Tag: Final Fantasy

Final Fantasy ROM Hacks

2023-06-14, 6:44 pm
Categories: Games

I listened to a recent episode of the Retronauts podcast focused on Final Fantasy ROM hacks, hosted by Nadia Oxford and featuring guests Andrew Vestal and my old friend Steve Tramer.

Unfortunately podcasts aren't exactly the ideal medium for helping people find things on the Internet, so I've gone ahead and taken the liberty of putting together a list of the ROM hacks (and at least one fan game) they mentioned, with links.

I haven't played most of these, but FF6 T-Edition is great, and these guys have pretty good taste in 8- and 16-bit Final Fantasy games. Andrew's Unofficial SquareSoft Homepage was the best Square fan site back in the early days of the Web (or at least the best English-language one), and Steve loaned me a fair few Square games back when we were kids. (We, ah, also managed to work FF6's Opera House scene into a Sonic the Hedgehog fanfic we wrote when we were 12, but try not to hold that against us.)

I think these are all the hacks, translations, and fan games they mentioned in the episode, but if I missed any or got any wrong, drop me a line and let me know.

Update 2024-12-17: Updated links, as romhacking.net is no longer hosting new updates. Where possible, I've pointed to the project maintainer's site, or at least to the relevant thread on the RHDN messageboard.

Final Fantasy

Final Fantasy 1 & 2: Dawn of Souls

Final Fantasy 2

Final Fantasy 3

Final Fantasy 4/Final Fantasy 2 US

Final Fantasy 5

Final Fantasy 6/Final Fantasy 3 US

Breath of Fire

Breath of Fire 2

Skies of Arcadia Legends

Galaxy Fraulein Yuna

Private Eye Dol

Fell Seal

2019-03-25, 6:31 am
Categories: Games, Status Updates, Stream of Consciousness

You know what game I've been enjoying lately? Fell Seal: Arbiter's Mark.

It's from developer 6 Eyes Studio and publisher 1C Entertainment, and it's an unabashed homage to Final Fantasy Tactics.

I think that's an underserved niche. There are plenty of tactical RPGs (like Fire Emblem) and their close cousins, turn-based strategy games (like XCOM). But most of them don't feel quite like Final Fantasy Tactics or its predecessor, Tactics Ogre.

Fell Seal does. Its storyline isn't quite as complex or as epic as those games', and its soundtrack is fine but doesn't feel as inspired as theirs. (After a round of Fell Seal, I tend to find myself humming tunes from FFT -- though FS's tunes are beginning to stick in my head themselves now.) But its mechanics? Those are damned impressive. Especially from such a small team (per their The Team page, two leads and nineteen contractors).

As of this writing, I'm eight hours or so in. I haven't seen every map; I haven't unlocked every class. But what I've seen so far has kept me excited and engaged in that FFT "just one more fight" way. Every class so far has been useful; every skill tree seems well-considered. And look, FFT is one of my favorite games of all time, but it's not perfect; there are a whole lot of useless skills in there, such as most of the Archer class's "Charge +n" abilities, and Cloud's Limit Breaks for the same reason. Fell Seal doesn't have a charge mechanic; abilities all execute right away. And I haven't found a class yet with abilities that weren't useful (though I admit I'm not quite sure about Gadgeteer just yet). Beyond your basic classes (Merceneries are a well-rounded base class, Menders heal, Wizards damage from a distance, Knights damage from up close, Scoundrels are quick and maneuverable), you get some more interesting choices, like the Plague Doctor, who has debuff-focused attacks but also a base AoE ability that removes debuffs and heals a small amount of HP. There are useful passive skills, too: Wizards can learn an ability that prevents offensive magic from harming allies or healing magic from healing enemies; it's a major boon for any spellcaster.

I haven't even tried the crafting system yet.

It's not a perfect game -- I don't love the character graphics, and while I do love the environment graphics, the decision to go with hand-drawn environments means you can't rotate the camera, which is inconvenient on some stages (for example, when a character is standing under a tree branch and you can't see them). But it's a damned impressive game, that I've already derived hours of enjoyment from and expect many more. The game has some excellent granular difficulty settings, and while I'm enjoying it on the defaults, I'm also looking forward to playing it again on a harder difficulty sometime.

As of this writing, the game is in Steam Early Access. However, it's scheduled for a release sometime next month, and the version currently on Steam is nearly final; according to the release notes, the only things missing are the ending and a secret bonus dungeon. The price has recently gone up from $20 to $30; I believe that will be the final price on release but I'm not 100% certain. I'd still recommend it if the price went up to $40.

But whether you get it now in Early Access or wait a few weeks for its full release, I heartily recommend this game. If you like tactical RPGs in general, and especially if you like Tactics Ogre and Final Fantasy Tactics in particular, you should buy Fell Seal: Arbiter's Mark. I don't think you'll be disappointed.

Fell Seal is available for Windows, Mac, and GNU/Linux, with Xbox One and PS4 versions on the way; I'm playing the Linux version. There's a free demo at itch.io, though I had some trouble with it (I couldn't get shops or guild halls to work, which left me short one party member on the second battle and made it much harder; I haven't had any issues with the full version of the game).

Glaivin'

2019-03-07, 6:06 am
Categories: Games, Movies, Stream of Consciousness

I don't play many new games anymore. I played Spider-Man because it came with my PS4, but since I finished it I've switched to something a couple years older: Final Fantasy 15.

I haven't been playing it long, just...*looks at save file*...Jesus, twelve hours? Anyway, I'm on Chapter 3. And so far I'm really enjoying it.

I dig the setting. Final Fantasy has been doing this "let's juxtapose fantasy with a quasi-modern world" routine since 7, and it's a lot more fully-realized here than it was then. Still not perfect -- city planning does not work that way, guys; you don't pass the limits of a major city and immediately find yourself off in a big empty desert with only an occasional gas station; the transition tends to be more gradual than that -- but still, the dissonance is a lot less glaring than FF7's transition from Midgar to a big empty overworld.

Actually, to a large extent, the dissonance is what I like about it. Taking things that shouldn't go together and then mooshing them together. This is a game that starts off with...well, I can't seem to get the intro to embed (I suspect a music rights thing), but if you haven't seen it, check it out on YouTube.

As I was saying: This is a game that starts out with a barrage of fantasy tropes -- the king in his castle saying farewell to his son, who's leaving to marry a princess to secure peace with the Empire -- and then cuts to the party pushing a broken-down car while Stand By Me plays. It is instantly one of my favorite video game openings ever.

The game doesn't retain quite that level of quality throughout. But even where it falls short, I like it, at least so far. I like ambitious failures. Here's how Brent described it:

As long as you keep the "FF15 has been in development for 10 years" fact firmly in mind the whole exercise is interesting from a how-do-you-make-something-mostly-complete-out-of-this aspect.

Did you notice the one part of the game where there was supposed to be a rad as fuck boss but they only got as far as modeling and not rigging the rad as fuck boss so they had you go and take a look at how rad as fuck the boss's model is and everybody comments on how rad as fuck the model looks and then you get a cutscene explaining why you don't need to actually fight the rad as fuck boss and then you just fuck off?

Not gonna lie, I love stuff like that. It's like the best kind of soup, the "if you've got it, just toss it in the pot" kind.

I love stuff like that too.

And you know what else is overambitious about this game? Kingsglaive: Final Fantasy 15.

Kingsglaive is a movie that occurs before and during the first chapter of FF15. It fleshes out some major plot points -- in a way that's, frankly, kind of ill-conceived, because there's at least one major scene in FF15 that lacks some pretty important context if you haven't seen the movie.

Spoilers for Kingsglaive and the ending of the first chapter of Final Fantasy 15 follow.

At the end of the first chapter of FF15, the kingdom of Lucis falls. And in the game, you don't really have a lot of context about just what the hell is going on. You've never seen the Emperor or General Glauca before, and you're given little context for who they are. Clearly the big spiky guy stabbing the king is a bad guy, but...you're given no other information on who he is or what his deal is, except that the peace agreement was a ruse and Niflheim has sacked Insomnia.

Do you even see the general again? I don't know. He kinda gets incinerated at the end of Kingsglaive, but maybe he gets better. I don't know for sure, but...it kinda looks like the game shows a scary-looking dude murdering the protagonist's father, never explains who he is, and then maybe he never appears again? That's...not great storytelling. That makes Kingsglaive less an ancillary cross-media spinoff and more an essential part of the story that is neither included with the game nor explained by it.

But I'm underselling just how baffling the entire endeavor is.

Because shunting a major, game-changing event off into a spinoff movie isn't the weirdest thing about it. It isn't even the weirdest thing about that scene.

Because the climax of Kingsglaive -- the betrayal at the signing ceremony, the fall of Lucis -- is intercut with Nyx and Lunafreya fighting a giant monster. And not just any giant monster.

Giant Purple Octopus
Kingsglaive: Final Fantasy 15
© 2016 Square Enix

That's Ultros. From Final Fantasy 6. This guy.

ULTROS: Mwa ha ha! Let's see if Maria can shrug THIS off!
Final Fantasy 3
© 1993 Square Enix
Screencap courtesy of Blastinus at Let's Play Archive

The movie cuts back and forth between the fall of Lucis -- guards being stabbed, bombs dropping on the city, the Emperor pulling a gun on the King -- and the octopus who tried to drop a 4-ton weight on an opera.

It is insanely, spectacularly wrong, and it is absolutely hands-down my favorite scene in the movie.

How did this happen? What was the thought process here? "Newcomers to Final Fantasy will just see a generic monster. But longtime fans will be wracked with the giggles!"

Obviously Final Fantasy is self-referential as all hell, and some of that was to be expected. But there's a pretty big difference between, say, playing the main Final Fantasy theme as background music early in the movie, and introducing Ultros during the climax.

But there's also something quintessentially Final Fantasy about it. This series is chock-full of sudden and inexplicable tonal shifts. I've talked about this before, back in my Final Fantasy 7 and Iconic Images post in 2011: FF7 goes from Barret's somber battle to the death with Dyne straight to chocobo racing. Bombs dropping while the heroes fight a tonally-inappropriate Easter egg? Just like the games!

And something that weird and singular saves the movie from being boring.

Because Kingsglaive is boring. It's very pretty; as a two-hour tech demo, it definitely demos the tech. But the characters are thinly-sketched, the villains' motivations and the plot twists don't make a whole lot of sense, and the climax feels like a Godzilla movie without the fun or the charm. It feels like the movie is focused entirely on showing really cool locations, monsters, and fights. It does that. But not much else.

In its own way, the Ultros fight is one more of those striking juxtapositions I like so much. Final Fantasy 15 starts out with high fantasy tropes and then immediately swerves into being a road trip movie. And Kingsglaive intercuts the serious and the silly. It doesn't really work, exactly, but I still love it.

There's an old Simpsons line where Marge tells Homer she doesn't hate him for failing, she loves him for trying. Whatever FF15's faults -- and I'm sure I'll find more of them as I get farther in the game -- they seem to be the result of overambition. And you know what? That's a good kind of failure. An interesting kind. Square Enix tried some things nobody else had ever done here. In some cases, at least, it turns out that there's a good reason nobody else has done those things. But if you're going to mess up, at least find a new and interesting and, perhaps, spectacular way to do it.

More from Busiek on that Final Fantasy Comic

2015-01-08, 12:26 pm
Categories: Comics, Games

For those of you just joining us by way of a link from Kurt Busiek or CBR, welcome. I guess I should probably figure out something interesting to say so you'll feel like sticking around for a bit. For what it's worth, I've written quite a bit about Final Fantasy over the years, and three posts I wrote about FF7 back in 2011 (the first on mods for the PC version, the second on iconic images, and the third a general look back on the game) are pretty consistently the most popular thing on the site.

In lieu of me saying anything interesting, I'm going to quote a little bit more from Kurt Busiek on the unfinished Final Fantasy comic, in the comments section of the Robot 6 article on the subject.

I will also add that if the book came out, I don’t think that Final Fantasy fans would be particularly happy with it. It was 1991, and I was a workmanlike-but-not-particularly-noted writer. Dell Barras was a workmanlike artist, and, well, the covers were gorgeous.

But I don’t think I really started to make strides creatively as a writer until VAMPIRELLA: MORNING IN AMERICA (late that year) and the industry didn’t notice ’til MARVELS in 1993.

So, while I barely remember the details, I expect it was a workmanlike story that made sense but wasn’t particularly memorable, with workmanlike art and great covers.

And heresy upon heresies, I changed things (with Squaresoft’s permission). I thought it was so odd that the manly heroic lead was named Cecil and his loyal buddy was named Cain (really? You name the loyal guy Cain?) that I suggested maybe they needed Americanized names, and Squarest agreed. I don’t remember what I changed them to, but Squarest liked them enough that they asked if I’d be interested in a staff position making the games more American-appropriate. We never talked much about it, because I wanted to freelance. But I bet fans devoted to the game wouldn’t have liked the changes, especially not from a current POV, looking back.

What can I say? I wasn’t particularly a Final Fantasy fan — I’d played their first US game a little, and the second wasn’t even done yet.

He adds, in a later comment, that the bible he'd been given didn't even mention that Kain spends half the game betraying Cecil, and talks a little bit more about the original (FF1-based) outline he wrote.

(If he had been involved in localizing the game, I'm willing to bet it would have been better than what we initially got. But he'd have still been contending with cartridge space limitations and weird Nintendo censorship.)

Mignola Final Fantasy Covers

2015-01-04, 9:47 pm
Categories: Comics, Games

Well now. It appears that Kurt Busiek just reblogged a Tumblr post by Alex Chung, which, in turn, links back to a post I wrote back in '012 about Busiek, Barras, and Mignola's unfinished Final Fantasy comic (based on Final Fantasy 4).

So since that old post is probably getting a little bit of new traffic, I should follow it up, now that I have a couple of Mignola's covers for the series.

This one is via Chung's post, and would have been the cover to issue #2:
Final Fantasy #2 cover

And this was sent to me just over a year ago by Dale Jackson, who owns the original art; it would have been the cover of #4:
Final Fantasy #4 cover

Alex, thanks for linking to my post and for including the #2 cover; Dale, thanks for the heads-up on the #4 cover and I'm sorry it took so long to post it.

World of Balance

2013-08-13, 6:24 pm
Categories: Games, Stream of Consciousness

So my current replay of FF6 has sparked some discussion over on the forums, as you might expect.

My previous post, asserting that the Auction House is the worst thing in the game, met with some debate from TA and Brent, who contend that the Veldt is the worst thing in the game. From there, discussion ensued about Gau's utility, and I mentioned that I'm going out of my way to use characters on this playthrough who I don't normally use and how putting Strago, Relm, and Locke in my party made the Floating Continent a much more defensive affair.

Brent interjected that strategy is not a subject he associates with FF6 ("I always thought the RPG bits were just the glue holding together a pretty good steampunk fantasy novel"); Ocksi and I got to talking about the unlikely prospect of a remake in the style of 3 and 4 for DS -- and I bridged the two points, noting that while the best we're likely to get is a prettied-up-but-primitive port like on the PSP (and even that's not looking likely right now), FF6 is a game that could really use the sort of serious rebalancing that the DS remakes got. Brent suggested the following:

If I were redoing the game I'd just do away with the Fight command completely and let everyone have their own wholly unique attack mechanic. That'd mean a lot of new minigames and some changes to existing specials (Cyan shouldn't hold up the entire damn fight, Setzer shouldn't randomly end the game), but I don't think many people would complain.

and we went from there.

Most of this was originally posted on Brontoforumus, 2013-08-11, but I'm making some notes and revisions here as I go.

That'd be pretty tempting, yeah. Make Terra and Strago pure magic, say? And give them an FF12-style Charge move in case they run out of MP.

Further thoughts:

Give monsters AI. Make them only heal as needed, and not re-cast offensive/debuff/negative status spells on characters they have no effect on. Obviously you'd need to rebalance their attacks, because there would be absolutely no reason for a Stray Cat ever to use its standard attack instead of Cat Scratch. (Which I guess is the same problem with Edgar, Sabin, Cyan, and the Fight command.) Maybe add charge time to the more powerful attacks? I'll get back to charge time in a minute.

Either give Gau, Mog, and Umaro AI much like what I described above, or make them controllable. (Or, ooh, here's a thought: have them initially fight based on AI, but introduce a relic in the second half of the game that allows you to control them, like the FakeMustache turns randomized Sketch into Control.) Make your character controllable in the Coliseum, too.

(Mothra interjected that he liked not controlling his character in the Coliseum. I don't, at all, but if they were to keep it that way they'd definitely need to give it the same kind of AI upgrade that I suggested above -- Sabin should never, ever use Spiraler; if you know Firaga you shouldn't be casting Fire; and if you cast Scan I'd better see you using your next turn to exploit any elemental weaknesses it pulled up.)

Gau/Veldt: Make Gau automatically learn rages from every monster he defeats, whether he's on the Veldt or not.
Veldt can still serve a purpose as the place where you can re-fight monsters from earlier in the game -- but needs a few tweaks.
First of all, get rid of the current arrangement of monsters (where you fight a random group from an ordered list). Split the Veldt up by region -- maybe arrange it so that it resembles the world map in miniature. Go to an area on the miniature map and you'll fight monsters from that part of the world map. (Obviously this would be a little trickier to implement in the WoR -- do you have a mix of WoB and WoR monsters in each region, or find some way to split it up into two miniature world maps?)
And no more missable Veldt monsters. If you've been to a region, monsters from that region will show up on the Veldt, whether you've encountered them or not. (The exceptions would be the two bosses, provided you even keep them as Veldt monsters; that was always kinda weird.)

Oh, and no missable dances, either. Create some persistent location where you can learn the Water Dance in the WoR. Maybe make the Serpent Trench, Ebot's Rock, anywhere else that was underwater in the WoB into a marshland that counts as water.

Celes: While Terra and Strago make sense as pure mages from a plot perspective, Celes doesn't. She's been raised as a warrior from infancy; you'd have to expect she'd at least know how to handle a sword when MP runs out. I say make her an FF5-style Mage Knight; give her the ability to enchant weapons with elements or effects. You could keep Runic, but if so you'd want to make it useful late in the game by, for example, making it only draw enemy magic (maybe have this be another ability that gets upgraded by a Relic), or you could drop it entirely in favor of Magic Sword.

Magic: The four natural mages (Terra, Celes, Strago, Relm) should have visibly better magical aptitude than everybody else. I think everybody else's magic stats (Magic, MP, M Evade, M Def) should be nerfed -- not to the point where magic is useless, but to the point where it's noticeably less effective than when the natural mages do it. (Gogo's actually a pretty good example of a character who can still use any ability in the game but is visibly worse at it than its natural practitioner.) I'm thinking you could also add charge times for the non-natural magic users to cast their spells.

And speaking of charge times, that's what you do with Cyan. Have him pick his attack from a menu and then initiate the counter; if you want to do, say, #7, it'll still take just as long to prepare, but everybody else in the party can keep doing their thing while he's preparing it.
Also, either eliminate his intermediate attacks or make them useful.

Similar goes for Edgar -- there's not really much reason to use any of his tools except Autocrossbow and Chainsaw.
I say nerf Chainsaw a bit. (Make the difference between it and Drill more striking -- make it useless against monsters with high def, for example, so that Drill is clearly a better choice there.) Make monsters more susceptible to Bioblaster and Noiseblaster (and maybe add some more tools that cause different status ailments) -- here's a thought, maybe even make monsters that would normally repel a Bio or Confuse spell susceptible to the Tool version.
Introduce Debilitator way earlier in the game -- say, before the Magitek Research Facility. (Technically it's possible to steal one from the crane boss, but it's rare and that still means you get it immediately after the part of the game where it would be most useful.)

Auction House: Easily fixable. FF9 had an Auction House that actually behaved like an auction house; do it like that. Make players bid; place them up against simple AI behavior from townspeople; reward good betting strategies while keeping the results somewhat unpredictable. Maybe even have an online component to it, let players trade items -- you can put restrictions on it (like one purchase a day) if you really want to, but I wouldn't worry that much about people gaming it, really.

The joke events could still happen I guess, but limit them to once each.

And keep a high probability that the important items -- the two Espers and, provided we keep Gilgamesh, Excalipoor as well, shouldn't be too hard to get ahold of. It's okay to have some rare stuff in there -- maybe a very low probability of super-powerful, super-rare items like Economizers and Offerings showing up -- but I don't think any unique items should be such a bastard to get.

And while we're talking about rare items, having the Excalibur and other high-end equipment not show up until the very end of the game is dumb. It should be obtainable earlier.

(Making the player choose between Ragnarok the Esper and Ragnarok the Sword, while still allowing you to steal the sword from one of the Goddesses, is okay by me, though. ...but maybe make it not such a pain in the ass to get rare steals. Maybe do like the more recent games have done and allow monsters to carry multiple items so if you keep stealing for long enough you'll eventually get the rare one?)

I think Celes's theme should actually play for more than three seconds of the game, too. Like, for starters, why not play it when she's introduced, like nearly every other playable character?

Final Fantasy Prequels I'd Actually Like to See

2013-08-08, 8:07 pm
Categories: Games, Stream of Consciousness

R^2's excellent Let's Play Final Fantasy 4 Advance thread over at Brontoforumus has veered onto the topic of The After Years and its general wretchedness. I've never played it -- but yeah, it sure seems like a terrible idea, on principle.

And I get to thinking, what Final Fantasy same-world sequels are any good?

For my money, FF12 and Revenant Wings don't count -- that's a case of an established setting being worked into a numbered FF game, not a numbered FF game's setting being reused per se.

FF10-2 was pretty neat, partially because it was the first and partially because it was so utterly different from FF10 proper, in tone, plot, and gameplay.

And the only FF7 sequel worth a damn is Crisis Core.

I think a lot of that is because it has the good sense not to take itself as goddamn seriously as most everything in the FF7 universe -- but I think it's also because it's a prequel. FF7 has an ending. An ending whose appeal comes from its ambiguity. Setting games (or movies) after the ending misses the point. Badly.

So with FF4. FF4 puts a fucking bow on things. Everybody gets to be a king or queen. Even Yang, for no reason whatsoever.

How the fuck do you top that? You don't.

Most Final Fantasys have an ending that's pretty, well, final. (There's an ongoing fanboy talking point that that's why they're called "Final" and that's why you should stop making jokes about "Dur hur how can they be final if there's thirteen of 'em?" That's stupid fanboy talk. But you really should stop making that joke.)

But you know what? Plenty of them come with perfectly good backstories to play with, and ripe ground for prequels.

Let's start with FF5 and the Warriors of Dawn. You could play as a young Galuf, and Butz's dad, and...look, I forget the other two guys' names. The point of FF5 isn't really its plot, it's the jobs system. I'd be happy to play a game with an earlier war with Exdeath, revisiting some familiar locations and characters a la Dragon Quest 3.

And then there's FF6 and the War of the Magi. The backstory's dashed off in a few lines of exposition in-game, but it's got loads of potential -- three gods begin fighting, they mutate humans into magic users, other humans hunt the magic users to take their powers, and it leads to an all-out apocalyptic battle that rends the world asunder and ultimately wipes magic off the map and sends technology back to the Stone Age.

Given the timeline and the established power of the Warring Triad, the world wouldn't need to bear any kind of resemblance to FF6. (Though, hm -- maybe the map could start out looking one way and, after being torn asunder by the Triad, look like the World of Balance. Dramatic irony!)

And the final candidate I'd like to share is Final Fantasy 3. 3 has an even more barebones story than 5 (and isn't as good a game), but it has one idea in its backstory that could make for a wonderfully warped take on the traditional story.

3 relies on the D&D trope of Good and Evil existing in balance to one another, and the idea that if one becomes too strong, the other will rise to defeat it. Final Fantasy 3 has a world subject to the influence of a creeping evil -- and so the Crystals create four Warriors of Light.

But, it's clearly established in the backstory that the reverse happened a few hundred years before: Good got too strong, and the Crystals created four Warriors of Dark to restore the balance.

I'd love to play a game that does the Final Fantasy formula in reverse: burn villages, breed monsters, awaken ancient evils, start an evil empire and slowly take over the world.

I guess it would be kinda like the first half-hour of Final Fantasy 4, if Cecil had a much higher degree of job satisfaction.

The Auction House is the Worst Thing in Final Fantasy 6

2013-08-01, 6:31 pm
Categories: Games, Stream of Consciousness

It really, really is.

I mean, the Fanatics' Tower is downright sadistic -- it's a huge, nasty, difficult slog, with no save points, ending in a boss who will almost certainly kill your entire party when you defeat him, and then, if you survive (which requires either Reraise or an extremely high-level party), makes you walk all the way down again, and not only that, but it offers no experience, so if you die you lose everything you've gained.

But, it's pretty easily gamed. You're not going to fall for that wipe-out-your-entire-party thing a second time, and players who know what they're doing can actually get in and out painlessly with a Moogle Charm and the Berserk and Reraise spells.

The Auction House, on the other hand, is bullshit.

The first thing wrong with it is that it is not a fucking auction house. It is a store with a randomized inventory where it takes an inordinate amount of time to buy things. Items go for the same price, every fucking time; you just have to sit through a goddamn cutscene before you can agree to buy them.

And the second thing wrong with it, of course, is the goddamn Talking Chocobo and 1/1200 Scale Airship.

Not only is it a store with a randomized inventory that makes you sit through a cutscene to buy things, but a very large percentage of the time (I'm going to say "majority", though people who've paid more attention to FF6's RNG can correct me) it hits you with a gag item that you can't actually buy.

This is, possibly, mildly amusing the very first time it happens.

For some reason, it is possible for it to happen a second time after that.

And a third, fourth, fifth, and seven hundredth fucking time.

And if you want to get two particular espers, or certain rare relics early in the game, you either have to study the game's random number generator to figure out how to get the things you actually want, save-spam until you get lucky, cheat, or actually sit through every one of the auctions.

Nice thing about emulation is that it makes it a lot less obnoxious, what with the ability to use a save state right outside the door and fast-forward to nudge the RNG. (On my last playthrough I was convinced that the item up for auction was seeded by your number of steps; this time I'm more inclined to believe it's time-based. I'm sure somebody out there has written an exhaustive guide, though I must admit I'd be more interested in just finding a hack that turns the damn thing into a store and lets you buy the things you want from it.)

Auctions -- actual auctions -- make a lot more sense in MMORPG's, where you're interacting with other players. So do extremely rare drops, for that matter. FF6 is less guilty of the latter than FF4, with its rare summons, Pink Tails, and such (though I've only ever seen one Economizer drop in all the times I've played 6 top-to-bottom and side-to-side), but there's slim damn reason for there to be an auction house in the game in the first place, and no reason at all for an irritating goddamn barely-functional store that pretends it's an auction house.

Part II begins now!

2013-07-24, 6:42 pm
Categories: Games, Stream of Consciousness

If I've a gripe about Act 2 of FF6, it's that it's one of those bits that gives you flexibility to choose your party but where the plot clearly defines a correct party.

It's Edgar, Sabin, Locke, and Celes.

If you've got Edgar and Sabin, you'll get their cutscene in Figaro that tells the story of their father's death, the coin toss, and Sabin's departure.

And if you've got Locke, you'll see his cutscenes in Kohlingen about Rachel, her fall and amnesia, and her current state of suspended animation.

While it's true that Celes only gets one line of dialogue to react to all this, I think it's still valid to say she's a "correct" party member here, given that she becomes mandatory after Zozo.

Speaking of after Zozo, yes, you do get to choose half your party there -- but Locke and Celes are mandatory, and Sabin and Edgar are still the two remaining party members who contribute most to the plot if you pick them -- because then you get the punchline to the coin toss story.

Sure, you can get Shadow during this stretch -- but it's not really worth it. You might catch one of his dreams if you stay at an inn, but other than that, he doesn't do much except potentially run away at an awkward moment and leave you stranded. Plus, if it's your first time playing the game, you won't know he's coming and will leave Narshe with a full party and not be able to get him (without backtracking to Narshe and leaving somebody behind), and if it's not your first time, you'll know the correct party is Edgar, Sabin, Locke, and Celes.

Anyway. That aside? This is one of the great sequences of the game. Zozo is one of the most memorable locations, and the Opera House represents everything I love about Final Fantasy in general and this game in particular. And in the version I'm playing, with the music restoration patch, it's an actual recording, complete with real voices. Singing in Italian. Seriously, it is the crown jewel of an excellent game hack and you owe it to yourself to check this version of the game out.

And then the occupied cities of Albrook, Maranda, and Tzen -- if I've a gripe about them, it's that they're a little too samey, but that was a pretty common problem in 8- and 16-bit JRPG's and FF6 provides more variety than most.

And then Vector. Vector is marvelous. The slight sheen of fire and metal over everything, the soldiers everywhere and robbers in the inn, the oppressive music.

And the Magitek Research Facility is a whole other vibe: pure mad science.

The whole sequence is so fantastic that I hate to point out the places where the seams show, but what the hell, here they are.

First: it's stated in dialogue that Gestahl has known about Magicite for 20 years and that Celes's magical talents came at the expense of an Esper's life.

But Kefka and Cid are both quite clearly surprised by the revelation that the best way to obtain an Esper's power is by killing it.

I can understand Gestahl not telling Kefka -- I mean, would you? -- but Cid? That doesn't make a lick of sense. Cid is the guy in charge of extracting power from Espers. The entire purpose of this giant facility you're in is rendered moot if Gestahl knows magic is derived from dead Espers rather than Espers in giant fishtanks. Not to mention that Cid is the person who gave Celes her magic infusion when she was a child, so if it involved dead Espers he should presumably have known about it.

(And speaking of children, the Slattery and Woolsey translations both have Terra say "I was raised on the Esper world." and then immediately tell the story of how she left the Esper world at the age of two. That's more of a nitpick over a single word choice, but it still grates.)

Also very very silly: Locke seems to immediately buy Kefka and Cid's -- that would be, to those of you keeping score, the villain and a guy he just met -- allegation that Celes is a spy.

This is, of course, completely fucking ludicrous.

It relies on what Roger Ebert called the Fallacy of the Predictable Tree (after the scene in First Blood where Rambo drops out of a tree on top of a cop -- they are in a forest; how did he know a cop was going to stand under that exact tree before he climbed it?) and TV Tropes calls Gambit Roulette.

Let's paint a picture here.

Let's say Celes was a spy seeking to infiltrate the Returners.

When Locke meets her, she is chained up in a basement. (Or, in the GBA version, just kinda hanging out in a basement.)

So okay. She wanted to infiltrate the Returners.

So she...hid out chained up in a basement, and just waited for one of them to come into South Figaro, sneak past the armed guards by stealing clothes from people, bribe an old man with cider to be allowed use of his secret passageway, and just happen to look through the door into the smallest room in the biggest house in town and see her chained up there?

Locke believes this is a plausible scenario. Because Locke is a character in a video game. And in a video game, a plan like that is perfectly logical.

This is a medium where mad scientists regularly attempt to take over the world by sticking thematic robots into little rooms where they can hang out and wait until somebody walks in so they can shoot at him. Where dragons won't attack you until after you've talked to exactly the right villagers in precisely the correct order. And, lest you think these particular abuses of Video Game Logic are confined to classic games, I point you to my thoughts on Metroid: Other M, a game where a monster does not attack you until you notice a trail of bugs on the ground, and a woman will stand at a window for ten minutes while you look around and then act surprised and run away when you finally spot her.

So, all things considered? I guess Locke's got a point.

The Sublime Symmetry of FF6's First Act

2013-07-18, 7:22 pm
Categories: Games, Stream of Consciousness

Well, Terra's turned pink and flown off toward Zozo, leaving me to consider the first five or so hours of FF6. In an era where episodic games are now common, it's striking that the game's first act would have made an excellent Episode 1. It doesn't just tell a satisfying story with a beginning, middle, and (cliffhanger) ending, it doesn't just introduce the premise and most of the major cast while still leaving the biggest stuff for later -- it also plays significantly differently from the rest of the game, and its plot and play beats form a brilliant mirror where the end of the act recalls its beginning.

The Empire invades Narshe, with Terra as a puppet. Terra encounters the frozen Esper, with explosive results. Terra regains consciousness and the ability to think for herself. Locke has to protect her in a battle with a tower defense element to it, with three parties defending from oncoming nonrandom monsters. Terra and Locke flee the Empire, gaining comrades along the way -- and then the party is abruptly separated. For the first time, you see events unfold through characters other than Terra -- and then everyone makes their way back to Narshe. The Empire invades, with Terra and friends defending the city; they have to defend Bannon in a battle with a tower defense element to it, with three parties defending from oncoming nonrandom monsters. Terra encounters the frozen Esper, with explosive results -- and even as she comes closer than ever to discovering who and what she really is, she loses her willpower again and becomes an unthinking beast.

Aside from that, there's the gameplay -- and, notably, a couple of things happen during this portion that don't happen again later.

First, there are the two tower defense-style battles. They're the only two in the game, which is just the right amount. The first one is easy and lets you get the hang of it; the second one's a more legitimate challenge.

There's also the "Choose a scenario" portion. While there are other parts of the game where the party is split up, there are no other occasions where you experience story developments from multiple perspectives.

And it's mostly great! Terra's scenario is pretty bland, but at least it's short. Locke's scenario is another unique piece of game; it's a puzzle that plays to his strengths as a th -- treasure hunter, and it's funny besides. Sabin's scenario is the longest and broadest of the bunch, introduces three new playable characters with tragic origin stories, and takes you through a tour of the game's various locations -- the Imperial Camp, Doma, the Haunted Forest, the Phantom Train, Barren Falls, the Veldt, and the Serpent Trench. Some of it feels half-baked -- the Forest is over in minutes, and the Serpent Trench is just a showcase for then-impressive Mode 7 animation where very little actually happens (and then you have to come back later if you want to get Mog's water dance) -- but a lot of it, like the camp sequence and the Phantom Train, is excellent.

And then there's the character balance -- this is a game that's famous for not having very much of that, but it's hard to tell in the opening act.

Each character has a unique ability -- at least, up until you get Celes and then you've got two magic-users and Terra hasn't learned Morph yet. And most of them are pretty well-thought-out.

Terra and Celes both play like Red Mages in previous FF games -- they can equip the best weapons and armor and cast both black and white magic spells, but they're not very strong as attackers yet at this point in the game, their offensive spells are middling, and their low max MP means they don't get much use out of them at any rate. Celes's Runic is pretty damned useful early in the game when she's the only magic-user in the party and it effectively nullifies bosses' magic; it's not until later in the game that it becomes basically worthless.

Edgar gets decent, but not crazy-high, damage against all enemies with the Autocrossbow. It's a pity the Bioblaster and Noiseblaster aren't much use.

Shadow gets solid-to-high damage depending on equipment, and occasionally will counter with Interceptor, which is the most damaging attack you've got at this point in the game but happens rarely enough that it's not spammy. And Shadow is squishy and dies easily. (And may randomly ditch out on you and make you restore from a save so he doesn't take that Genji Glove you put on him when he goes. That part I'm not so crazy about, but the unpredictable mercenary angle is a neat idea in theory, at least.)

Cyan is nominally a samurai but plays more like the previous games' Knight class: he does solid damage but excels at defense. Early on he's kinda like Edgar in that he's got one very good special attack and two others that aren't really much use most of the time.

Gau has immediate access to more powerful attacks and spells than anyone else in the party, but you can't control him and even if you pick a Rage like Templar that drastically boosts his defense and evade (in versions where the evade stat actually works), he's still pretty squishy.

And then there's Sabin and Locke. Who I guess, if nothing else, at least balance each other, since one is ridiculously overpowered and the other is, at this point in the game, not that damn good.

Sabin is the most overpowered character in the game. You can see where they were trying to make him something of a glass cannon like the Monks in the previous games -- he's got the high attack, high HP, can't equip good armor thing going on -- but even with weak armor he still does a pretty good job of soaking up damage, and he dishes it out like crazy. Aura Cannon is one of very few Holy-elemental attacks you get access to in the game, and it deals high damage to most enemies. And while, like Edgar and Cyan, his other two specials are inferior, they're still fairly useful -- Pummel/Raging Fist ignores defense, and he can suplex a fucking train.

Locke, by contrast -- well, he's decent enough later in the game, but early on he deals low damage, has low defense and HP, and his Steal command isn't worth using. It seems to fail about 75% of the time and, when it succeds, it's usually just a damn Potion that won't even heal the damage the party took while Locke was trying to steal from the monsters instead of killing them.

His scenario's fun as hell -- right up until the part where you start actually having to fight dudes, at which point it turns into Locke mostly being a liability while Celes does all the work.

But, Locke and Sabin aside, the characters' balance is really well-thought-out in the early going.

Course, by the time you leave Zozo you've got Espers and a chainsaw -- but that's a story for another day...