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Not so Final Fantasy – ‘FFXI’ and the Series’ First Foray into MMO Territory

Whatever way you look at it, Final Fantasy XI marks a turning point for the series. Not just because it was the first Final Fantasy MMO, but because of the influence it’s had on traditional single-player entries like XII, the XIII trilogy, and XV more recently.

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Not so Final Fantasy is a tri-weekly column dedicated to all things Final Fantasy; from specific aspects of specific titles, to the universal features that set Square Enix’s inimitable JRPG series apart from the rest.

On 31 March 2016, almost fourteen years after the game first released in Japan, Final Fantasy XI’s PS2 and Xbox 360 servers were shut down for good.

Fortunately for those who still maintain an interest in this venerable old MMO, it remains playable on PC to this day; receiving regular patches to keep the game running smoothly for its loyal fanbase. And yet, despite XI’s impressive longevity, I must confess, I’ve never actually played it.

Not because I didn’t want to, mind. Though initially sceptical about Square’s decision to abandon the series’ single player roots – temporarily, of course – the more I learned about the game, the more excited I became. Until, that is, I discovered it required a monthly subscription. Admittedly, I could have covered the cost using the earnings from my weekly paper route, but that would have left me short on money for Pokémon cards and sweets. Similarly, I could have sought help from the bank of Mum and Dad, but I couldn’t, in good conscience, expect my parents to fork out each and every month for this one title alone. Upon this realization, my visions of conquering the vast, picturesque landscapes of Vana’diel slowly faded.

What’s the point of this article, then, if I’ve no first-hand experiences on which to reminisce? Well, obviously this won’t be a normal retrospective. Instead, using my knowledge of the wider series and the treasure trove of Final Fantasy XI-specific information available on the net, my aim is to consider how and why Square Enix’s first foray into the MMO genre achieved the level of success it did and, more importantly, to show some love to a game that perhaps doesn’t get the recognition it deserves.

Possibly the biggest hurdle it had to overcome at the time was proving to long-time series aficionados, myself included, that, despite the drastic change in direction, XI was still very much a Final Fantasy game. And it really is. Flush with numerous features and series tropes even casual fans couldn’t fail to recognize, XI displays a commendable reverence for the past.

First and foremost, as with all good Final Fantasy titles, it’s anchored by a strong central narrative. With the peoples of the world facing extinction at the hands of a seemingly irresistible force – in this case represented by a pantheon of capricious deities rather than a maniacal court jester or a time-manipulating sorceress from the future – it falls to the player and his/her band of fellow adventurers to neutralize this divine threat and return peace to the world. Along the way, the player encounters a familiar cast of colorful NPCs, evocative locations, colossal fauna, and yes, even the odd magically-infused crystal; accompanied by another sumptuous soundtrack arranged by legendary composer Nobuo Uematsu.

Pretty much par for the course in terms of setup, easing the player into this strange new world with the tenderness of a mother. Nevertheless, being a shared-world environment, I can only imagine playing through this welcomingly familiar narrative feels slightly different from other Final Fantasy games. At the end of the day, each individual player’s centrality to the events of the story is entirely subjective. So, while they may be integral to the plot from their own perspective, as far as the other inhabitants of Vana’diel are concerned, they’re just another potential ally. The Yuffie to their Cloud. But that doesn’t necessarily make it a jarring or inferior experience.

Yes, seeing countless other adventurers undertaking the same quests in the same physical world might diminish the importance of any given individual’s endeavours, in the same way that multiple pairs of Hobbits taking multiple evil rings to multiple active volcanos to destroy multiple dark lords would make the efforts of any given Frodo and Sam feel somewhat less crucial. But with a selection of available starting points to choose from and the freedom to complete quests in any order the player desires, one person’s journey through Vana’diel is likely to be vastly different from that of another. While the sheer variety of custom avatars – a mechanic which was itself a significant departure from the pre-fabricated heroes of the past – adds to the sense that each adventure is, in actuality, unique.

Gameplay-wise, there’s a similar mixture of the old, tried and tested Final Fantasy formula and more traditional MMO elements.

Sitting alongside a bestiary of intimidating monsters, multi-phase super-bosses, an extensive job system that operates much like Final Fantasy’s IV and XII, a map that gradually opens up as the player delves deeper into the story, and an arsenal of over-sized weapons, is a unique blend of real-time and turn-based combat. A fundamental seed change in design that, it wouldn’t be an exaggeration to say, was revolutionary for the series, heavily influencing its mechanical development in years to come.

Instantly noticeable is XI’s decision to eschew the random encounters of the past. No longer would players be brought to a screeching halt as the screen devolved in a haze of swirling color to a self-contained battle screen, wherein they’d be confronted by the snarling maw of their latest foe. Instead, monsters within close proximity to the player could be seen ambling around the world minding their own business, letting the player choose who to fight and when. Whilst I, personally, still prefer the tension of not knowing when I’ll be forced into a confrontation, the appeal of this type of approach is immediately apparent. I know only too well the dread of starting yet another battle trapped in the depths of a sprawling dungeon 20 minutes from the nearest save point with a severely depleted party.

In terms of the actual combat mechanics, however, XI operated at a similar pace to previous titles in the series. Though a more real-time-orientated player system meant that enemies were no longer forced to wait patiently for their turn as a highly orchestrated dance played out on screen, absorbing blows with casual indifference while the ATB gauge filled, it certainly wasn’t a frantic, arm-exhausting exercise in button-mashing either. As with all classic Final Fantasy games, the player selected their attacks from a comprehensive menu of commands, combining different abilities to manipulate the flow of the battle. A far cry from the slick, hectic confrontations of FFXV, XI sat somewhere in between the two extremes of pure real-time and calculated turn-based combat, broadening its appeal without sacrificing the tactical nuance the series is known for.

All the same, at its heart, Final Fantasy XI is still very much an MMO, and, as such, places a heavy emphasis on cooperative play.

Assembling a well-balanced squad of up to six players is essential to completing a quest or bringing down a particularly challenging foe in FFXI. Each member has to bring something different to the table, their chosen class complementing the rest of the party ensuring that they’re capable of dealing with a broad range of enemies and scenarios. Naturally, the most effective groups will be comprised of friends who know each other and their individual play styles, however, with an in-built translation tool helping players communicate with fellow adventurers from around the world using a set of stock phrases, match-making was a perfectly viable alternative for those who struggled to fill the remaining five slots from their friends list alone. There was a third option, specifically aimed at those who prefer to fly solo or, translation tool aside, are uncomfortable playing with complete strangers: the charmingly named ‘Adventuring Fellows’ – a group of AI-controlled companions who can be called upon to provide aid during battle. But, for serious players, a squad of human players was a must.

Cooperation aside, of arguably greater importance to the game’s success as an MMORPG was the fact that it never ceased to evolve over the course of its decade-and-a-half life-span. Outside of the usual updates and bug fixes, five fully-fledged ‘expansions’ and six smaller ‘add-ons’ (the latest of which arrived as recently as 2015), have been introduced since 2002, providing countless hours of additional story content and a multitude of exciting new quests to complete. The relative lack of PvP options and the lengthy EXP grind were never fully fixed during these updates, unfortunately, leaving a sour taste in the mouths of some, while the graphics are jarringly outdated by today’s standards. But, thanks to this steady flow of new content and Square’s relentless attempts to improve, XI retained a core of players who were always ready and willing to return for the latest raft of goodies.

Whatever way you look at it, Final Fantasy XI marks a turning point for the series. Not just because it was the first Final Fantasy MMO, but because of the influence it’s had on traditional single-player entries like XII, the XIII trilogy, and XV more recently. While the success and lasting appeal of XI was surely the single biggest determining factor in Square Enix’s decision to return to the MMO genre with FFXIV.

Yet, strangely, despite precipitating this wholesale shift in the series very DNA, the key to XI’s success appears to lie not in its differences from, but in its reverence for the past. XI’s creators might have seriously worried its mainline status prior to launch, but for producer Hiromichi Tanaka, it remains the most ‘Final Fantasy’ title of them all. And, while that’s a debatable statement when viewed through the lens of the wider series, with an undeniable air of familiarity pervading the entire game, it’s easy to see where he’s coming from, and why so many loved and continue to love it.

Counting Final Fantasy VII, The Last of Us, the original Mass Effect trilogy, and The Witcher 3 amongst his favourite games, John enjoys anything that promises to take up an absurdly large amount of his free time. When he’s not gaming, chances are you’ll find him engrossed in a science fiction or fantasy novel; basically, John’s happiest when his attention is as far from the real world as possible.

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‘Life is Strange 2’ Episode 4 Review – “Faith”: A Journey Through Trump’s America

Life is Strange 2 continues its strong trajectory from the previous episode, weaving a complex and troubling tale of faith gone mad.

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Life is Strange 2 has returned for its penultimate episode, a dense and troubling exploration of faith, prejudice and family in a time and place that has never been more divided: modern America. Following the events of Life is Strange 2‘s stellar third entryEpisode 4: “Faith” sees Sean attempting to pick up the pieces of his shattered life after Daniel’s violent outburst at Merrill’s farm.

Though the story of Faith” begins in a hospital, with Sean working to recover from his injuries, the trajectory of the tale explores more settings and environments than any previous episode of the series. From wandering the highways of Nevada, to exploring a dusty motel, to sneaking into a remote church, Life is Strange 2‘s 4th entry never lacks for something new to see, or someone new to interact with.

Life is Strange 2
However, the cynical bent of the story is the new centerpiece of Episode 4. Though Life is Strange 2 has never sidestepped the controversy and division of Trump’s America, Faith” leans into these ideas with renewed fervor. Violence is committed more than once against our Mexican protagonist, and his skin color often sees him at odds with the more conservative denizens of the highways he journeys down. In a particularly telling exchange, Sean even finds himself beaten and placed on the other side of a closed compound, with a gun-toting guard glaring at him from the other side. Metaphors don’t really get much clearer than that.

This will, no doubt, lead to more calls of keeping politics out of games and other entertainment by the president’s more ardent supporters, but as other writers have pointed out, gaming has never been apolitical. Further, it would be categorically irresponsible to tell a story like this without addressing the elephant in the room. With these elements in mind, the politics of Life is Strange 2 have never been clearer than in Episode 4: “Faith”, and they account for some of the strongest storytelling fuel the series has found yet.

Life Is Strange 2, Episode 4: Faith
Politics aside, Life is Strange 2 also puts Sean at a variety of other disadvantages. His starting injuries include a lost eye that must be tended to medically throughout the episode, and the various beatings he takes throughout Episode 4 more than leave their mark. This leaves Faith as the typical darkest, and most troubling, episode of this second series, where we find our protagonist at his absolute lowest point, and must continue on with him in hopes of finding a better future. It’s a common enough trope, but one that is used to great effect here.

There are many returns of characters from previous episodes, some through letters and other communications, and others through surprising reveals and revelations. A particularly shocking character joins the story with zero preamble, and emerges as one of Life is Strange 2‘s finest editions yet. To spoil who, or how, would be criminal, but rest assured that Episode 4 is more full of surprises than any of the previous entries.

Life Is Strange 2, Episode 4: Faith
Though the main conflict that eventually reveals itself, that of Daniel being used as a messianic figure for an isolated Nevada church, feels contrived initially, the layers that are eventually revealed, and Daniel’s reason for joining the church, make a lot of sense in the overall scheme of things. Due to this strength of narrative, it really feels like all bets are off during the climax of Life is Strange 2: Episode 4, and that’s a good thing for a game so centered around the notion of interactive storytelling.

Fresh, prescient, and altogether rewarding, Life is Strange 2: Episode 4 — “Faith”, is a welcome piece of fiction in a society that has become so increasingly fragmented. It illustrates the horrors of the modern American landscape, but always remembers to remind us that there are good people out there, even when hope has never seemed so far away.

Strongly Recommended

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I Still Don’t Understand ‘Death Stranding’ (and That’s a Good Thing)

Death Stranding could create an experience unlike any game before it, and while I can’t claim to understand it, I’m certainly excited for it.

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It may only be a few months until launch, but Death Stranding remains shrouded in mystery. This first independent project from gaming auteur Hideo Kojima has been an enigma ever since it was first announced. When the world first saw Norman Reedus standing on a foggy shoreline with a weeping fetus in his arms, many questions naturally arose. Why is a celebrity actor cradling an unborn child on a beach? What kind of gameplay could we expect from this? And what does “Death Stranding” even mean, anyway?

Years may have passed since that initial reveal, but in my view at least, these questions still haven’t been fully answered. I simply do not understand Death Stranding. It’s confounded me like few games before it have – and yet, that may be the very best thing about it. There’s something enticing about that mystery. Death Stranding could create an experience unlike any game before it, and while I can’t claim to understand it, I’m certainly excited for it.

Between trailers, interviews, and a fairly hefty amount of gameplay footage, there’s been an increasingly constant stream of information about Death Stranding for over a year now. This is especially true at Gamescom 2019, where the game has had an extensive presence with two full trailers and a live gameplay demonstration. For most games, this extensive amount of coverage should eliminate all the biggest questions, presenting a relatively clear idea of what the final product should be. But consider the content of Death Stranding’s most recent trailers: one consists entirely of an exposition dump about the power and proper maintenance of jarred fetuses, while another opens with Norman Reedus urinating in a field to create a giant mushroom before dropping off a package for Geoff Keighley. Previous trailers show ruined cities overflowing with tar, gold-masked lion monsters, and levitating shadow creatures. If you can make heads or tails of all that, then you’re certainly cleverer than I.

With every new piece of information, I find it more difficult to wrap my head around the game. Even with the few concrete details known about it, Death Stranding continues to defy simple categorization. Although it features stealth elements, it certainly doesn’t seem like another Metal Gear; while it will have a massive open world, it doesn’t look like it will follow in the footsteps of signature modern open worlds like Horizon Zero Dawn or Breath of the Wild; and though it tells a story about reconnecting the broken cities of a post-apocalyptic United States, its mixture of stealth, politics, and the supernatural make it distinct from most other narrative-focused games out there. Each trailer introduces another wrinkle to the perplexing web of Kojima’s latest vision.

It is this very ambiguity that makes Death Stranding so enticing. With most games, it’s easy to understand them based on a quick glance at their trailer alone. This will reveal their genre, their personality, any unique gimmicks – all the usual culprits. But with Death Stranding, the more we learn about it, the more the mystery grows. At this point, it’s even difficult to pin the game into a single genre. Only the most ambitious games manage to create genres of their own, but from what we’ve seen so far, Death Stranding looks like it could be one of them. It could simply be little more than excellent marketing, but knowing that Kojima’s unbridled imagination is behind it, my hopes are high.

Death Stranding

It would make sense for Death Stranding to be so inventive given the circumstances behind its creation. For years, Kojima’s corporate overlords at Konami had stifled his creativity as they moved the company’s focus away from Kojima’s traditional titles like Metal Gear and Silent Hill towards more immediately lucrative pursuits such as mobile platforms and pachinko machines. Now that Kojima has freed himself from those restrictions and formed an independent studio of his own, his vision can run more freely than ever before. It’s to be expected that, finally presented with the opportunity to fully express his vision, he’d do so by creating something truly daring, something never seen before.

Of course, as attractive as the intrigue around Death Stranding may be, it doesn’t change that it’s difficult to really judge a game without knowing much about it at all. With so many important details remaining unspecified, there’s no telling whether Death Stranding will actually achieve its clear ambitions. If I were to view things pessimistically, I’d posit that the game’s ambiguity could be nothing more than an elaborate marketing scheme meant to mask the lackluster game beneath it. While I’m certainly much more optimistic about the game than that, I can’t deny the very real possibility that it could be the case.

But at the end of the day, I simply cannot resist the romantic allure of a game so surrounded by mystery. The core of Death Stranding may be wrapped in an inscrutable fog, but Kojima uses this layer of secrecy to invite players to experience a game that is truly new, an all-too-rare commodity in games today. Kojima hasn’t been free to express his vision so fully for years now, but at long last he has his chance. I cannot comprehend Death Stranding, and that’s exactly why I’m so excited for it.

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‘Daemon X Machina’ – Spotlighting 2019’s Least-Hyped Switch Game

Daemon X Machina made a bold first impression with its bombastic announcement at E3 2018 – and gamers promptly stopped caring about it. It’s time for that to change.

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Daemon x Machina

Daemon X Machina made a bold first impression with its bombastic announcement at E3 2018 – and gamers promptly stopped caring about it. It’s time for that to change.

From the very beginning, Daemon X Machina has struggled for attention.  It’s certainly not for lack of trying; after all, Nintendo has worked tirelessly to help promote this Switch-exclusive mech action game from Marvelous, even going so far as to position it as the first announcement of its big E3 Direct last year. Despite these efforts, though, Daemon X Machina has often been lost in the shuffle of other Switch exclusives. When there’s constantly talks of a new Animal Crossing, Zelda, or Smash Bros., an original IP like Daemon X Machina easily gets left out of the conversation. However, there’s no denying that it has some incredible potential, making it a game that’s certainly worth checking out amidst the crowded release schedule for the rest of the year. Now is the time to spotlight that ahead of its launch on September 13.

A good mech game doesn’t need to do much – it must simply provide the player with massive robot suits, near-excessive over-the-top action, and a story to help the game make at least a little sense. Daemon X Machina looks set to deliver in all three of those departments. It will feature a huge amount of flexibility to create the perfect mech, thanks to hundreds of interchangeable weapons and body parts, many of which can be scavenged from fallen enemies. With gargantuan destructible environments and hordes of robotic foes to take down, the combat looks to be as extravagant as some of the best action games of recent years. That’s not to mention the main plot, which focuses on the aftermath of the moon exploding. Yes, it does sound like ridiculous anime-inspired fodder, but a game about giant roots blowing each other out of the sky doesn’t need a plot that adheres to realism. It need only set up a somewhat-reasonable backdrop for intense mechanized combat, and in that regard, it’s looking like a recipe for success.

Daemon X Machina

All these features are great on their own, but what makes them truly exciting is the pedigree behind them. Daemon X Machina is being developed by a dream team of developers who have worked extensively on some of the most iconic mech games ever made. For instance, the team includes Kenichiro Tsukuda and Shoji Kawamori, who respectively produced and designed the mechs for the legendary Armored Core series. This team aims to take the classic formula that made Armored Core and other classics so special and put it back in the spotlight with Daemon X Machina. However, that doesn’t mean that it will be merely derivative. It already displays a distinct personality of its own thanks to its ambitious gameplay concepts (again, exploding moon) and its distinctive cell-shaded visuals. Its striking color palette of bold reds, blacks, and whites shouldn’t be surprising, considering that its art is directed by none other than Yusuke Kozaki, who has worked on such stylish titles as the No More Heroes series.

If it achieves its potential, Daemon X Machina could be a godsend for its genre. While it would be unfair to call the mech action genre “dead,” it is certainly quite niche. This would be the first time in years that a giant robot action game has had the full support of a major company like Nintendo behind it. And while Nintendo has already supported this genre in the past, this will be the first time that it’s done so on a hit console like the Switch, which automatically gives it a wide and passionate audience. Even with its inherent niche status, Daemon X Machina is already in a better position than many similar games before it thanks to its publisher and platform. If it does well, it could inspire Nintendo and other companies to promote similar games, leading to a needed revival of the genre’s popularity.

But this leads to one of the simultaneously best and worst aspects of Daemon x Machina: its demo. Marvelous released an early demo on the Switch eShop back in February with the intention of drumming up interest in the game and getting player feedback. To put it plainly, it wasn’t very good. The action felt unsatisfying with a lack of any feeling of real impact with each blow; it was difficult to aim at enemies due to imprecise targeting systems, poor visibility, and an absence of gyro controls; and worst of all, its performance was horrendous. It was stuck at a mere thirty frames per second, which is already less than ideal for such a fast-paced action game. But it didn’t even manage to hit that target consistently, leading to a choppy and unsatisfying experience. One need only take a quick look through Digital Foundry’s breakdown to understand the demo’s many issues.

Daemon X Machina

“Marvelous did something incredible here: they listened to their fans.”

However, the demo has turned out to be something of a blessing in disguise. Shortly after the demo’s release, Marvelous distributed a survey to many players and requested their feedback. A few months later, Nintendo released a new trailer showing how the feedback had been integrated into the game. The full list of changes reads like a wish list of everything that needed to be adjusted following the demo. Highlights include the addition of gyro controls, improved targeting and feedback systems, and most importantly, an improved framerate. In fact, the developers have stated that performance was one of their “top priorities” when adjusting the game.

Marvelous did something incredible here: they listened to their fans. The fact that they were so open to feedback and eager to improve bodes incredibly well for the final release. They know that the mech action genre isn’t what it used to be, and they seem truly passionate about creating a quality title in the genre they love. In an industry that is so often focused more on emptying players’ wallets than creating a worthwhile title, this attitude is incredibly refreshing, hinting of a project that’s filled with genuine care and passion.

The unfortunate truth remains that Daemon X Machina is bound to be one of Nintendo’s least-hyped games this year. As long as games like Astral Chain, Dragon Quest XI S, and Link’s Awakening are all releasing within the same month, it will almost inevitably remain that way. But there is incredible promise for it nonetheless. With the quality of the game design, the legacy of its creators, and their clear passion for their project, it looks set to become something very special and deserves every bit of attention it can get. If fans can look past the games that typically hog the spotlight to find this bombastic little secret, they could be in for an enthusiastic, if under-hyped revival of a once-dormant genre.

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‘Earthbound’ is one of the Weirdest, Most Surreal Video Games

25 Years later…

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Games that Changed Our Lives

The SNES is arguably home to some of the best Japanese role-playing games ever made, but even among such revered company, Earthbound (known as Mother 2 in Japan) stands out as a brilliant satire about growing up and our fears of conformity. It’s anarchy versus conformity, only conformity doesn’t stand a chance.

EarthBound has been often compared to Catcher in the Rye with its complex issues of identity, belonging, loss, connection, and alienation. Blistering, hallucinatory, often brilliant, Earthbound is a one-two punch of social satire and a hilarious ride into the twisted recesses of a boy’s psyche. This often funny, always poignant coming of age tale, deeply embedded in suburban mores, centers around four kids, off to save the planet by collecting melodies while en route to defeating the evil alien force known as Giygas.

Earthbound
Earthbound
didn’t reinvent the wheel, but it sure had fun twisting the usual JRPG tropes. There’s a princess you must rescue, not once, but twice, who’s really just a child prodigy, and there’s an arch nemesis who turns out to be your next-door neighbour. The game puts you in the shoes of a young boy named Ness as he investigates a nearby meteorite crash. There, he learns that Giygas, has enveloped the world in hatred and consequently turned animals, humans, and inanimate objects into dangerous creatures. A bee from the future instructs Ness to collect melodies in a Sound Stone to preemptively stop Giygas from destroying the planet. While visiting eight Sanctuaries, Ness partners with three other kids, a psychic girl (Paula), an eccentric inventor (Jeff), and the prince of the kingdom of Dalaam (Poo). Along the way are underlining themes of corrupt politicians, post-traumatic stress, corporate greed, depression, capitalism, police violence, terrorist attacks, homosexuality, religious cults, and xenophobia. Your adventures take you through modern cities, prehistoric villages, cold winter climates, a desert wasteland, monkey caves, swamps, dinosaur museums, and even a yellow submarine.

“Ness, you’ve stood on the eight power spots of the earth. From these, you created Magicant, the realm of your mind.”

A pivotal moment in the game comes after collecting all eight melodies with the Sound Stone. After Ness has taken control of his Sanctuaries, Ness visits, Magicant, a surreal location that exists only in his mind and contains his warmest memories and his worst fears – an allegory perhaps, for how the entire game allows us to see into the mind of the creator. There, Ness must face his dark side. A man tells him, “Magicant is a place where you must cleanse yourself of the evil hidden within your mind. Take the time to look around, it is your mind after all.”

EarthBound is arguably one of the single best RPGs ever made, and boasts one of the best storylines of any game.


The tone of Earthbound is perhaps its most fascinating attribute, best exemplified by its most famous quote: “There are many difficult times ahead, but you must keep your sense of humor.” Earthbound skillfully surprises you with a reservoir of emotion and sentiment that happily counters the game’s trendy ironic veneer. Along the way, Ness visits the cultists of Happy Happy Village (based on a real-life Japanese doomsday cult founded by Shoko Asahara in 1984); their mission statement is to paint the town red by literally painting it blue. You’ll fight a watchful puddle of vomit and battle through the zombie-infested town of Threed. You’ll use a peculiar device called the Pencil Eraser to remove statues of pencils that block you from advancing through specific areas, and you’ll suffer through terrifying hallucinations of your family and friends, and be asked to dismember your arms and legs, or otherwise, lose your mind. In one of the game’s most memorable moments, Paula is kidnapped by the Department Store Spook, an unseen entity that resides in the town’s shopping mall. And after defeating Frank Fly and his evil creation Frankystein Mark II, you’ll be escorted to the back of a police precinct, only to be assaulted by four officers and Captain Strong, the chief of the Onett police force. Defeat the corrupt cops and you’ll gain access to the second town you’ll visit (named TWOson, so as not to be confused with Onett, Threed, and Fourside). And when entering a cave, you’ll battle five moles made up of members who each believe themselves to be the third-most powerful of their group. Then there is backwards city Moonside, a warped mirror image of Fourside, that hides a secret more terrifying than the town itself. Just walking around feels like something between an out-of-body experience and a nightmarish trance, in which abstract art attacks you and the psychedelic imagery, lit by gaudy fluorescent neon-lights which contrasts the entire look and feel of what came before. It’s a city where yes means no and no means yes; a place where blond-haired business men teleport you across the city blocks and where an invisible man with a unibrow and a gold tooth gets you past the sketchy sailor hiding out in the back alley.


Throughout the game, Ness is repeatedly antagonized by his neighbor, Pokey, who resurfaces several times, and countless other enemies including Titanic Ant, professional thief Mr. Everdred, and a glorious evil statue Mani, Mani. But the real big bad of the game is the aforementioned Giygas, a.k.a. The “Embodiment of Evil” and the “Universal Cosmic Destroyer”, who intends to sentence all of reality to the horror of infinite darkness. Giygas borrows heavily from Stephen King’s It and was inspired by a murder scene from the black-and-white Japanese horror film The Military Policeman and the Dismembered Beautya sequence which scarred creator Shigesato Itoi, when he accidentally watched the film as a child. Giygas is without question, the most disturbing, and strangest end-boss villain of any Super NES game – a character so deranged, there’s been hundreds of fan theories about what he really is.

While EarthBound’s overall gameplay feels like a traditional Japanese RPG of the era, the game is full of ingenious ideas that buck genre trends. EarthBound also makes no apologies for being very difficult to complete. It takes days to finish and is most challenging at the beginning when Ness travels alone and hasn’t yet powered-up. Inventory space remains incredibly limited since each character can only carry a certain amount of items and you can’t drop many of the items since they will come in handy later in the game. Boosting your XP is a must, otherwise, you won’t stand a chance in defeating any boss; and currency is also important when buying new weapons or visiting the hospital to attend to fatal injuries. Money must be withdrawn from the nearest ATM, deposited by your estranged father, and a bedtime snack from your loving mother sends you off to bed to recharge your stats. There are other refreshing deviations from RPG tropes, and every one of the four characters has a specific skill-set.

Earthbound is a strange game, themed around an idiosyncratic portrayal of American culture from a Japanese point of view. The game subverted popular role-playing game traditions by featuring a real-world setting while playing with various staples of the genre and adding a number of pop-culture references throughout. The Japanese title was inspired by the song of the same name by John Lennon – a song about growing up without a father for most of his life, and unsurprising, Ness’ dad is never once seen, and only communicates with his son via telephone. And that’s not the only Beatles reference you’ll see: EarthBound makes two additional nods to the world’s greatest band, along with allusions to Bugs Bunny, comedian Benny Hill, Rob Reiner’s This Is Spinal Tap, the Blues Brothers, Monopoly (Monotoli), Donkey Kong, Pac-Man, Rambo, Mr. T, and The Who, to name a few. Written, directed, and created by famous Japanese personality Shigesato Itoi; this is surely his love letter to 20th-century Americana.

Localizing Earthbound was a massive undertaking. Under directives from Nintendo, Marcus Lindblom worked with the Japanese artists and programmers to remove references to intellectual property, religion, and alcohol from the American release, such as the Coca-Cola logo and the red crosses on hospitals (due to issues with the Red Cross). Alcohol became coffee, Ness was no longer walking around nude in the Magicant area and the Happy Happyist blue cultists sprites were altered to look less like Ku Klux Klansmen. The Runaway Five members’ outfits were changed to make them look less like the Blues Brothers, and the “Sky Walker” was changed to the “Sky Runner” to avoid the Star Wars reference. Apollo Theater was changed to Topolla Theater, presumably to avoid issues with the real-life venue and the use of the word drug, seen on the various town maps was removed or changed. The list goes on and on…

Chock full of odd charm and humour in a genre that usually takes itself a little too serious, Earthbound is one of the weirdest, most surreal video games you’ll ever have fun playing.

earthbound

The game had a lengthy development spanning five years and involved a number of Japanese luminaries, including writer Shigesato Itoi, songwriter Keiichi Suzuki, sound designer Hirokazu Tanaka, and future Nintendo president Satoru Iwata. Released in a huge box-set that contained a strategy guide with scratch-and-sniff stickers, Earthbound came with a $2 million marketing campaign derived from the game’s unusual brand of humor. As part of Nintendo’s “Play It Loud” campaign, EarthBound’s tagline read, “this game stinks.” Earthbound was proud to one of the most bizarre RPGs – and it didn’t shy away from its offbeat premise. Unfortunately, the game was met with poor critical response and sales in the United States, but as the years went by, the game received wide acclaim and was deemed by many a timeless classic. It has since become one of the most sought-after games in the second-hand market, selling for upwards of $80 for the cartridge alone. Holding onto an incredibly dedicated cult following, the main character Ness became a featured character in the Super Smash Bros. series and in 2013, EarthBound was reissued and given a worldwide release for the Wii U Virtual Console following many years of fan lobbying.

EarthBound is arguably one of the single best RPGs ever made, and boasts one of the best storylines of any game. There are two extremely popular fan-made sites dedicated to the game (Starmen.netEarthboundCentral), and dozens of other sites have devoted countless hours in translating the sequel for English-speaking audiences. Earthbound was ahead of its time when released and its influence continues to be felt, inspiring the likes of Pokemon, Animal Crossing, Majora’s Mask, Chibi Robo, Retro City Rampage, and South Park: The Stick of Truth.

While Earthbound’s game mechanics stick to the traditional JRPG template, its surreal world, imaginative locals, and experimental soundtrack created a truly unique experience. Nothing stands out quite like its visual style – an 8-bit presentation powered by a 16-bit processor. The graphics might not be as advanced as some of the other 16-bit titles available on the SNES, but it is certainly among the most memorable. The SNES was home to some amazing soundtracks, but EarthBound’s soundtrack remains the best. Created by four composers, there’s enough music here to fill 8 of the 24 megabits on the cartridge – with direct musical quotations of classical tune and folk music, and a few samples culled from commercial pop and rock. It also contains one of the very best endings in any video game, a touching climax that captures the vulnerability and beauty of adolescence and the power of friendship. And the punctuation mark comes during the credits. Throughout the game, you’ll cross paths several times with a photographer who descends from the sky and snaps a photograph of your most recent achievement. These pictures will roll throughout the credits, serving as a makeshift montage of your time spent playing the game. And be sure to stay until the very end. To say more would be giving away the surprise.


I can’t think of another game as irreverently comic and deeply touching as Earthbound. Here is a game that resonates long after completion, and oozes originality in just about every frame. Ness may rock his sweet ball cap, handy backpack, telekinetic powers, and a trusty baseball bat, but even this hero needs to call his mom regularly, otherwise, he may suddenly find himself useless in battle. Earthbound stands, sweet and strong, outrageous and quirky, like its heroes — it’s about the loss of innocence as well as gaining wisdom – and is one of those treasures absolutely not to be missed. While it suffers from a slow start and stretched premise, the charm of its cast debunking an intergalactic conspiracy goes a long way. Of all the games I own on the Super NES, Earthbound is the game I treasure the most and the game that made me fall in love with the medium.

– Ricky D

EarthboundGameManual

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Games

Indie World 2019: The Best Games From Nintendo’s Showcase

With a healthy mix of brand new titles and a few shocking ports, here’s all the best games announced at Nintendo’s Indie World showcase.

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Indie World

Whenever Nintendo announces another indie presentation, it’s impossible to know what to expect. One may be a fairly low-key event, while another might announce a brand new Zelda game. The latest “Indie World” presentation for Gamescom 2019 found itself somewhere in the middle. It didn’t feature quite as many earth shattering reveals as the previous presentation in March, but with a healthy mix of promising new titles, updates on previously announced games, and a few shocking ports, Indie World was a worthwhile showcase in its own right. Without further ado, here’s some of the very best game announcements from the presentation, arranged in order of their appearance.

Eastward

Indie World

I’m firmly of the belief that you can never have too many Zelda-likes in your life. For this reason alone, Eastward looks like it could be an exciting addition to the Switch’s indie lineup. Better yet, this latest Chuckelfish-published game looks like it has all the makings of a great entry in the genre.

It tells a simple story: a miner finds a young girl alone in a secret underground facility, and together, they go on to explore a post-apocalyptic land. Although this world has been apparently ravaged by a cataclysmic disaster, it still looks gorgeous thanks to its lush pixel art and fluid character animations. Pair this with your typical Zelda-like gameplay loop of overworld exploration and dungeon puzzle-solving, and Eastward looks like it will be a promising prospect when it releases next year.

The Touryst

Indie World

Shin’en Multimedia has long been known for making some of the best-looking titles on Nintendo consoles with visual stunners like the Fast Racing series. However, The Touryst is a departure from the games they’re known for. While it’s just as breathtaking as their previous work with its beautiful lighting and voxel-based design, it’ll be a much slower experience than Shin’en’s signature lightning-fast racing games.

As its name would suggest, it focuses on a tourist taking a relaxing tropical vacation, whiling away their time with activities like shopping, scuba diving, and visiting arcades. However, the trailer also hints of a greater mystery lurking beneath this laid-back surface. With Zelda-like dungeons to explore and puzzles to solve as well as a contemporary tropical setting, it seems like it could be considered a spiritual successor to the NES cult classic, StarTropics. It should definitely be one to keep an eye on when it launches this November.

Röki

Who’s the real monster here? Röki is a narrative-focused adventure game set in a world taken straight out of Scandinavian fairytales, featuring a snow-laden forest inhabited by fantastical creatures of Nordic mythology.  It puts players in control of a young woman exploring this mystical environment, with the goal of saving her family and interacting with these various monsters. Its visuals adopt a beautiful storybook style, and with its emphasis on accessible gameplay and telling a touching story, it looks like it could be a worthwhile purchase for anyone in search of a more poignant adventure when it hits Switch this winter.

SUPERHOT

Indie World

It’s not a true Nintendo presentation without a shadow drop or two, so SUPERHOT took it upon itself to be the first to fill that void during Indie World. It’s a striking shooter built upon one simple concept: time only moves when you do. This core idea creates a uniquely methodical approach to the genre, nearly turning SUPERHOT into more of a puzzler than a shooter. It’s already made quite an impact on other platforms, so it should fit right in on Nintendo’s hybrid wonder – and best of all, it’s available right now.

Hotline Miami Collection

Indie World

If it has style, action, and plenty of violence, it’s probably a Devolver Digital game. The boutique indie publisher has supported the Switch with plenty of quality games over the past few years, but the brutal series that launched the publisher into fame in the first place has been strangely absent. Thankfully, that changed today with the surprise release of the Hotline Miami Collection on the eShop.

Gathering both games in the iconic Hotline Miami top-down shooter series into a single package, this release brings all of their signature hardcore difficulty and neon style to a Nintendo platform for the first time. For anyone who’s enjoyed Devolver’s fantastic output thus far on the Switch but hasn’t yet experienced these famously bloody titles, it should be an excellent purchase.

Ori and the Blind Forest

Microsoft’s surreal love affair with Nintendo continues with the reveal that another Xbox One console exclusive will be making its way to Switch. Ori and the Blind Forest: Definitive Edition is the ultimate version of the acclaimed artistic platformer. It will feature the same beautiful visuals, detailed world, and touching story that made the original release so special, along with all the additional areas, story, and improvements of the Definitive Edition.

For those concerned that the game’s incredible visuals will lose their luster on Nintendo’s under-powered device, there’s no need to worry: the developers have confirmed that the Switch version contains no compromises, running at a locked 60 frames per second at 1080p resolution while docked, with a native 720p resolution in handheld mode. It joins the ranks of Cuphead and Super Lucky’s Tale as yet another former Microsoft exclusive to appear on Nintendo’s console, and with its uncompromising conversion to Switch, it should be one of the most remarkable Switch ports yet when it releases on September 27.

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Goomba Stomp is the joint effort of a team of like-minded writers from across the globe. We provide smart readers with sharp, entertaining writing on a wide range of topics in pop culture, offering an escape from the usual hype and gossip. We are currently looking for Film, TV, Anime and Comic writers.

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