. Both the forge and the orchard yield different results depending on the Mana Level of the square on the world map one's house is situated upon.

Legend of Mana has sold in excess of 1.1 million copies worldwide. Professional reviews seem generally favourable, with the majority of the praise I've encountered directed towards the game's audiovisual presentation, i.e. the hand-drawn graphics, Yoko Shimomura's soundtrack, and the English translation. However, certain critics appear disappointed with the scaled back multiplayer support in comparison to Secret of Mana, and others consider a substantial amount of the various side quests to be too brief to provide players with any lasting enjoyment. Nevertheless, the most severe criticism has arguably been levelled at the lack of a major overarching plotline. As it stands, reviewers argue that the story with its three disparate major quest lines comes across as disjointed and devoid of a clearly defined central conflict.

 

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Game No. 117

Spoiler

Title: Hybrid Heaven
Developer: Konami Computer Entertainment Osaka
Platform: Nintendo 64
Release Date: August 5, 1999 (Japan)

Comment: Perhaps largely forgotten today, Hybrid Heaven is a N64-exclusive action role-playing game which incorporates gameplay elements commonly associated with action-adventure and fighting games.

The plot predominantly takes place in an underground complex beneath Manhattan, New York. Initially, players are introduced to a man named Johnny Slater who gets briefed on an upcoming assignment to assassinate the president of the United States. Before that, however, he must rendezvous with a man called Mr. Diaz who will supply him with equipment. Later, when Johnny approaches Mr. Diaz at a local subway station, the latter proceeds to shoot the former dead on the spot, causing his body to evaporate. Mr. Diaz is then dragged away by Secret Service agents to an unknown location where they descend into an underground facility by elevator. While struggling to break free of his captors, he plummets to the bottom of the elevator shaft. Escaping the shaft, he begins investigating the tunnel network ahead of him.

The game is viewed from a third-person perspective and graphics are fully three-dimensional. Exploration and game progression is reportedly relatively linear, featuring nine areas which must be explored in a preset succession. In order to proceed, players must avoid mechanical sentries and various environmental hazards whilst also solving assorted puzzles scattered throughout the complex. These sentries can be dispatched using firearms and gameplay in these exploration sections apparently follows a similar formula to that of the early Tomb Raider installments. However, the different areas are also filled with an assortment of foes of humanoid, alien, and robotic varieties, further sprinkled with different bosses, which must be tackled through the title's fighting game inspired battle system. Such battles feature a mix of real-time and turn-based mechanics, with the former in action as the combatants reposition themselves on the battlefield and charge their energy gauges. When combatants get close enough the turn-based portion of combat kicks in and both pick battle commands from a menu, one executing an offensive move and the other a defensive move. After the outcome of these commands has been displayed, the process begins anew. Offensive moves include punches, kicks and grappling moves, and depending on how well-charged the aforementioned energy gauge is, players can string together combos, either directly during a fight or by choosing from a selection of preset or self-made move sets. Different offensive moves become available depending on where one is positioned in relation to their opponent, i.e. if you attack from the front, the back, or if your adversary is currently downed. Defensive commands, on the other hand, include blocking, evading attacks, and counter moves. Furthermore, there's a chance that the player character may learn new battle commands from enemies as they execute them. Also available are various items, which can either be drawn from one's own inventory or picked up during fights which may provide assorted boosts and other temporary advantages. Finally, combatants may sustain different forms of temporary injuries that will hamper their combat performance for a shorter duration of time. How experience gathered from these fights is distributed is dictated by the extent to which one employs both offensive and defensive commands, and affects the statistical growth of each individual body part (head, limbs, and torso) according to how they are used. Gaining experience levels also improves more general attributes, such as hit points, stamina, and reflexes.

Hybrid Heaven has sold approximately 250,000 copies worldwide. Critical reception appears to have been mixed. Although reviewers seem to have welcomed the game's mix of turn-based fighting mechanics with role-playing based character progression and the cinematic presentation of its plot, the exploration segments have been repeatedly criticized for what has been referred to as stiff, unresponsive controls and a clumsy camera system, which these writers have argued aggravates rather than facilitates progress in those sections of the title.

 

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Game No. 118

Spoiler

Title: Fire Emblem: Thracia 776
Developer: Intelligent Systems
Platform: Super Famicom
Release Date: September 1, 1999 (Japan)

Comment: Although the fifth generation of consoles held sway in terms of market presence by this stage, and the sixth was in the starting blocks, Intelligent Systems was still crafting games for fourth generation hardware. Initially released as a digital download by way of Nintendo's Japan exclusive Nintendo Power service, which allowed for consumers to load game software onto special flash memory cartridges that were readable by the Super Famicom, Thracia 776 eventually received an official physical release for the same system, arguably making it the last high-profile release of that particular platform. As for gameplay mechanics, the title would retain the features introduced in Genealogy of the Holy War, while at the same time adding numerous new elements to the battle scenarios.

Still taking place in Jugdral, the plot depicts events unfolding on the Thracian peninsula. Chronologically, it is set between the fifth and sixth chapters of Genealogy of the Holy War and has been referred to as a midquel of that game. Leif, a young prince of Leonster and a recruitable character of the preceding installment in the series, serves as the main protagonist in a story that relates his efforts to restore his realm, which has been subjugated by the Kingdom of Thracia.

The story is told through twenty five chapters/missions, with an additional eight hidden chapters which can be triggered by completing secondary objectives during certain missions. The top-down perspective of prior titles remains intact. Fog of war is introduced to the series with this installment. In those chapters where this mechanic is present, torches can be used to increase a unit's field of view. However, torches wear out with each turn and must therefore be replaced with new ones in order to effectively monitor surrounding terrain. Another addition is the ability to capture enemy units and seize their equipment. Bear in mind, enemy units can also pull this off, thus forcing players to eliminate the enemy combatant responsible for capturing the friendly unit in question in order to free them. Also introduced is a future staple in the form of the Rescue command, which allows units with a sufficiently high Build stat to pick up friendlies, effectively shielding them with their own hit points. Reinstated from Mystery of the Emblem is the option to dismount cavalier units and have them fight on foot, as are the weapon restrictions that comes with doing so, as well as the automatic dismounting of these units should they be brought along on indoor missions. Unique to this entry in the franchise is the Fatigue system. As units are used in battle, a fatigue value will gradually increase. When the value exceeds a given unit's hit points, that unit must retire from battle and cannot be brought along to the next chapter. Special skills make a return, but have been subjected to various alterations and tweaks.

The Super Famicom release of Thracia 776 has sold in excess of 250,000 copies in Japan. I have only been able to find but one professional review and will therefore refrain from commenting any further on how this game was received among critics. Having said that, I will conclude this entry with a minor remark concerning the difficulty of this particular installment, which several sources cite as one of the hardest in the entire series. This has been attributed to the inclusion of the aforementioned Fatigue system in combination with numerous battle scenarios which gives the computer controlled opponents advantages in both experience levels and sheer weight of numbers. It would be interesting to hear what people with more extensive experience of games in this franchise would have to say about this issue.

 

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Game No. 119

Spoiler

Title: Front Mission 3
Developer: Square Product Development Division 6
Platform: PlayStation
Release Date: September 2, 1999 (Japan)

Comment: The first title in the main series to be developed by Square after their acquisition of G-Craft, Front Mission 3 was also the first entry in the franchise to receive an official international release, courtesy of Square Electronic Arts, a joint venture by... well, Square and Electronic Arts to publish games developed by the former company abroad.

Jumping another decade forward, the game is set in 2112 in various Southeast Asian locations. The Oceania Cooperative Union (OCU) has witnessed the emergence of several separatist movements in its member states. In an attempt to quell these uprisings, the OCU has called upon military aid from the United States of the New Continent (USN). The story begins in Japan and follows wanzer test pilot Kazuki Takemura. Depending on a decision the player must make early on, Kazuki either joins up with the USN or the People's Republic of Da Han Zhong (DHZ), the latter being a union between the People's Republic of China and Taiwan. Even though these two story routes essentially constitute separate campaigns, they both revolve around plots involving a weapon of mass destruction known as MIDAS.

Apart from featuring the two aforementioned campaign routes, plot progression is presented in a manner similar to the first two main installments, utilizing cut-scenes, a world map dotted with cities and towns, where players can prepare and outfit their units, and battle zones, where missions are carried out. Mission objectives apparently take on identical sorts to those found in the previous main entry, while the scope of individual missions has reportedly been scaled down, with players being restricted to bringing no more than four units into any given mission. The game retains the overhead perspective during the grid-based unit movement, and the more close-up ground level perspective utilized when wanzers clash. The skill progression system has been subjected to an overhaul. Instead of amassing proficiency points which can then be spent on learning assorted skills, units now gain new abilities by equipping wanzers with new modules and subsequently deploying them in battle. Upon meeting certain criteria, there's a randomized chance that a given unit may learn a new skill, which can then be programmed into the wanzer's battle computer. The Action Points system introduced in the second main installment remains, but I've found no reference to the Honor Point system that accompanied it and therefore I assume it has been scrapped. Instead, a mechanic referred to as Links is present. If two or three units have attained linkable skills and possess the appropriate weapons systems, they may perform combined offensive maneuvers. The pseudo-World Wide Web feature known as the Network returns and now also incorporates a feature called The Battle Simulator, a Virtual Reality training software which provides the player with unlimited opportunities to increase their pilots' combat proficiency and another means to gain money. Introduced in this entry is the separation of pilots from their wanzers, which presents a pair of new tactical considerations. First off, when a wanzer comes under attack there's a chance that the pilot of the targeted vehicle will be forcefully ejected, thereby providing units with opportunities to eliminate hostile pilots without further damaging the wanzers they previously occupied. Second, players can have their own pilots exit their wanzers to fight on foot and/or assume control of other wanzers on the battlefield. Another new feature comes in the form of possibilities of having enemies surrender when they deem combat conditions particularly adverse (e.g. they've lost the ability to retaliate against incoming attacks). Surrendered wanzers can be commandeered by one's own pilots, sold, or stripped of modules for distribution among the player's units.

Worldwide sales figures for the original PlayStation version of Front Mission 3 exceed 500,000 copies. Professional reviews appear generally favourable, with critics praising the game's plot and lasting value, the latter recurrently attributed to its two campaign routes, each filled with an amount of content that when combined has been estimated to require over one hundred hours of time investment to fully cover. However, the title's graphics were, at the time of its original release, repeatedly criticized by reviewers as lackluster; a shortcoming they commonly ascribed to the PlayStation's aging hardware.

 

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Game No. 120

Spoiler

Title: Wild Arms 2
Developer: Media.Vision & Contrail
Platform: PlayStation
Release Date: September 2, 1999 (Japan)

Comment: Released on the same day as the above entry in this chronicle, Wild Arms 2 was jointly developed by Media. Vision and Contrail, the latter of which had previously worked on Legend of Legaia.

Still taking place in Filgaia, where an event known as the Blaze of Disaster tore through the lands a millennium prior to the start of the game's plot. Brought about by a demon called Lord Blazer, numerous challengers arose in futile attempts to thwart him. But eventually, a girl equipped with a magic sword called Argetlahm presented herself and managed to best him in combat. Yet she was unable to slay him, and therefore sacrificed her own life in order to seal Blazer away. Despite her triumph, the girl's name was eventually forgotten, and instead she became known as the Sword Magess. Players are cast in the role of Ashley Winchester, a teenage gun warrior enlisted in a military formation operating around the town of Meria, who bear witness to an attempt to resurrect Lord Blazer by an organization known as Odessa. Ashley and comrades are as a result possessed by demons. After liquidating all of his companions, he secures Argetlahm, which had been brought to the resurrection ceremony. Upon touching the sword, he comes face-to-face with his internal demon, Lord Blazer, and the blade's former wielder, the Sword Magess. He is able to subdue Blazer, although only temporarily, and subsequently heads back to Meria. Shortly thereafter, Ashley receives a proposal from a stranger named Irving to join a band of fighters named ARMS (Agile Remote Missions Squad). Accepting Irving's offer, he is later introduced to the other members of the group. Among them, two future travel partners: Lilka Eleniak and Brad Evans; the former a sorceress in training, the latter an ex-soldier now pursued for war crimes. Irving wishes the trio to put a stop to Odessa, which he argues poses a threat to the entire world. And so, the three sets out to further investigate the activities of the organization that had attempted to resurrect Lord Blazer.

As was the case in the previous installment, the game is viewed from two perspectives. Exploration segments are presented with a rotatable isometric projection perspective featuring two-dimensional sprites for characters and three-dimensional environments. Game progression appear largely unaltered to that found in the first title. One travels the overworld, visits towns and dungeons, purchase equipment, and solve various puzzles using character-specific tools. Likewise, battles mechanics seem to be kept in a generally unmodified state, as they are still presented through three-dimensional graphics, occur through random encounters, and play out in a turn-based fashion. The "response" stat still dictates the order by which combatants act. While the game features six party members (Ashley included), one is restricted to three characters during combat, although the player is able to switch between active members in mid-battle. Once again, each playable character comes with an assortment of special abilities which can be utilized to give the party an edge in fights.

The original PlayStation version of Wild Arms 2 has sold in numbers exceeding 650,000 copies. Contemporary as well as retrospective reviews appear mixed. While contemporary critics cited the soundtrack (composed by Michiko Naruke), puzzles, and mechanics for character customization as strong points, retrospective examiners shifted praise towards the battle system and the sheer amount of content the title has on offer, estimated to require over fifty hours to fully exhaust. However, both contemporary and retrospective reviewers seem to exhibit a divide in terms of their views in relation to the plot. Its detractors recurrently point to the seemingly universally panned English translation as the main problem, as they commonly assert it makes parts of the narrative incomprehensible, but there are also those who argue that even with a stellar translation the story is weighed down by inconsistent shifts in dialogue tone, alternating between what has been described as solemn and loopy. On the other hand, its adherents make no such remarks, with one editor even outright embracing these ostensibly jarring shifts. Contemporary critics also seem to have reached no consensus regarding the whether they found the central characters memorable or not, while retrospective reviewers appear to disagree on the perceived difficulty of the assorted puzzles. Finally, while both contemporary and retrospective examinations have repeatedly criticized the sound effects department for being underdeveloped, it seems as though contemporary publications have levelled a greater amount of disapproval towards this game; the most frequent of which appear to stem from the lack of new features in various aspects of gameplay and its graphical presentation, with further dissatisfaction aimed at a reportedly low level of combat difficulty, which has been argued to present little challenge to veteran players of the genre.

 

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Game No. 121

Spoiler

Title: Threads of Fate
Developer: Square Product Development Division 3
Platform: PlayStation
Release Date: October 14, 1999 (Japan)

Comment: A possibly somewhat forgotten entry in Square's massive catalogue, Threads of Fate is an action role-playing game containing certain platforming elements.

The plot follows two individuals whose paths intertwine as they both search for an ancient relic called Dewprism, albeit for different reasons. One seeks to resurrect a friend who was killed by a hostile creature, the other wishes to reclaim a royal throne lost to a sibling.

At the start of the game, the player must choose which of the two protagonists they wish to play as. However, in order to experience the full plot one must complete both story arcs. The game is viewed from an overhead perspective and features fully three-dimensional graphics. Gameplay is reportedly heavily combat oriented. The two playable characters offer different play-styles. Rue is able to transform into defeated enemies and can store four enemy forms for quick transformation at any time. In human form, Rue can also engage opponents with a blade called Arc Edge. Mint on the other hand relies on magic spells to combat various foes. These spells come in seven different elements, and most of these can be deployed in just as many configurations, thus presenting players with thirty five different spell combinations. Mint's alternate offensive methods consist of kicks. While one apparently does not raise levels in this title, there are four stats to improve: Hit Points, Magic Points, Strength, and Defense. These can be raised by procuring certain items, or in the case of Hit and Magic points, by receiving a comparatively high amount of damage in combat and by frequent use of magical abilities.

In yet another unexpected reverse, I haven't been able to locate sales figures for Japan for Threads of Fate. However, in addition to North American statistics, I have managed to find import figures for the European market (where the title has yet to receive an official release). Anyway, these partial numbers for the original PlayStation version exceed 200,000 sold copies. Contemporary critical reception appears to have been mixed. While the game's English translation has received widespread praise, little else seems to have been agreed upon. For starters, the perceived simplicity of platforming challenges and combat mechanics has been referred to as both chief strengths and weaknesses of gameplay, some arguing that these factors contribute to a fast-paced and straightforward experience, while others contend that it quickly descends into repetitiveness. Furthermore, the length of the game, estimated to take roughly twenty five hours to complete given that one finishes both story arcs, has apparently divided reviewers in terms of whether they deemed it sufficiently lasting. Nevertheless, the most severe criticism seems to have been leveled at the plot, which detractors have considered to lack in surprises. However, retrospective assessments appear to have shifted in the title's favour. In addition to echoing the sentiments expressed above towards the English translation, they have repeatedly maintained that the relative simplicity of combat and platforming mechanics constitute major contributing factors in making the game especially suitable for beginners of the genre.

 

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Game No. 122

Spoiler

Title: Saiyuki: Journey West
Developer: Koei
Platform: PlayStation
Release Date: November 11, 1999 (Japan)

Comment: Loosely based on the 16th century Chinese novel Journey to the West, Saiyuki: Journey West is a tactical role-playing game that makes extensive use of mythological material found in Buddhist and Hinduist traditions.

The story relates the journeys of Sanzo, a Chinese Buddhist practitioner bearing a gender of the player's choice, who has set out on a pilgrimage that will eventually extend as far as India.

The game is viewed from a rotatable isometric projection perspective and renders characters in two-dimensional sprites, while backgrounds are presented in three-dimensional graphics. Gameplay has been described as a cross between Final Fantasy Tactics, Tactics Ogre, and Vandal Hearts. Game and plot progression is performed by traveling across a world map consisting of multiple interconnected points. Although there are branching paths present, most points are reportedly situated along a predominantly linear trail. New additions to the party roster are added as players progress throughout these points, each adding their own sets of abilities. These abilities are in turn tied to five elements: earth, fire, metal, water, and wood. The elements work according to a rock-paper-scissors pattern in their relation to each other. Each character is particularly adept with one element, but can improve their proficiency with the others by making use of spells of the corresponding element. Improving said proficiencies also raises a given party member's elemental defense against offensive spells of that particular element, while it also allows for usage of increasingly sophisticated spells of the same element. Aside from the main quest, there are also side quests to pursue, dojos to train one's party in, and a card game in which players can win medals that subsequently can be exchanged for valuable gear. Battles are turn-based and occur on the aforementioned points scattered across the world map. Movement is conducted upon a grid of squares and the order by which individual combatants act is dictated by their speed attributes. Players may bring up to six characters into any given skirmish. Sanzo possesses the ability to summon guardian spirits to aid the party in battle. Other party members, on the other hand, are all integrated into the so called Were system. Each character has an alternate form they can transform into in order to gain more potent abilities. However, should a given character suffer a sufficient amount of damage or deplete their Were-gauge they will revert to their original form. By executing successful attacks, party members gain experience points and raise their levels, thereby improving their stats. By gaining swift victories in battle, the game also awards the party with extra Were-experience, which in turn works towards extending the Were-gauges of the various members.

Surprisingly, sales figures relating to the Japanese market have yet again eluded me. That said, I have once more found European import figures to go with the North American sales statistics. Yet, these partial numbers for the PlayStation release of Saiyuki: Journey West only amount to roughly 50,000 sold units. The greater majority of reviews I've found are retrospective, which in all probability can be attributed to the title's relatively late arrival onto the North American market. Even so, these appear generally favourable, with critics expressing their approval of the developer's choice of source material and adaptation of it into a playable experience. Further praise has been directed at the characterizations and the English translation. Yet not every facet of the title was met with similar enthusiasm. Reviewers have repeatedly considered the graphics to have been dated upon its North American release, and concerns have been raised that the game lacks the necessary level of challenge to maintain interest of players accustomed to more strategically demanding tactical role-playing games.

 

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Game No. 123

Spoiler

Title: Chrono Cross
Developer: Square Product Development Division 3
Platform: PlayStation
Release Date: November 18, 1999 (Japan)

Comment: Even though it was released only a month after the development division's previous title, work on Chrono Cross had commenced shortly after the release of Xenogears in the previous year. Utilizing characters, plot elements, and themes from Radical Dreamers, a companion piece to Chrono Trigger released exclusively for the Japanese market by way of the Satellaview add-on for the Super Famicom, Hiromichi Tanaka, Chrono Cross' producer, and Masato Kato, its director and scenario writer, has described the game as an indirect sequel to the aforementioned side story. While the developers actively sought to establish links between the settings of Trigger and Cross, they nevertheless decided to scrap the time travel mechanic of the first game in favour of a gameplay element that would involve travel between parallel dimensions.

The story follows Serge, a teenager and an inhabitant of the fishing village Arni situated in the El Nido Archipelago. When he accidentally enters a parallel dimension, he makes the somewhat depressing discovery that in this alternate reality he has been dead for ten years, leading him to set out on a quest to find out more about this chronological contradiction. Shortly thereafter, he encounters a female thief named Kid who's currently searching for a relic called the Frozen Flame. They decide to team up in their respective endeavours, journeying across the archipelago in a cross-dimensional fashion while recruiting new party members as they go. However, there are evidently those who do not take kindly to their explorations, and the party soon find themselves stalked by an individual known as Lynx.

Many gameplay features present in Chrono Trigger have been carried over, although there are certain key differences. For starters, the playable ensemble has been expanded to forty five characters. The game is viewed from a top-down perspective when one is travelling the overworld, and switches to a more up-close overhead view when players enter towns, dungeons, and other smaller locations. Regardless of which of these segments one explores, characters are rendered in three-dimensional models against pre-rendered two-dimensional backdrops.

As mentioned above, the time travel mechanic present in Chrono Trigger has been replaced by a feature entailing travel between dimensions. This component is of central importance for multiple facets of gameplay, including character recruitment, story progression, and acquirement of assorted items. While most forms of equipment can be bought in stores, weapons and armour are an exception, as players are required to first gather the necessary materials and then present them to a blacksmith in order to have them fashioned into the desired gear for a fee.

The Tech system of the original title has been complemented with the new "Elements" system, which shows certain similarities to the Materia system in Final Fantasy VII. This mechanic governs all spells, consumable items, and special abilities (the aforementioned Techs). These Elements come in six colour coded types, further divided into opposing pairs that are especially effective against each other (e.g. black/white). Both party members and enemies are linked to one specific Element, thereby strengthening their abilities with that particular type, while also weakening them against its opposing Element. Elements can be bought in shops or looted from chests and the like. Once obtained, they can be allocated to a selection of slots unique to each character. One should bear in mind, though, that Elements come in eight tiers and therefore they must be allocated to a correspondingly tiered slot of the party member one wish to assign them to.

Yet again, the battle system is turn-based and features no random encounters. Once again, enemies are exclusively found in smaller locations and are fully visible on-screen. By contrast, this time around fights are actually depicted in a separate battle screen, bearing a noticeable resemblance to those found in contemporary Final Fantasy titles, while elements associated with the Active Time Battle system, such as the time gauge, has been discarded. Also of note is that backgrounds are rendered in three-dimensional graphics during such encounters. Battles feature a stamina bar for each character which determines what actions they can perform during their turn. Actions reduce the bar by a certain amount, so in order to regenerate stamina points party members must either take a defensive stance or wait for their companions to perform actions. Should their Stamina fall below the value of 1 they lose a turn. Another new feature of combat is the so called "Field Effect" icon, which keeps track of the three most recently employed Elements during a given encounter. Should this icon be filled with a single colour, the corresponding Element will have its power enhanced, while the opposing Element will have its effectiveness reduced; this is also a prerequisite for calling forth Summons. A returning aspect of the original battle system can be found in a mechanic that allow party members to combine some of their special abilities in order to dish out more potent attacks. Of further note is that characters are required to land a series of successful blows onto an adversary before they are allowed to use elemental spells. Additionally, this title features an unusually generous Flee option, as players are not only able to escape standard encounters, but also boss fights and apparently even the final confrontation.

Character progression is handled in a relatively unconventional fashion. There are no experience points to accumulate. Instead, when the party emerges victorious from battles the currently active members receive a number of attribute and stat boosts. These are handed out a handful of times, after which their abilities remain static until the party defeats a boss enemy. Such a victory nets the party a star to the status screen and allows them to receive further boosts for a number of battles, thus necessitating players to seek out various bosses in order to strengthen their party members.

Finally, the New Game Plus feature makes a return, allowing one to start over with intact attributes and stats; Elements and special abilities; and party members along with all their non-plot related gear, while also enabling access to twelve different endings.

The PlayStation release of Chrono Cross has sold in excess of 1.8 million copies, and that includes import figures amounting to over 400,000 units on the European market, where the game has yet to see an official release. Contemporary reviews appear to have been positively glowing. Comparisons to Chrono Trigger abound, yet both contemporary and retrospective critics seem to agree that the title is a worthy successor to the original. Contemporary reviewers appear to have held the plot in especially high regard, although the battle system also has been met with widespread approval. Other recurring targets of commendations include the visuals, specifically the cut-scenes, the soundtrack (composed by Yasunori Mitsuda), and characterizations of the numerous cast members. A few critics also mentioned the English translation and the game's perceived replay value in positive terms. However, the sheer amount of potential party members available for recruitment appear to have divided early reviewers, some arguing that since they cannot all be recruited in one playthrough, they add to the aforementioned replay value, while others contend that character development of assorted party members suffers as a result. Retrospective inspections, on the other hand, while still generally favourable, seem to exhibit a marked drop in enthusiasm for certain facets of gameplay. But let's begin with those aspects that appear to have been well-received. Overall, latter day critics seem to consider the graphics to have aged well; the soundtrack appears to be the subject of nearly universal praise; and the New Game Plus feature has been frequently cited as providing the game with ample replay value. Echoing early reviews, the battle system has met with lasting approval. Still, while the plot and characterizations still definitely seem to have their adherents, the detractors appear to have increased among professional reviewers as the years have passed. Yet again, the quantity of recruitable party members has oft been referred to as the chief cause for members of the latter group's disapproval, with some even going so far as to claim that it intrudes upon the pacing of the narrative. Lastly, the title has also received the occasional criticism for lacking a suitable challenge for seasoned veterans of the genre.

 

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Game No. 124

Spoiler

Spoiler

Title: Pokemon Gold and Silver
Developer: Game Freak
Platform: Game Boy Color
Release Date: November 21, 1999 (Japan)

Comment: By the time the second generation of Pokemon games were being shipped for release, the franchise had transformed into a multimedia phenomenon, encompassing an animated television series, a trading card game, and various toys as well as other merchandise. Although postponed by assorted issues encountered during development, redirection of staff members for work on Pokemon Stadium, and the process of localizing the first generation of titles, Gold and Silver were unleashed during what might very well have been the height of the Pokemon craze. Introducing a new region replete with new Pokemon to catch, the games retain the trade aspect, not only between editions, but across the generational gap towards the older installments as well. In addition to enjoying a strong reception among critics, Gold and Silver amassed sales in colossal figures, eventually becoming the best-selling games of the Game Boy Color. A year later, an updated edition entitled Pokemon Crystal, which introduced the option of playing as a female Pokemon trainer, arrived on the market.

Set three years after the first generation and taking place primarily in the Johto region, which reportedly is based upon Japan's Kansai and Tokai regions, the premise of the plot of the second generation of Pokemon games appears largely identical to that of Red and Blue. Yet again, players are cast in the role of a young aspiring Pokemon trainer, whose name they may decide themselves, this time hailing from the small municipality of New Bark Town. The resident Pokemon researcher, Professor Elm, summons the trainer to pick a starting Pokemon. Players may choose between Chikorita, a grass type; Cyndaquil, a fire type; and Totodile, a water type. Setting out to catch additional Pokemon and battle other trainers in a pursuit to enter the upper echelons of the regional Pokemon League, players once again have to deal with a recurring rival, this time in the form of a thief of unknown origin, and the persistent meddling of Team Rocket.

The core gameplay of the first generation of games has been kept in a largely unaltered state. Once again, during exploration the various environments the game is viewed from a top-down perspective. Additionally, the mechanics relevant to catching, battling and evolving Pokemon remain unchanged. However, some elements have undergone tweaks and there are also noteworthy additions to the formula that will be elaborated upon below.

The roster of available Pokemon has been enlarged with an addition of one hundred different creatures, thus presenting players with a grand total of 251 Pokemon to catch. As with the previous generation of games, the different versions feature a number of unique Pokemon, thereby necessitating trade with other players in order to complete the Pokedex.

A clock is introduced that governs the newly implemented day-and-night cycle, as well as keeps track of what day of the week it currently is in-game. This feature exerts an influence over assorted occurrences, including the appearances of certain Pokemon in the wild. Further additions include the ability for Pokemon to hold onto certain items, which in turn may confer various benefits to the Pokemon in question. Also introduced are a number of specialized Poke Balls that are meant to facilitate catching of Pokemon under specific conditions. Another new feature comes in the form of the so-called Pokegear which include: the aforementioned clock; a map of Johto; a radio that, among other things, can provide gameplay tips; and a phone. The latter can be used to contact certain NPCs, but also allows NPCs to reach the player character in order to challenge him/her to a battle or to report rare Pokemon sightings.

Of significance to the battle dynamics is the incorporation of two new types of Pokemon: Steel and Dark types. In addition to this, the battle effectiveness of previously available types vis a vis each other has been modified, and a handful of moves and two Pokemon have had their types altered. Furthermore, adjustments have been made to the attributes of the various Pokemon. More specifically, the Special attribute has been split into Special Attack and Special Defense, a factor well worth considering when it comes to party composition. There's also two new categories of Pokemon present, Shiny Pokemon and new examples of Legendary Pokemon. The former come in different colour combinations than their more common counterparts and are apparently exceptionally rare, while the latter, in contrast to the Legendary Pokemon of the first generation, do not appear in a single fixed location, are able to run away, and can be approached multiple times in attempts to catch them. Another exceedingly rare feature introduced with this generation is the Pokerus, a beneficial virus that may infrequently (according to Bulbapedia, 1 in 21,845 encounters..) infect one's Pokemon and bestow them with experience bonuses in battle.

Yet, the perhaps most major addition to gameplay might be a feature which lets players breed Pokemon. There are sixteen egg groups, among which all Pokemon are divided. When a male and female who both share one or two egg groups are left at a Pokemon Daycare, they may bring about an offspring, who will inherit its mother's species and its father's moves. But, one should bear in mind that some Pokemon are part of groups that can't breed at all.

As a final note, once players have finished the main quest in the Johto region, the Kanto region from the first generation becomes available, holding additional challenges to master.

Pokemon Gold and Silver have sold over 23 million copies worldwide. If we take the sales figures of the Crystal version into consideration, quantities fall just short of the 30 million mark. Contemporary and retrospective reviews appear consensual in terms of the nearly unreserved praise they heap upon these games. Both early and latter day critics seem to perceive the sheer amount of content present within the games, courtesy of the many Pokemon to find, two regions to explore, and numerous side quests, as their chief strength. Estimates on how long it would take for a dedicated player to fully exhaust all the titles have to offer vary, but lower approximations appear to settle around sixty hours of time investment. Nevertheless, the games do not completely escape criticism. At least one critic took issue with the various tweaks made to the various Pokemon types, arguing that while they corrected the overall superiority of the Psychic type, they also further downgraded the effectiveness of other types. The same reviewer also seems to regard the Steel and Dark types as carelessly implemented, maintaining that they boast unfair advantages against other types and consequently prevents the main quest from presenting seasoned players with any noticeable challenge. That said, in an overall perspective, video game journalists seem to consider the second generation of Pokemon games an improvement over their predecessors due to the assorted elaborations upon the gameplay foundation laid with the initial titles.

 

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Game No. 125

Spoiler

Title: Growlanser
Developer: Career Soft
Platform: PlayStation
Release Date: November 25, 1999 (Japan)

Comment: Having concluded their work on the Langrisser series (at least for the next seventeen years), Career Soft decided to create a spiritual successor in the form of Growlanser, a PlayStation-exclusive tactical role-playing game with gameplay mechanics similar to those of its progenitors.

The plot follows Carmaine Fallsmyer, a young man living in the city of Rosaria, the capital of the fictional kingdom of Rolandia. An orphan, Carmaine has been raised by Lady Sandra, Rosaria's palace magician. As he comes of age, Carmaine is allowed to leave Rosaria. He enlists in the army and eventually becomes an officer for the King of Rolandia. By doing so, he is drawn into political conflicts between the realms of Rolandia, Burnstein, and Ranzack.

Any further information on this game is rather hard to come by. Sales statistics appears to be nonexistent, and I have found but one (positive) review. That said, the little I have gleaned regarding actual gameplay is this:

Battles reportedly take place directly on both the overworld map and smaller locations, such as cities, castles and dungeons. The title features battle mechanics that apparently works similar to the Active Time Battle-system of the Final Fantasy series, although this one is called the Real-Time Mission Clear System. There are assorted characters to recruit, and one's active party may consist of Charmaine with four additional characters at any given time. The character progression system gives players ability points to spend on their units when they gain experience levels. These can be invested in various skills and magical spells. Carried over from the Langrisser series is the mechanic which involves an assortment of romance opportunities for the protagonist to pursue throughout the course of the campaign. As was the case in the Langrisser games, the decisions made by players during these segments affect what ending one receives.

That's it. Considering the scarcity of information, I'd welcome any further input from people who've actually played the title in question.

 

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Game No. 126

Spoiler

Title: Valkyrie Profile
Developer: tri-Ace
Platform: PlayStation
Release Date: December 22, 1999 (Japan)

Comment: Ending our coverage of the 90s in this chronicle is Valkyrie Profile, a role-playing game permeated with concepts, figures, and locations that trace their origins to Norse mythology.

Taking place in Midgard and Asgard, the story is told from the perspective of Lenneth, a recently awoken valkyrie who has been tasked by Odin and Freya with recruiting fallen warriors to aid the Aesir in their upcoming confrontation with the Vanir at Ragnarok. During her travels, Lenneth will come to learn more of not only her various companions and their past lives, but also of her own existence prior to becoming a valkyrie.

Gameplay has Lenneth flying across an overworld map of Midgard, exploring assorted towns and dungeons while looking for potential candidates to serve as einherjar. While traversing the overworld the game is viewed from a third-person perspective utilizing two-dimensional character sprites amidst three-dimensional landscapes, but upon entering towns and dungeons the visual presentation shifts to a side-scrolling perspective against pre-rendered backgrounds. Also, when entering various human settlements, Lenneth alters her appearance in order to blend in with mortals.

The aforementioned einherjar all come with a stat called Hero Value, which determines their usefulness in aiding the Aesir in Asgard. In order to raise this value, the character in question must be properly trained in combat. There are six character classes present: light warrior, heavy warrior, samurai, lancer, archer, and mage. Corresponding to these are just as many weapon types: light sword, heavy sword, katana, lance, bow, and staff. Most companions can only use weaponry tailored to their preset classes, while Lenneth can use both swords and bows. It should be noted that some weapons can have their durability exhausted and thus break.

Dungeon exploration contains elements of platforming and puzzle solving. By utilizing platforming staples such as jumping and sliding, Lenneth can overcome various physical obstacles. She also comes equipped with ice crystals which can be used to snap freeze various enemies and produce makeshift pathways in order to reach otherwise inaccessible areas.

Plot progression is divided into eight chapters, each with their own quest lines. Each chapter is further divided into periods, whose numbers increase on higher difficulty levels. Visiting towns, dungeons, and recruiting companions deplete these, thus encouraging economical use of available periods. Upon completion of a chapter, Lenneth's progress is evaluated by Freya according to certain criteria the goddess set up at the beginning of the chapter. In addition to the above mentioned Hero Value, these may include requests for einherjar of specific classes or in possession of particular abilities. Depending on how Freya appraises Lenneth's efforts, she may bestow a reward upon the player in the form of so called Materialize Points, that can be converted into assorted gear. The previously mentioned difficulty levels all come with different quests, companions, and endings.

Battles are turn-based, may include up to four team members (including Lenneth), and occur in dungeons by physically colliding with various enemies. Should the player be the one to initiate contact with the foe in question, a first strike advantage may be gained. However, the same advantage could be won by enemies who successfully approach the player character. While the computer controlled opponents attack individually, the currently active party members players have chosen to bring into battle can combine their strikes during a single turn. While melee and ranged fighters may attack up to three times during a single turn, mages have to wait for their so called Charge Time to decrease in order to cast spells. By stringing together attacks, the party may obtain items that increase the amount of experience points earned and reduce Charge Time. Chaining together strikes also add to the so called Hit Gauge, which once filled, allows party members who have contributed to its filling and who are equipped with appropriate weapons to unleash a special attack which deals considerably more damage than standard strikes. It is further possible to refill the Hit Gauge a second time by employing an attack of this kind, thereby letting another character perform a similar assault. Keeping Lenneth alive is of critical importance, as it is by her powers the assorted einherjar are kept in existence. Should Lenneth fall in combat, players have three turns to resuscitate her before the battle is automatically lost. Combat experience is divided between currently active party members, but experience received through exploration can be distributed among all recruited characters as the player see fit.

The original PlayStation version of Valkyrie Profile has sold in excess of 800,000 copies worldwide. Retrospective reviews dominate in terms of sheer numbers of articles available, but I still find the amount of contemporary examinations from various publications to be sufficient in order to comment upon how the title was received critically at the time of its original release. Contemporary critics appear to have given the game a favourable reception, with especial praise directed at the graphics and the battle system. Further lauded aspects include the backstories of the assorted einherjar one recruits during the course of the game, the English translation, and additional content provided by the different difficulty levels, the latter of which has been argued to increase replay value. However, certain reviewers have taken issue with the dungeon designs, maintaining that the side-scrolling two-dimensional approach coupled with their sheer size and numerous doorways to enter makes navigation an unnecessarily maze-like experience. Further criticism has been levelled at the chapter and period system, as writers have opined that it imposes a time restriction upon gameplay that discourages exploration in favour of level grinding and stat boosting. Retrospective reviews seem to remain comparably approving, echoing the commendations directed at the battle system, while also expressing approbation towards the plot and audio department. However, how well the graphics have aged appears to be a contested issue among these latter day critics, and objections have been raised about sudden difficulty spikes during certain segments of the game, apparently even occurring on the lowest difficulty level, with boss battles being pointed out as the worst offenders in this regard.

 

[broadbandmink]

Game No. 127

Spoiler

Title: Vagrant Story
Developer: Square Product Development Division 4
Platform: PlayStation
Release Date: February 10, 2000 (Japan)

Comment: At the turn of the millennium, Square had arguably attained a (unofficial) position in which they acted as the face of Japanese role-playing video game development from a commercial standpoint. At least among Western consumers. Although the latter half of the 90s had seen the company release a relatively ample amount of titles, it didn't show any visible indications of slackening the frequency of new offerings. First out of the gate was the critically acclaimed Vagrant Story, an action role-playing game developed by the staff who had previously worked on Final Fantasy Tactics, and the second game to take place in the Ivalice setting. The developers reportedly had to struggle with the original PlayStation's hardware limitations in order to maintain a solid frame rate throughout the game, but in terms of gameplay design they apparently had more room to maneuver, as it contains exploration mechanics more often found in platform games whilst also eschewing a pair of role-playing game staples.

Set in the city of Lea Monde in the realm of Valendia, players are cast in the role of Ashley Riot, a so called Riskbreaker, who has ventured to Lea Monde in his search for information that may link a leader of an obscure cult to Duke Bardoba, a member of the Valendian Parliament.

The game is viewed from a third-person perspective, with an option to switch to a first-person perspective, and graphics are entirely three-dimensional. While navigating through Lea Monde and the catacombs beneath it, Ashley is able to run, jump, and move various objects in order to make his way past assorted obstacles. There are no NPCs or shops to interact with. Instead, there are specific workshops where players can fashion weapons and armour from various materials found in different areas. Weapons come in numerous forms, divided into three damage types: blunt, edged, and piercing. Materials used in crafting determine a given weapon's durability. Furthermore, weapons can be dismantled and reassembled with new parts in order to improve their stats. One can also imbue them with gems, thus providing gear with additional beneficial properties. Moreover, armours and weapons can be merged, potentially creating a new piece of equipment in the process. As weapons are used against particular enemy types, they will gain affinity towards the enemy type in question. However, should the same weapon be used against another enemy of a different type, it will lose its affinity against the former enemy type in favour of the latter. Likewise, armour gain affinity towards the enemy types which have subjected it to the most frequent attacks. Battles play out in real-time and have been compared to those of Parasite Eve. Upon initiating an attack command, a spherical wire frame shows up. Every enemy body part within this sphere can be effectively targeted. In addition to standard attacks, there are so called Chain Abilities, a combo system which lets players chain together strikes of various kinds by proper timing of button presses. Mirroring these are Defensive Abilities, which work in the same way, although they (wait for it...) enhance defense. Break Arts is another offensive ability which basically improves damage dealt while imposing hit point penalties upon the player character. Magic spells are gained through grimoires dropped by certain enemies upon defeat and function as they commonly do in other role-playing games, providing offensive, healing, and status affecting abilities, but also serve to strengthen Ashley's affinity towards specific elements and enemies. While offensive spells cannot be chained, there are spells available that can hit multiple opponents simultaneously. Further layering the combat system is a mechanic called Risk. As Ashley executes attack commands, a bar representing Risk accumulates, lowering the accuracy of his future strikes and his defense rating, while also increasing chances for critical hits and hit point restoration. Note that both Chain and Defensive abilities fill the Risk bar significantly faster than standard attacks, while Break Arts do not affect the bar at all. Finally, the game incorporates a New Game Plus feature. Upon completion of the game, players can restart with their gear, items and stats intact. This also gives access to a new area in which tougher enemies and even better equipment can be found.

Worldwide sales figures for the original PlayStation release of Vagrant Story exceed 850,000 copies. Both contemporary and retrospective reviews appear to heap praise upon the game and its contents. Early as well as latter day critics seem particularly enthusiastic about the plot and its presentation, which has repeatedly been referred to as cinematic. Furthermore, critics have recurrently cited this particular title as one of the most visually advanced on the platform. Additionally, contemporary critics have lauded the sound effects, while both early and retrospective reviews have mentioned Hitoshi Sakimoto's soundtrack in positive terms. Also, while contemporary writers have commended the crafting system and its role in character customization, latter day reviewers have emphasized their fondness for the battle mechanics; more specifically, the Risk system and how it balances advantages and restrictions in combat. Nevertheless, certain aspects of the game have caused disputes among examiners, especially those who reviewed the game at the time of its original release. Some of these have noted that the title can be beaten in less than ten hours, arguing that it diminishes its longevity. Still, others have pointed to the New Game Plus feature, maintaining that it adds sufficient replay value to offset this issue. Similarly, early critics appear divided on the merits of the battle system, some echoing the above mentioned favourable sentiments regarding the Risk system, while others speak of its reliance on proper button timing as a tedious exercise in repetitiveness. But despite these disagreements, Vagrant Story's reputation among video game journalists seems largely untarnished, as the game is frequently pointed out as one of the premier contributions in its genre to the original PlayStation's catalogue.