May 2010

Infinite Space

May 19, 2010

At the unlikely crossroads of dating games, space opera, and real-time combat sims sits Infinite Space, an ambitious DS offering from the Platinum Games crew (best known for console titles like Viewtiful Joe, Okami, God Hand and Madworld) and the lesser-known Nude Maker team (Clock Tower, Steel Battalion). You play as Yuri, a young man who dreams of sailing the infinite sea of stars as a “zero-g dog” (think “sea dog,” but in space); he is initially helped in his dream by Nia, a “launcher” whose main occupation is getting budding zero-g dogs off the ground, but she’s just one of several dozen potential crew members that you will encounter as the game progresses. 

Yeah, several dozen. The main feature of Infinite Space is its ridiculous depth; in addition to the Chrono Cross-like level of personalities — each with their own strengths and skills that can help them serve as one of over twenty key crew positions (with Yuri permanently assigned to Captain) — there is also a vast array of ship designs, modules, weapons, fighter craft, and other details that will have hardcore stat munchkins slavering. The narrative even branches off at a couple of points, closing off various options for good depending on which way you go, providing an excuse for subsequent replays.

Not that you’re likely to have the time for a second or third run through the game, as your first play-through will take you around forty hours at the bare minimum; if you’re not opposed to grinding for cash, experience, and fame that number could easily increase substantially. There is a lot of game contained in that tiny cartridge.

And yet, ironically, there isn’t a whole lot to actually do during all of that time. A large portion of your time will be spent simply managing your fleet. Each blueprint you obtain allows you to build a new ship, if you can afford it, and each ship has its own unique space for modules. Unfortunately, you can’t discover how much space (and in what configuration) until you actually build the ship, which creates a lot of unnecessary save-loading as you experiment with your dizzying options. And of course as you progress in your adventure you will gain access to newer modules in addition to new ships, which further compounds the issue. Once you’re done with all of that micro-managing, you’ll find yourself spending even more time navigating dialogue trees and reading responses a paltry three lines at a time (while the upper screen does absolutely nothing but show a picture of Yuri, in a fascinating misuse of the DS’s capabilities).

Fortunately the game isn’t entirely stats and tedium. Like any space story worth its laser beams, you will frequently encounter enemy ships (often pirates) in combat. The real-time action seems simple on the surface, as you only need to concern yourself with the distance between your two fleets and not with the other two dimensions of travel and the primary commands have a rock/paper/scissors-like relationship (barrages deal triple the damage of normal attacks, but can be negated by dodging — which makes you more vulnerable to normal attacks); most of the strategy comes from managing your command gauge, which builds over time (and can be increased by the abilities of your crew and/or modules) and is consumed at different rates by the various commands. You can see your opponent’s approximate command gauge level as it changes (and presumably the AI sees yours in the same way), allowing you some insight as to what they’re up to. Combined with the positioning to place (or keep) your opponents in range of your weapons (which have both maximum and minimum values), this creates an oddly compelling sort of cat-and-mouse strategy that can be brutal on rookies who aren’t on top of things.

Perhaps more important, however, is the formation of the enemy fleet. Ships in the back of the formation are harder to hit than ones up front; each potential target has an indicator that tells you this information and you can switch targets with a simple tap, but you often start combat locked on to the enemy flagship — which is usually in the very back row (and where yours should be as well once you gain the ability to command more than one ship, since losing your flagship equals Game Over). Not realizing this key fact is the number one source of frustration early on, especially when it comes time for your first boss battle — and the game does a pretty poor job of explaining it to you.

In fact, the game does a pretty poor job of explaining everything to you, which is easily its biggest failing. Some information can be found in the manual (including the formation thing), but even if you’re one of the rare gamers who even opens those these days it’s still not all that clear. Buried on page 15 of the manual is a link to an online “commander’s guide” PDF that does a much better job of explaining a lot of how the game works, but there are still tons of little things that aren’t covered. Some of them can be found by navigating the in-game Help system (which is unfortunately on its own subscreen instead of being accessible from anywhere), but not all of them — and the in-game Help is incomplete at first, with virtually no indication of when certain topics become available as the game progresses.

There are a few other shortcomings with the game as well. The most notable is a lack of any sort of mission log; if you put the game down for a while and pick it up again later (or are just too busy grinding) you can easily forget what it is you were supposed to be doing. Not helping matters is the large number of oddly-named planets, regions, and characters you will encounter, which can be tough to keep straight even if you’re paying attention. This can have a negative effect on following the plot as well, but overall is a fairly minor problem. There’s also melee combat (more r/p/s), which you can (eventually) enter via ship combat at close range, when it isn’t disabled, but also occurs while investigating various structures on the ground; these ground encounters consist of nondescript passages that seemingly go on forever, are really uninspired, and are all identical no matter where you find them.

Completing the game will unlock two additional play modes. Loading your completed save file lets you start over in a New Game+, which gives you the opportunity to explore the other branches of the adventure while retaining the experience levels of your crew members (but nothing else, like all of your blueprints). There’s also Extra mode, which is an all-combat variation on the game; you start with 10,000 credits and have to hunt down various boss fights within your current region before you can move on to the next one. 

In the end, what you get out of Infinite Space is dependent on what you’re willing to invest into it. The combat can become repetitive and is the only factor breaking up the dialogue and management bits, so if you’re not into that kind of thing you’re probably going to find the game boring at times. Even if you like the heavy stat-managing element you might run afoul of the various other weaknesses. If you can look past all of that? Have fun losing a crazy amount of your free time to the life of a zero-g dog.

Plays like: Star Wars: the dating sim

Pros: incredible depth and length of play; deep replay options for those inclined

Cons: poor documentation; at times tedious game play

 

The Freelance Police are back for another round of hijinks and bizarre detective work. Picking up shortly after the events of last season, Sam & Max Season Two: Beyond Time and Space consists of five new self-contained episodes that combine to reveal a season-long plot arc much like the previous season. While this round of adventures will take the dog and psychotic rabbity-thing to the North Pole, Easter Island, a vampire’s castle, a time-traveling elevator, and even the depths of Hell itself they will also spend a good deal of time in more familiar locations. In fact, if you played the first season many of the locations will be extremely familiar: Sam and Max’s office, Sybil’s, and Bosco’s Inconvenience Store will all feature in just about every episode, as will a surprisingly large portion the cast of characters encountered last season. Of course there are new characters and locations as well — mostly the recently re-opened Stinky’s Diner and its new owner. 

The mechanics of the game are pretty much identical to the first season. The engine is clearly proven, so why mess with it other than to maybe speed up load times a bit? There is one neat new feature, however: a built-in (and adjustable) hint system. When the game detects you spinning your wheels for a long enough time, Max will pipe in with a comment to point you in the right direction. This can range from vague hints (“I’m bored here; let’s go somewhere else!”) to fairly specific (“I’m feeling… experimental”) and is a welcome addition even for point-and-click veterans.

There isn’t really much more to say. If you enjoyed Season One then Season Two seems like an obvious purchase, and it carries the same bargain price right out of the gate. If you’re not a fan then the new stuff probably won’t win you over. The only real question is complete newcomers; given the amount of in-jokes and references (including outright spoilers) to the first season I don’t recommend starting with Season Two. Do the legwork to track down the first season and give that a try first, then come back for this one when you’re done.

Plays like: Season One

Pros: The same solid humor and puzzling, with some better load times than the first season.

Cons: You really need to know the first season to appreciate all of the jokes and references in this one

Back when I was a kid, my dad thought it would be a great idea to buy a Sega CD, and with it came some of the numerous “classics” like Sewer Shark and Night Trap. The system did have a few good titles though, and one of the games we had was a little adventure title called Sherlock Holmes: Consulting Detective. Okay, looking back on it now, it was not very good, but it was a game I actually enjoyed. It allowed the player to truly enter the role of Sherlock Holmes and, while I was generally not very good at the game, it sparked my interest in both Sherlock Holmes and the adventure genre in general. 

Jump forward many years later, and Sherlock Holmes still finds himself in many new mysteries. It seems like developer Frogwares has recently brought Sherlock Holmes back to gaming in a series of adventure titles for the PC. And here is the first game in the series to make it to consoles, Sherlock Holmes vs. Jack the Ripper. Based on the title alone, the premise may seem silly, but it is actually very cool. What if Sherlock Holmes had existed and he was able apply his own detective skills to the murders of Jack the Ripper? This was another title that truly put the player in the role of the famous fictional detective.

The game’s strongest points lie in the setting, story, and overall feel of the game. You take the role of both Holmes and Dr. Watson as you investigate a series of murders all centered on the “Whitechapel killer” (or Jack the Ripper, as he is later referred to). As all adventure titles go, there is a lot of exploring, puzzle solving, and (in true Sherlock Holmes fashion) many deductions to make. At the end of this tale, it all seems to tie in rather well with the actual history involving Jack the Ripper, so things seem a bit more grounded in reality than you may think.

The puzzles are all ingenious and generally take a lot of effort to solve. They are all mostly well designed and very clever, and you will make a LOT of mistakes while solving them. The game is rather short, but most of your time will be spent solving these puzzles, as some of them may take a lot of effort. Those familiar with adventure games will find themselves right at home here.

The actual “crime scene investigation” and deduction making processes are excellent as well, and you really feel like Holmes himself as you try to put together these pieces to a continually growing puzzle. You will do several things during the game that feel out of place, but it all comes together in the end as you slowly piece together who the killer really is. 

On the downside, the game is really hampered with technical problems and a very poor presentation. The game looks pretty bad by today’s standards, the character models are ugly, and you often get very odd clipping and hit detection issues. The voice acting, outside of Holmes and Watson, is pretty bad as well. However, as good as the voice acting for the two leads may be, many of their voice clips are repeated ad nauseam. These problems really hinder the game, but they don’t truly ruin the experience as you might think. 

Also, if you are going to play this game, I recommend the PC version, as the interface would probably be a lot easier to use. The 360 controller works, for the most part, but some of the interactions with different objects or characters can be wonky at times. The controls aren’t complex, they just seem poorly implemented. Also, certain puzzles seem like they simply work better with a mouse and keyboard.

Overall, this is a solid adventure title, especially great for the Sherlock Holmes fans out there. The game’s presentation is poor, and the technical issues really bring down the overall experience, but at the budget price, this is a must have for adventure game fans desperate for a new game. It tells a great story, and it will really get your mind working.

Pros: Excellent story; very well designed puzzles; the investigation and deduction scenes make you feel like Sherlock Holmes

Cons: Horrible presentation; technical issues that bog the experience down; 360 controller isn’t exactly adventure game friendly

 

In recent months, I’ve heard many reviewers note that a game with a very linear structure is not as good as it could be, especially if the prior game or games in the series are more open for exploration.

Linearity has become something that many people consider a bad thing, but why? It seems like gamers enjoy exploring the world the developers created more so than being lead on one particular path that is held together by a story. I definitely do not blame them, especially since game worlds have become increasingly more interesting and free to explore, but there is no reason to discount linearity entirely.

What makes linearity great? Even in this day and age, there are plenty of video games with a very linear structure. You mainly see action oriented games, but RPGs tend to focus on more wide open worlds for you to venture around. And RPGs have been like this since the original Dragon Quest and Final Fantasy. Yet, when RPGs become even bigger, one series dared to tighten things up and lead players down a very specific path.  

Final Fantasy XIII, the game I’ve been referring to, is the one that has taken the most heat from being almost completely linear when compared to the previous games in the series. Almost every area leads you down a very narrow pathway with a few branches in the path here and there that might lead you to treasure. People were unhappy with the lack of towns, a real over world to explore, and they all felt like something was missing. This is especially true when compared to Final Fantasy XII, which was incredibly wide open and almost required exploration.

But, I like Final Fantasy XIII a lot, and enjoyed the very linear structure to the game. While the story was far from perfect, it allowed the developers to lead you to where you needed to go to develop the story exactly how they want it to be developed. Fallout 3 is a game that is built on exploration, but because of that, it loses its narrative focus. The story becomes lost and muddled, and by the end of the main missions, they tend to lose interest entirely. Final Fantasy XII received similar complaints from fans who felt like the story could have been a lot stronger.

I’m not saying that it is impossible to create a strong narrative in a game with an open world, but it does become increasingly difficult the more developers focus on exploration and the bigger the world itself gets. There is nothing wrong with creating a non-linear game, but I think in doing so; developers know the risks they are taking in terms of narrative. 

To look at a game that is not an RPG, BioShock is one of the few shooters that benefits from having a strong story and being truly linear. Sure, there are parts of Rapture that you can explore, but you are essentially following the game’s instructions and going exactly where you need to go to progress the story. Sure, there are audio logs you can find to expand upon characters and on Rapture itself, but the story that is presented is one of the best seen in a game. It is one I feel would get lost or muddled if things were left more open to the player.

Another recent release that is pretty linear in nature is Sakura Wars: So Long, My Love. Although this is not a new game, it’s the first time we’ve seen the popular Japanese series localized here in the States. This is quite an amazing and endearing game that is part SRPG, part dating sim. And while it may be an odd combination for some, it really does work, and the rather linear nature of it all helps the characters develop and become more than just cardboard cutouts with one particular trait.

Sure, there are plenty of choices you can make in the game, but that will only impact the girl you end up with at the end of the game, not the overall story. It is a game that still takes you from point A to point B, but does so in quite excellently. Sure, there are times when you are free to explore, but these only benefit your relationships to the characters and not to the overall story. 

In the end, linearity is far from a bad thing in video games. If a game is going to be linear, especially an RPG, there is a good chance it is done to keep the player focused on the narrative and truly develops the characters. Not every game should be linear, but games should never be faulted for it either, especially RPGs. If every RPG played the game, I think people would grow tired of the genre rather quickly. Final Fantasy XIII and Sakura Wars are examples of linear games that benefit because of it. I believe linearity good for the industry, especially when some of the best stories are told from these particular games. 

Record of Agarest War‘s path to U.S. release was a strange one. Released in Japan a few years ago, Agarest saw an English release in Europe pretty quickly (as Agarest: Generations of War), but no one seemed to be moving to bring it to America. Why? Well, for one thing, it’s a classic Compile Heart game, with lots to do, an emphasis on flavor over mechanics and very little in the way of mainstream appeal. So what does Aksys do? It releases Agarest in a not-so-mainstream way: a super-limited, super-creepy box set on 360 and a digital release for PS3.

I promised myself I’d leave the creepiness of the special edition out of this equation, as it really doesn’t have anything to do with the content of the game.

So, given that the game appeals to a niche audience, how is it? There are certainly some promising elements to the game. The battle system is similar to tactical RPGs like Disgaea, Vandal Hearts and Final Fantasy Tactics, though it uses a series of simple boards rather than interesting levels to traverse and fight on. It emphasizes staying in formations to “link” attacks, allowing everyone to execute all attacks for the turn at once if planned correctly. Waiting, though, gives you a few more Action Points to use, letting you use stronger moves, and most attacks can only be directed at one enemy, so the challenge is using moves most efficiently and staying in formation after executing attacks.

Characters are somewhat customizable. You can equip different moves depending on the character’s move slots and weapon slots, and you can choose what stats to increase when leveling up. (You get 10 points to spend when you level, and stats a character is “better” at cost fewer points, so it’s up to you but certainly guided in a particular direction.) 

You get more characters than you use, and you can capture monsters and use them as well. (Monsters have limited movesets, but special qualities.) The game emphasizes story, but the characters themselves are never really that endearing. It’s a good thing, too, because you only use them for a few hours.

The game progresses through 5 generations of characters, each with their own stories, protagonists, enemies and worlds. Oh, and love interests. This is where the game takes the decisions you make in each era and makes them affect the next. Three girls each generation are potential brides, and the decisions you make and branching paths you take appeal to certain ones over others. At the end, you marry one, and the next generation’s protagonist takes on a bit of the look and some of the battle characteristics of that person. (The mage girl makes your character into a Magic Knight, while the fighter girl makes your character a tough Warrior-type.)

Of course, this game is long and, at times, tedious. To combat that, Compile Heart threw in “titles” to earn. These are essentially achievements separate from the game’s Trophies, but earning these gives you little item packs. Many times, the items are used at the Blacksmith as part of Agarest‘s in-depth forging system.  

Graphics and sound were an afterthought, for them as well as me. The engine uses Disgaea-style sprites (which feels just a bit lazier every time it crops up on the PS3), and there are really only about four or five songs in the game. It’s really repetitive. Run your own soundtrack with it, and you’ll be fine.

Ultimately, Record of Agarest War is not the dating-sim game it’s marketed to be, but that’s probably for the better. It’s actually a solid, way-too-deep-at-times tactical RPG with a charming look and free DLC. (The DLC isn’t much…just some item packs and extra dungeons. It’s hard to argue with free, though.) It’s completely without crossover appeal, but it’s worth it if you like what it has to offer.

Pros: Crazy-deep systems (and lots of them), hours of replay value

Cons: Not at all polished, audio and visuals leave a lot to be desired

Plays Like: Vandal Hearts, Disgaea