Showing posts with label JRPG. Show all posts
Showing posts with label JRPG. Show all posts

Tuesday, October 25, 2016

Costume Time: Role Playing in Role-Playing Games
Perspectives


My silver hair danced gently across my face as I strode into a muddy, weather worn village by the river. An imposing castle sat atop this quiet town. But I wasn’t here for nobles. I wasn’t here for rest. I was here for one reason only—a bounty. For you see, a poster at a nearby tavern alerted me of a desperate need for a skilled warrior. A terrifying griffin had been ravaging a nearby town. I hopped on my horse and rode over. A quick stroll through the streets and it became obvious who my new employer would be. A woman sobbed outside her home, cursing fate and only wishing for her son’s safe return. The griffin had snatched him up while he was playing outside the town’s walls. He was gone in an instant. The mother pleaded with me to help her out. Her only son could be moments away from death. I listened to her request, and got the required information about the beast’s possible lair and habits. I then looked her squarely in her eyes, her brown against my fiery yellow. I asked coldly, “So what does this job pay?”

Sure, I (as Alex) felt bad for the traumatized mother. I (as Alex) hoped the young boy was still alive (though unlikely, griffins aren’t the most patient creatures). But I was not Alex. I was Geralt of Rivia. A bounty hunter. A Witcher. I didn’t ride across the land as a do gooder or as a righteous warrior. I had honed my craft at slaying monsters and ghosts and beasts alike for one reason: to get paid. Every single decision I made during conversation, exploration, and combat was that of the hardened bounty hunter Geralt. Sob stories were met with asking fees. My price was non-negotiable. The Witcher 3: Wild Hunt allowed me to be this fantastic character. It allowed me to act in his stead. I always had choices and could have played The Witcher 3: Wild Hunt very differently, but I wanted to role-play. I wanted to wear my Geralt costume.

You got a problem, hey I'll solve it. For a fee, of course.
In this spooky, costume-wearing time of year I got to thinking why I like wearing these video game ‘costumes’ and the kinds of games in which these costumes exist. The first place many of us might think of, myself included, are role-playing games (RPGs). They often build a world around a character, or group of characters, that engage with a grand narrative. Sometimes it’s about stopping a madman in clown make-up from destroying the world, other times it’s about finding my long lost son in a post-nuclear wasteland. Who the characters are and how they interact with this grand narrative, however, can vary quite a bit between RPGs. In fact, you don’t always get to role-play a ‘character’ in a RPG. Let me explain.

Non-character ‘characters’ typically fall into two categories. The first you see quite often in Japanese RPGs. We’ll call it the overly controlled protagonist. A few examples out of the many I could have chosen are Cloud from Final Fantasy VII or Sora from Kingdom Hearts. There’s nothing wrong with having an overly controlled protagonist lead your RPG. They’re often endearing, sticking with you long after completing the game. But games like Final Fantasy VII and Kingdom Hearts don’t allow the player to make their own stamp on Cloud or Sora, respectively. Everything is pre-scripted. Gameplay inside and outside of combat doesn’t lend itself to adopting a persona. Cloud and Sora are great characters, but they cannot be costumes for me to put on.
And here you see the extent to which you can role-play as Sora.
The second type is the formless protagonist. Formless protagonists were traditionally found in western RPGs like The Elder Scrolls or Baldur’s Gate. You now also see them in Japanese RPGs like Bloodborne and Dragon’s Dogma. The main characters in these games lack any built-in personality. It starts from the character creation screen. In many of these games, you mold and shape a character to look exactly how you want her to. The same philosophy applies to playing the game. Everything about the character comes from you, the player. Good or bad, murderous or forgiving, these protagonists can be whatever you want them to be whenever you want them to be. I already see arguments popping up here. “But Alex, isn’t your character from Fallout 4 perfect for role-playing? It’s a perfect costume since you can be whatever you want!” But therein lies the problem. They aren’t characters. They’re me. They’re me when they are the Nice Guy™ doing good across the land, and they are also me when they are a sleazy scoundrel that drinks until he’s silly. I can’t frame my decisions within an authored context. I am the actions and the framework. The formless protagonist is great for role-playing, but an imperfect costume.

You can be Geralt in Fallout 4! Except not. You're always yourself as your own character.
So what makes Geralt of Rivia work as a costume? It is a combination of player agency in moment-to-moment decisions with predefined characteristics. Geralt has a backstory and personality. He has past decisions to atone for and a well-communicated set of core values. In cutscenes or other moments when control is removed from the player, Geralt acts according to the narrative framework of the developers. He is his own person. While playing, though, I get to define who I am as Geralt. A player like me could have just as easily been a Geralt that’s softened his stance on payments, due to the evolution of his relationship with his daughter figure Ciri. Another player’s Geralt could have gone the exact opposite direction—ignoring teary-eyed pleas for help because he has bigger fish to fry (namely the spectral Wild Hunt that wants him and Ciri dead). No Geralt is wrong, and all Geralts are a costume. I think of it like a mask you’d buy at a Halloween store. You’re not going to buy a block of rubber and cut & shape it into a mask. You’re going to buy one that’s already been made—one you can put your unique stamp on by the way in which you wear it.

Great costumes don’t happen that often in video games, so I relish every chance I get to put one on. A recent example is Adam Jensen in Deus Ex: Mankind Divided. Like Geralt, this augmented super spy has an authored identity that can be shaped by a player’s actions. Jensen’s tagline in Mankind Divided’s prequel was ‘I didn’t choose this.’ After nearly being blown to smithereens by gunfire, Jensen was rebuilt with top of the line mechanical prosthetics (augmentations) and asked to face off against those who would do harm. Coming into Mankind Divided, Jensen is perhaps more comfortable with his new identity but also, for me as Jensen, someone who never forgot his roots. I took his framework and built upon it.

I played an Adam Jensen that remembered what it was like to be powerless. A tough stint as a Detroit beat cop taught him humility. Taught him the value of all life, especially in an age when people are looking for any reason to treat others as subhuman. For those reasons, my Adam Jensen never killed. Anyone. Ever. I used non-lethal weapons like the stun gun or tranquilizer rifle, and made sure to knockout and enemy rather than break their neck. Even in trying moments, my Adam Jensen held true to his principles. In one instance, he faced off against a serial killer. This person had brutally murdered no less than four augmented individuals and had gotten away with it. In fact, she had lured Jensen into the sewers to be her next victim. Despite all that, Jensen didn’t want to kill her. Nor did he want her to end her own life. In a room rigged with explosives and deadly gas, Jensen carefully talked to the serial killer in an attempt to find out what he could say to peacefully put the murders to an end. And he did. I did. I wasn’t there to open fire or run her through with my arm’s nanoblade. Because that’s not the costume I was wearing.

Put the blade away Jensen. That's not you (or me as you).
I love these video game costumes. Maybe it’s my affinity for this unique kind of role-playing experience; maybe it’s just their scarcity. This Halloween enjoy the costumes you wear. Not just the ones you put on for a party. Enjoy the ones you wear while playing video games, too. From a mythical bounty hunter to an augmented super spy to anything in-between, costumes are a whole lot of fun. Now if only I could find a way to be given candy while wearing one.

Friday, October 14, 2016

News & Views
10/8/16-10/14/16

This dark, rainy Friday is a perfect endnote for a spooky October week. I’ve been plugging away at my Scare Fest 2016 list, now with over 10 movies seen and reviewed. Snuggle & Scream podcast made its Season 2 debut this week, in which Justine and I got to discuss Hush. We’re ever slowly creeping towards Halloween and I couldn’t be more excited.

News & Views collects the week’s best gaming and gamedev writing and puts it all into one convenient place. Check out the links below for stories about the geography of a MOBA battleground, how Thumper is a unique blend of rhythm with horror, the tale of a self-destructing game from the 1980’s, and a chronological look at the origin of Japanese role-playing games.

And of course please check out the brand new episode of The Impact Factor podcast that was posted today! You can subscribe to the podcast on iTunes, or if you prefer other methods, check out our SoundCloud. We’re on YouTube too!

Spotlight
Brian Crecente, Polygon

Worth Reading
Ethan Gach, Kotaku

Josh Calixto, The Meta

Ben Bertoli, Polygon

Gino Grieco, Giantbomb

Alex Wawro, Gamasutra

Patrick Klepek, VICE

Felipe Pepe, Gamasutra

Tuesday, August 16, 2016

Cozy Up By The Fireplace
Review
I Am Setsuna, Tokyo RPG Factory (PS4)

Abstract: I Am Setsuna is Tokyo RPG Factory’s attempt to make what was old new again in JRPGs. A freshmen outing, I Am Setsuna is a mixed bag of success and disappointment. A likable cast of characters and beautiful world is hampered by a forgettable narrative and poor dialogue. Unnecessary complexity detracts from a fantastically fun and mechanically engaging battle system. I Am Setsuna evokes your fondest classic JRPG memories while mostly succeeding under a modern critical eye. I Am Setsuna is a warm fireplace in a snow storm, a piping hot plate of comfort food. It’s not perfect, but I Am Setsuna is satisfying and made me hungry for more.

The blips. The bloops. The menus. The music. Old-school Japanese role-playing games (JRPGs) constitute a hugely significant part of my gaming lineage. My earliest gaming was defined by quick-fixes and raucous multiplayer, which earned fighting games, arcade racers, and platformers top billing on my ‘favorite genres’ list I kept near my bed. JRPGs uprooted that and redefined the kinds of experiences I wanted out of video games. What started as simply as Pokémon Blue quickly evolved in Tales of Destiny, Final Fantasy IV, and Xenogears. JRPGs were my introduction to the immersive capacity of games—worlds and characters and combat systems I could get lost in.

The transition to full 3D was difficult for JRPGs. That is not to say there haven’t been great JRPGs made after 2000, but in adapting to a new medium they lost something. It felt like every JRPG develop at the time suddenly decided to redefine what a JRPG should be—for better and worse. I’ve kept my JRPG playing up in the years since Final Fantasy VII and Chrono Trigger, but the further we got from classic JRPGs the less I felt attached to those experiences. And I’m not alone.

Enter Tokyo RPG Factory and I Am Setsuna. Square Enix, the most widely known developer of JRPGs, moved their marquee JRPG franchise (Final Fantasy) to the modern era, replete with huge 3D environments and action-game-based combat. The demand for classic JRPGs never went away, though. Tokyo RPG Factory is a Square Enix initiative to make smaller, classic-feeling JRPGs for gamers today. I Am Setsuna is their freshmen outing. I Am Setsuna is a mixed bag, part wonderful and part disappointing, but ultimately it felt like a long lost friend. It was an experience I had been craving for quite some time. I Am Setsuna is JRPG comfort food.

JRPG comfort food through and through.
I Am Setsuna opens as the protagonist Endir, a young and deadly mercenary , is tasked with an assassination. Your target is named Setsuna, an 18-year-old girl who, as it turns out, was just selected to be a ritual sacrifice. Setsuna must journey to the Last Lands and offer herself up. In doing so, the monsters that plague the lands should abate. Endir decides not to kill Setsuna, seeing as she is about to die anyway, but rather join the sacrifice’s guard to ensure she makes the perilous journey in one piece. Over the course of your odyssey you assemble a rag-tag group of boisterous characters, each with their own motivations and combat specialties. I Am Setsuna’s uniqueness stems from its central theme—despair. I Am Setsuna isn’t a happy adventure. Death is everywhere, the line between good and evil blurs, and everything comes back to the tragedy of sacrificing innocence on the altar of compromise. The story isn’t spectacular, even by old-school JRPG standards, but it is functional and moves along at a brisk pace.

Death is a huge part of I Am Setsuna.
Homage to its predecessors or not, I Am Setsuna struggles narratively. The dialogue writing is poor, filled with saccharine professions of feelings and overly dramatic revelations that felt more functional than noteworthy. I Am Setsuna’s characters fall into formulaic molds, too. You have the old warrior who uses crudeness and sarcasm to mask his pain, a plucky youngster whose arcane power comes at a great cost, and the stalwart noblewoman who struggles to follow her royal calling. The worst offender is Setsuna herself, whose naïve cheerful good-to-a-fault personality becomes grating by the end of your journey. Surprisingly though, I found myself really enjoying I Am Setsuna’s cast of characters. They are quirky, memorable, and aesthetically striking. There are some great back and forths between party members and moments of levity that actually had me laughing. Combine this with beautiful hand-drawn art and cute little sprites and I’m sold.

Formulaic or not, I loved my party in I Am Setsuna. The gorgeous art helps with that.
JRPG’s live and die by their battle systems. After all, it’s what you’re doing for the vast majority of your time while playing. I Am Setsuna’s is fantastic. You choose a party of three characters. Monster encounters are always by choice, as you see them wandering around the dungeon. Walking into the monster triggers the fight. Actions are determined by a bar that fills up in real time, called an active-time battle (ATB) gauge. Once it fills you can attack, use a tech (spells and special attack moves), or use an item. I Am Setsuna adopts so much of what made old-school JRPG battle systems so much fun. It’s tactical but fast, as enemies can attack as you’re planning your move. Fights balance healing and damage dealing well, as low health on both player and monster keeps fights tense and prevents them from lasting too long. Useful abilities, like healing, are spread among all characters so players aren’t forced into a set party composition. On paper, and while playing, the battles are simple but plenty customization options exist to offer players opportunities to optimize.

I Am Setsuna adds new wrinkles to classic JRPG combat, too. The most successful of which is the game’s Momentum system. While your ATB bar is full, but you haven’t selected an action, your Momentum meter will fill. It can be filled up to three charges. Momentum is a resource that powers up any of the player’s actions. By pressing the square button at the right moment, and with at least one charge of Momentum stored, your attack will have bonus effect. Sometimes it’s extra physical damage, sometimes it adds status boosts like ‘attack up’ or ‘affects all enemies’. Momentum creates a brilliant balance of risk and reward. Waiting to fill up your Momentum meter exposes your party to enemy attack since monster ATB gauges don’t stop. Do you push for that extra damage or go for the quick kill? In some instances it can be even more challenging. For example, you need to wait to use Momentum on your heal spell because it gives auto-revive to your party. I love risk vs. reward systems in video games, and Momentum is one done very well.

I Am Setsuna's combat is fun & rewarding throughout. Momentum is a great
addition to a classic foundation.
While combat is great, preparing for it is not without its problems. Many of these issues come back to the same root: unnecessary complexity. Spritnite, gems you equip to give characters new abilities (techs), is a host to most of these problems. Every time to you kill a monster you receive raw materials. These materials can be sold to a NPC. Depending on what materials you’ve sold, and in what quantity, certain Spritnite become available to purchase. Spritnite come in two flavors: command (techs you can use in combat) and support (passive abilities). The whole system is just a mess. Command Spritnite are specific to each character whereas support can be used by all. Spritnite can also undergo the poorly explained ‘fluxation,’ in which they gain boosts from your equipped armor. Getting the materials for specific Spritnite is also a challenge as the game never communicates where or how to get them. For instance, certain materials will only drop from monsters when they are killed in a specific way, like with water-elemental damage or overkill. On top of that, despite the limited number of monsters you’ll encounter, there are what feels like hundreds of different materials. And dozens and dozens of Spritnite. It’s immediately overwhelming and doesn’t get much better by the game’s end. With poor instructions and even poorer menu navigation, dealing with Spritnite is a pain. The Spritnite situation is unruly, especially for an ostensibly simple game like I Am Setsuna.

Spritnite, Fluxation, and Singularty are unnecessarily convoluted. You'll get a grip
on it eventually, but the process of getting there isn't fun.
Fortunately, you won’t have to worry too much about the Spritnite headache. I Am Setsuna is an easy game, and I mean that in the best possible way. Winning encounters is straightforward and bosses can be beaten even with suboptimal Spritnite equipped. I Am Setsuna wants to replicate your fondest memories with classic JRPGs, not the hours of frustrated grinding you spent because certain bosses were unfairly powerful. The “fond memory” design philosophy can be seen throughout I Am Setsuna. The game decided to trim the often tasty, but sometimes unpalatable, fat from the classic JRPG. Character stats are totally dependent on the weapon and amor you have equipped. You can finish I Am Setsuna in 15-20 hours. There are a small handful sidequests, but they only become available near the end of the game. The judicious use of Tokyo RPG Factory’s design scalpel sometimes goes a bit too far, however. I Am Setsuna has only a few monster types that are recolored and repeated frequently. Bosses aren’t memorable and are few and far between. Somewhere in the trimming process I Am Setsuna must have lost its cartographer, as it annoyingly lacks any form of in-game map. I Am Setsuna’s piano-only score is great at first, but becomes tiresome over time.

Problems aside, I couldn’t help but be enamored by I Am Setsuna. I loved getting lost in its tranquil snowy world. Playing felt like cozying up to a warm fireplace in a log cabin as snow falls gently outside. I Am Setsuna was comforting and transportative. I was brought back to my quietly humming CRT, PlayStation One controller in hand, on the floor of my basement. That I Am Setsuna can evoke such fond memories while still passing critical scrutiny of today is worth commending. I Am Setsuna isn’t perfect, but comfort food never is. It sure was delicious though.

I Am Setsuna
3/5

Monday, August 8, 2016

TIF Plays: Week of 8/1-8/5
Gameplay

Welcome to the The Impact Factor's last week of gameplay! Check out below to links of all my gameplay. Be sure to catch me live on Twitch (MegalodonPhD). I stream every Tuesday and Thursday at 5:30pm PT. Plus some special Friday streams, too! You can do me a favor by subscribing to The Impact Factor's YouTube channel, but hey, don't let me tell you what to do! 

To keep up to date with everything The Impact Factor, and me, follow me on Twitter: @alexsamocha

See you all next week!

Monday, August 1, 2016

TIF Plays: Week of 7/25-7/29
Gameplay

Welcome to the The Impact Factor's last week of gameplay! Check out below to links of all my gameplay. Be sure to catch me live on Twitch (MegalodonPhD). I stream every Tuesday and Thursday at 5:30pm PT. Plus some special Friday streams, too! You can do me a favor by subscribing to The Impact Factor's YouTube channel, but hey, don't let me tell you what to do! 

To keep up to date with everything The Impact Factor, and me, follow me on Twitter: @alexsamocha

See you all next week!


Monday, February 29, 2016

TIF Plays: Week of 2/22-2/26
Gameplay

Welcome to the The Impact Factor's last week of gameplay! Check out below to links of all my gameplay. Be sure to catch me live on Twitch (MegalodonPhD). I stream every Tuesday at 5:30pm PST and Thursday at 6:30pm PST. Plus some special Friday streams, too! You can do me a favor by subscribing to The Impact Factor's YouTube channel, but hey, don't let me tell you what to do! 

To keep up to date with everything The Impact Factor, and me, follow me on Twitter: @alexsamocha

See you all next week!








Monday, February 22, 2016

TIF Plays: Week of 2/15-2/19
Gameplay

Welcome to the The Impact Factor's last week of gameplay! Check out below to links of all my gameplay. Be sure to catch me live on Twitch (MegalodonPhD). I stream every Tuesday at 5:30pm PST and Thursday at 6:30pm PST. Plus some special Friday streams, too! You can do me a favor by subscribing to The Impact Factor's YouTube channel, but hey, don't let me tell you what to do! 

To keep up to date with everything The Impact Factor, and me, follow me on Twitter: @alexsamocha

See you all next week!





Monday, February 15, 2016

TIF Plays: Week of 2/8-2/12
Gameplay

Welcome to the The Impact Factor's last week of gameplay! Check out below to links of all my gameplay. Be sure to catch me live on Twitch (MegalodonPhD). I stream every Tuesday at 5:30pm PST and Thursday at 6:30pm PST. Plus some special Friday streams, too! You can do me a favor by subscribing to The Impact Factor's YouTube channel, but hey, don't let me tell you what to do! 

To keep up to date with everything The Impact Factor, and me, follow me on Twitter: @alexsamocha

See you all next week!



Friday, January 29, 2016

News & Views
1/23/16-1/29/16

Welcome back everyone to another week of News & Views. Crazy to think that next time I’ll be posting here we’ll already be one month into 2016. Time sure does go fast! Got a lot of exciting things cooking both in and out of the science world, so I am feeling pretty swell. Anyway, onto the stories!

This week I found a heaping helping of video game writing goodness. Check out the authors’ work below for stories about the relationship between walking simulators and fun, avoiding the ‘tagalong’ trap in co-op games, and how some of the best new video games are about making video games.

And of course you can check out the brand new episode of The Impact Factor podcast that was posted today! You can subscribe to the podcast on iTunes, or if you prefer other methods, check out our SoundCloud. We’re on YouTube too!

Spotlight
Jake Muncy, Wired

Worth Reading
Samuel Roberts, PC Gamer

Sarah Doukakos, Kill Screen

Catharina Bohler, Gamasutra

Alisha Karabinus, Not You Mama’s Gamer

Stephen Chiu, ESPN

With Comments
Lillian Chen, Lilichen
Lillian Chen writes a super interesting piece about her evolving thoughts on what can be done to make women in competitive gaming feel more comfortable. The author is a long time veteran of the pro Super Smash Bros. scene, having felt first hand what it is like to attend a tournament as a woman. This article is about more than just having an all female tournament or not, and is well worth a read for anyone with an interest in how to make eSports better.

Geoff Coates, CG Society
Reading through this list of scariest expressions in game dev reminds me so much of similar situations in biomedical sciences. Coates’s humorous piece covers ten of these fear-inducing phrases, using his distance from the traumatizing moments to great comedic effect. If I could also never hear “It’s whatever you want it to be” or “Huh, that’s weird” again I would be a happier scientist.

Gamesradar, YouTube
As a big fan of JRPG’s, this click-bait title got me good. Gamesradar does a great job with this short video. It not only spotlights some brutally punishing bosses, but also some great JRPGs you might have forgotten about. It certainly did not inspire any confidence in me to start up my copy of Suikoden II that I’ve been meaning to get to for a while, though. A certain final boss of that game may or may not have made this list. Uh oh.

Ben Kuchera, Polygon
Kuchera’s piece on Polygon covers more of what I can’t stop thinking / talking / arguing about Tharsis. Kuchera does a great job at articulating how, by embracing the highs and lows of randomness, you can look past Tharsis being too hard or too luck based to be fun. I maintain that strategy can trump bad luck, but the game does rely on randomness (and all the fun / unfun that goes with it). Both Kuchera and I agree that gambling is an underutilized (and poorly implemented) mechanic in modern games, and Tharsis gives some hope that more can be done with it in the future.
The Impact Factor Ep. 39: Zangief Pikachu
Podcast

Welcome to the 39th episode of The Impact Factor! The Impact Factor is what happens when two scientists, and two best friends, get together to talk about video games. Hosts Alex Samocha [biomedical scientist] and Charles Fliss [social scientist] sit down every week to discuss the week in gaming! Listen in for the news, views, and games that made the biggest impact!

Please send your suggestions and feedback to: impactfactorpodcast@gmail.com

In this episode Alex and Fliss talk about EVO 2016, Pokken Tournament, Street Fighter V, Song of the Deep, Destiny, Mighty No. 9, ‘must play’ games, Star Wars Battlefront, PvZ GW2, Ni no Kuni, baking, wrestling and much more!

 
For articles and reviews from Alex, check out: www.theimpactfactor.blogspot.com
For a blog about Japan, pop culture & more from Fliss, check out:
www.flissofthenorthstar.blogspot.com
Follow Alex @alexsamocha on Twitter. twitch.tv/megalodonphd
Follow Fliss @
thecfliss on Twitter. twitch.tv/flissofthenorthstar

Intro song:
You Kill My Brother by Go! Go! Go! Micro Invasion, East Jakarta Chiptunes Compilations. Freemusic Archive. (Attribution Noncommercial Share-Alike License)
freemusicarchive.org/music/Indonesi…s_Compilation/
Transitions:
News & Views and Perspectives transitions from victorcenusa, Freesound.org (Creative Commons 0 License)
freesound.org/people/victorcenusa/sounds/148785/
freesound.org/people/victorcenusa/sounds/148784/
Experimental Methods transition from Sentuniman, Freesound.org (Attribution Noncommercial License)
freesound.org/people/Setuniman/sounds/143994/

Tuesday, November 24, 2015

Filled With Determination
Review
Undertale, Toby Fox (Mac)

Abstract: Undertale is easily one of the best games I’ve played all year. Toby Fox’s old-school inspired 2D role-playing game simultaneously exceeds and subverts expectations, be they narrative, game design, or otherwise. Undertale’s emphasis on the lingering impact of violence manifests itself in a gripping story and an innovative battle system: you can talk your way out of every encounter. Undertale is a peerless experience and serves as a perfect example of the power of auteurship in games. It’s one you shouldn’t miss.

I was in a hostile world, but not one without purpose. The echoes of damp caverns, the crunching of freshly matted snow under my feet, the bubbling and whizzing of a molten research lab. I saw and heard a lot throughout my journey, during which my resolve was tested and morality questioned. Undertale’s sweeping old-school JRPG introduction let me know I was in for a tremendous odyssey. What I didn’t know was how profoundly affecting my quest would be.

Undertale had the unfortunate weight of high expectations. I was a little late to the party. The game’s release was met with a small suite of glowing reviews from some of the voices in gaming I respect the most. They all pretty much said the same thing: Undertale is a game that subverts expectations, is exceedingly charming, and offers an unexpected commentary on the nature of violence in games. So, yeah, the bar had been set pretty high. Not only that, but Undertale is also a game that draws inspiration from perhaps my favorite genre: mid 90’s 2D Japanese role-playing games (JRPG). To live up to the hype, then, Undertale had to be an exceptional RPG on top of having an excellent story and a metanarrative on gaming as whole. I’m so happy to write here that Undertale both met and exceeded expectations.

Before I get into the meat of the review, I wanted to include a quick disclaimer: Undertale is a game that’s exceedingly difficult to meaningfully talk about without revealing the game’s many excellent twists, turns, secrets, and narrative surprises. Undertale is one of those games you should know as little as possible before going in. I’m glad I did. For that reason, I paid extra attention to keeping this review spoiler free. So I apologize if parts come off a bit vague.
 
Worry not! I keep things spoiler free. Undertale is best when you know
little to nothing about the game's plot.
Undertale opens with your young protagonist falling down a gaping hole in the ground, stranding the young human child in the world of monsters. Long ago there was a terrible war between humans and monsters that tore apart a once united world. Using the power of their souls, humans killed the monsters by the thousands, handily winning the war. As a result, monsters were banished to the underground, imprisoned below the surface by a seemingly impenetrable magic barrier. The monsters rebuilt their life in the dark, tainted by a lingering hopelessness and antagonism towards their human conquerors. As a human, the player finds themselves tasked with navigating this alien world in an attempt to make your way back to the surface. Very early in your journey you learn that there is an unexpected complexity to the monsters: they’re not just bloodthirsty creatures, but rather a group of diverse, sometimes funny sometimes friendly sometimes scary, individuals. Undertale’s roughly eight hour play through will take you throughout the underground, meeting friend and foe alike, as you try to decipher exactly what’s going on and how you can find your way home.

Your time with Undertale is largely defined by one impactful choice: how do I fight against the challenges with which I’m faced? Is there a way I can achieve my goals without resorting to violence? This is Undertale’s most significant design decision: it is an RPG you can beat without killing anything. You can kill, absolutely. But for the most part, the game encourages you not to. Everything and everyone you meet has a purpose, a personality, and feels like it exists outside of your interaction with it. Unlike so many other RPGs before it, where killing is the norm and your enemies are either maniacally evil or an undefined opposing force, Undertale is different. The game asks the player to think about what violence means and the effects it can have on those on the receiving end. The typical RPG hero is a genocidal maniac, with a kill count in the hundreds or thousands by the end of the game. Undertale provided an incredible feeling that, for the first time, I had agency in how I approached a hostile world. Because I (mostly) didn’t kill, I actually felt heroic. Every decision I made had weight to it—nothing was thoughtless.
 
Yeah, I'm a hero. No biggie.
This non-violence manifests itself in a thoughtful reimaging of combat encounters. Undertale redefines the very idea of a ‘battle’. All enemies you face, be they random encounter or boss, can be approached in one of two ways. You can ‘FIGHT,’ attacking your foe with your weapon and killing them. Damage is determined by an on-screen timing mini-game, where you need to press a button when a fast moving line is at the center of the screen. The other option? ‘ACT.’ ACT gives the player the ability to talk to their enemies—ask them about their life, laugh at their jokes, applaud them, pick on them, etc. Say the right thing the right number of times and the monster will be pacified, allowing you to ‘SPARE’ them. While you’re working to either kill or subdue the monster, they attack the player. Their attacks take form as a bullet hell mini-game. You control a heart-shaped cursor within a small box on the screen, which you’ll need to move around to dodge enemy projectiles. The system isn’t explained in any great detail, but it’s something I got the hang of pretty fast. Defeating enemies is all about memorizing their pattern of projectiles, knowing how and when you can move your heart around to avoid being damaged. The bullet-hell system is clever and, for the most part, fun.
 
Guide your heart through Undertale. Will you fight or talk?
I particularly enjoyed the boss fights, during which new & novel elements were added to your standard dodging. For example, in one boss fight, instead of freely moving, your cursor is given a weight and sent to the bottom of the box. You’re not dodging in the same way anymore, as this new mini-game tests a different skill set (it felt more like a platformer). All major boss battles dramatically change up the combat experience and were fun to figure out. All the former praise aside, though, the bullet-hell system was my least favorite element of the game. Dodging can be extremely difficult—to the point where I heard several game critics gave up because it was simply not worth the trouble. I consider myself fairly skilled at bullet-hell mechanics, and even I had a few frustrating moments on my way to finishing the game. Anyone who knows me knows I love a difficult gaming experience, but it has to fit within the core design of the game. The terrifyingly tough bullet-hell sections in Undertale worked counter to what I felt was the purpose of the game: to immerse you in this fascinating world and tell you a phenomenal story. Undertale still spectacularly succeeds in it’s goals, but a slightly toned down bullet-hell system would have been a boon to the experience.
 
I hope you like dodging. It can get pretty tough.
Speaking of story and world, Undertale is an unmitigated success. The writing in particular is one of the game’s clear strong points. Dialogue is witty and sharp. Characters felt well defined, whether your interaction with them was brief or prolonged. The world is diverse but cohesive. Undertale’s story can also be appreciated on many levels—it’s a game where the truth, the full depth of the narrative, is obscured by complexity. Undertale asks the player to dive deep and pay close attention to your endeavors, as even brief interactions can shed light onto what’s truly happening in the world. Unfortunately (for some of you out there), you cannot get every single piece of information in one play though. This didn’t bother me at all, however. My time with the world was memorable and affecting. It told me a story I hadn’t quite experienced before and answered a lot of the big questions I had at the start of the game. Lingering questions remained, but I was happy to let those stay in the ether. My Undertale was compact, concise. Excellent. Maybe one day I’ll go back for the rest. To avoid getting into any spoilers here, I’ll stay vague. But Undertale is a game that tries (and succeeds) at saying something meaningful about violence, trust, loss and love. It also offers a great metanarrative about how we play games, what it means to kill in a RPG, and player expectations of core gameplay mechanics. Perhaps most impressively, Undertale accomplishes all of this while still being a game that’s actually fun to play.
 
I enjoyed my conversations with everyone in Undertale. Yes, even the
shopkeepers. The writing is so good.
Undertale isn’t content to just subvert narrative expectations, though. It messes with the very vehicle of games too. Old standbys like an experience system and save points are tweaked in new ways. Undertale also has a few moments in which it breaks the fourth wall, commenting on the experience of playing a game. The game was also designed to remember when you quit: characters in-game will sometimes change based upon how & when you exit out of Undertale. Certain actions cannot be undone, to the point where playing a certain way can permanently change the world in all future play throughs, regardless if you play differently later. Undertale also messes with its own established rules. There’s one boss fight early in the game, for example, that seems impossible to complete without resorting to violence, which goes against what the game has been trying to get across to the player. Figuring everything out, and seeing how Undertale constantly tries to make you think about the nature of games, is fascinating.

When looking at the games space as a whole, Undertale has easily been one of the most impactful games of the year. It’s a game that’s spawned so many great discussions about game design, narrative, and more. Undertale has people thinking and critiquing games on a deep level. It is an accomplishment that should not go unacknowledged. Even as I wrote this review, huge topics darted around my mind. Like the dissonance between killing and narrative in Undertale, how the game balanced childlike wonderment with tough as nails bullet-hell & what that’s trying to say, the meaning of full plot revelations being locked behind doing things the game explicitly tells you not to do, or how Undertale has an accessible maturity.

Finally, critical analysis aside, Undertale is a game that was a joy to experience. I felt a warmth inside while playing. For brief moments I felt transported back to my childhood, sitting three maybe four feet from a small CRT TV playing Tales of Destiny or Chrono Trigger. Undertale is also so, so funny. I laughed out loud more than a few times while playing. Undertale is genuine, sweet, and hilarious. It also has the best soundtrack of the year. Seriously, go listen to it. It’s a game that I didn’t want to end, like when you wake up to a cold morning and don’t want to get out of bed.
 
Not much more to say. Undertale is amazing.
Undertale blew me away. It simultaneously exceeded and subverted expectations. It’s at once funny, tragic, engaging, complex, frustrating and rewarding. Undertale is a perfect synthesis of smart game design with a story worth telling. Undertale is fantastic. Go play it.

Undertale
5/5