Thursday, May 2, 2013

May, the month of Characters: Top 10 heroes I admire



May, the month of Characters:
This is sort of a personal project for me since Video Game Growing Pains is not just a blog about the industry and how change can help, but also a personal blog looking at my journey through the world of gaming as it stands.  And, inspired by the works of Doug Walker and the Blisteredthumbs.net Characters With Character panel, I decided that I would do a bit of reflection on characters that mean a lot to me.  May is going to be the month of characters, with 4 separate lists about characters I think truly make gaming wonderful, or deplorable, and the reasons why.  Hopefully, people can use these characters as baseline comparisons when crafting their own heroes or villains.  Or they can just enjoy the list.  So, let's start with a few heroes.  Here are the 10 heroes I most admire, in no particular order.

Top 10 heroes I admire:
Many people would argue that there aren't enough heroes in the world.  I say it's all about where you look.  In gaming, while we do stray too far sometimes into the generic RPG hero, the fun but ultimately flat platformer heroes, or the often morally bankrupt heroes of shooters, there are times when heroes are born that can move you.  And this is a tribute to the heroes who've moved me the most in my life.  Needless to say, there will be spoilers.

SPOILER WARNING!!!

Cloud Strife (Final Fantasy 7)
A lot of people will sigh or roll their eyes at this inclusion, but Cloud Strife, as both an image and as a character, moved me when I was a kid.  He was different from other heroes.  Larger than life with his five foot tall buster sword and his hardened persona, which seemed self serving but which ultimately did what was right, Cloud was different from the RPG heroes I'd grown up with.  Underneath the more gritty persona, however, Cloud was an engaging character who, for me at least, embodied courage.  True, most of the game sees him chasing after his rival, Sephiroth, for answers, only to be revealed to be a puppet in a greater plot and a failed clone of Sephiroth, but it is how he deals with these situations that makes me say he is courageous.  Cloud will not hesitate to fight for his friends, even if the odds are stacked against him and even if his magic has been stolen.  But more than that, Cloud, with the help of his childhood friend Tifa, has to come to terms with the fact that he was, and is, a failure.  He identified himself as a member of Soldier, an elite group of warriors, when he repressed the fact that he actually failed to gain entry into Soldier and it was a friend of his, Zach, who became a Soldier.  He even inadvertently caused Zach's death, because Zach died trying to protect him.  Cloud had to accept his own weakness in order to get beyond it.  To truly become himself and not a copy of Zach or Sephiroth.  But even before this realization, Cloud showed boundless courage when trying to save those around him.  Before the main game started, it is revealed that Sephiroth burned Cloud's home down and that no one, not even Zach, could stop him.  Sephiroth was truly a monster, capable of slaughtering dragons and other giant beasts with his bare hands.  But after seeing everything he loved in flames, Cloud took Zach's fallen sword and fought Sephiroth, managing to defeat him and toss him aside, though he fell unconscious from his own wounds.  He did this partly out of revenge, but Tifa and Zach had been injured and would have been killed if Sephiroth was not stopped.  So, for their sakes, Cloud fought him.  Even against a monster like that, Cloud didn't turn away when it came time to protect others.  This is especially important because Cloud knows by the end of the game that there may not be any way to save the world.  Sephiroth is trying to drop a meteor onto the planet and even if he is defeated, it may not stop.  But for those he cares about and those who have fallen before him, Cloud does not give up.  However, grim determination isn't all there is to Cloud.  Throughout the game, he's shown to have a softer side, one more open to humor and wackiness, such as crossdressing or participating in plays, and even though he deals with some self loathing throughout his growth as a character, he always faces his fears and fights for those who cannot protect themselves.  Now, Cloud's been interpreted many different ways, from the boring emo character to nothing more than a tool of the plot, but I disagree.  The first time I played Final Fantasy 7, I saw courage in his actions.  And I cannot help but admire the strength he wields in facing his inner demons.

Swathed in black and wielding a giant sword, this warrior's piercing eyes are full of courage.
Fei Fong Wong (Xenogears)
Kindness, madness, denial, and self loathing.  These four words describe the four unique personalities that exist within Fei Fong Wong.  Truly a remarkable character in his own right, Fei has dissociative personality disorder, giving him, at the start of the game, three split personalities.  Near the end of the game, Fei splits himself even further when he realizes some of the atrocities he's unwittingly committed as some of his other personas, giving him four personalities.  But, on his own, Fei is one of the nicest people in gaming.  A martial artist and a painter of sorts, he trains only for self advancement, until war comes to his tiny village, leaving a stranded giant robot and enemy troops coming up around him.  Fei takes the robot and pilots it...only to destroy half the village in an uncontrolled burst of energy, killing two of his oldest friends and ostracizing him from the other villagers.  After which, he sets out on a self imposed exile, accompanied only by an old friend and his self loathing.  Fei is a character with boundless capacity for good, but who fears his own power, especially after what happened to his village.  And with good reason.  Dwelling within Fei is a destructive split personality that can rip humans and robots alike to shreds with his bare hands.  You see, when Fei was a boy he had terrible experiments performed on him, in which his child self went into hiding in the back of his mind, cherishing the good memories, and leaving only a bitter husk of anger behind.  When he was finally subdued and freed from those who would use him, Fei contracted amnesia and, because of that, his current persona of the kind and dedicated martial artist became dominant.  And for Fei to come to terms with all this is one hell of a trial.  Fei meets reliable friends who are fighting for independence, salvation, or just basic human rights along the way and despite his quirks and how dangerous he proves to be, they all care for him, helping Fei to cope with and accept his nature.  He even falls in love with Elly, a young woman who caused the calamity in his village by stealing the robot in the first place.  She too is afraid, but more so of weakness, failure, and a loss of control.  They meet in a forest shortly after Fei leaves his village and end up strangely close, despite Fei's frustration and anger and Elly's bravado.  The next time they meet, Elly's been drugged up on a performance enhancer which increases aggression.  It's up to Fei to save her, having experienced his own form of lost control and knowing what it can do to yourself and others, Fei is able to snap Elly out of her blood rage.  Fei understands pain and is able to empathize and help others better because of it.  By the end of the game, it is even revealed that he and Elly have been brought together through reincarnation countless times throughout history, only to be separated by tragedy each time.  Once Fei is able to merge his separate personas into one, he is able to save Elly from being absorbed by a psychic entity which takes her over and return to their home planet together, thus breaking the cycle of tragedy.  Even though he only wanted a peaceful life, Fei's empathy, kindness, will, strength, and his drive to save others helped change the world, freeing it from a corrupt nation lording over it and helping to establish global peace after a calamity.  Fei Fong Wong is unbelievably complex and nuanced, but at heart, he's just a man trying to help others and do what's right.

His own worst enemy, despite the earth shattering power he wields, this man's kindness is his true strength.
Lenneth Valkyrie (Valkyrie Profile)
Valkyries are choosers of the slain in Norse mythology, who ride down to humans who die worthy deaths in battle and take them to Valhalla to feast and fight for all eternity.  Lenneth is a different kind of valkyrie.  She serves Odin, the all-father, at first, but has an unbelievable capacity to empathize with mortals about the situations revolving their deaths.  More than once, she is asked by these mortals to take their lives so that others might be saved, thus earning her approval.  Lenneth also cannot abide people profaning the dead or attempting to use dark power to hurt others and will strike them down if she sees them.  Why does a god have such empathy?  Because when Lenneth is not choosing the slain, she lives as a human, bereft of her divine memories, to experience life as they live.  This is where the story gets interesting.  Fearing Lenneth might rebel against the gods for the sake of humans, or that she would be unable to do her job, Odin sealed her memories and used her as a tool.  But at one point, Lenneth's memories are awakened by a man she knew as a human, after he has been killed by a traitor to the gods named Loki.  This sends Lenneth into shock and leads Odin to try and put her back to sleep, awakening her crueler sister, Hrist, and nearly destroying Lenneth in the process.  Ironically, her empathy for humans is a two way streak, as those she has chosen from the dead to be her allies save her and help restore her to power, with some assistance from a sorcerer who has been stalking her.  Together, she is able to rise above Odin and is given the ability to create and protect.  A plot by Loki disrupts the balance of Asgard, leaving Odin dead and his toadies in a panic.  Lenneth walks through them and fights Loki, for revenge and to protect others.  Loki causes the end of the world, but with her new power, Lenneth causes the world to be reborn, and protects all the living souls within it.  Lenneth's story is not merely one of love, but also one of rising above patriarchal bonds.  Odin decides what is best for Lenneth, but like many in power, his obstinance and assurance that he is correct blinds him.  The other two valkyrie under his command are treated just as carelessly.  Lenneth's younger sister Silmeria is imprisoned for being too empathetic to humans and her elder sister Hrist is cruel to them, using humans as tools, like Odin.  Lenneth finds the balance between the two and ultimately proves wiser than Odin by putting her faith in humanity rather than power or sacred objects.  What amuses me most, however, is that while Odin claims himself to be lord of the gods, father of all, etc. etc. Lenneth and her sisters, when combining their power, can change fate, making them his superior.  A patriarchal figure suppressing a woman out of fear only to have the tables turned on him?  Deliciously ironic.  Lenneth shows detachment at first, but grows to love and respect her human allies as she tries to understand their sometimes irrational actions.  In the end, she is rewarded by being reunited with the man Loki slew, who she now realizes she loves.  Lenneth is an admirable female figure in her own right, made all the more impressive by her boundless ability to care for others and her wisdom in dealing with the trials thrown her way.

Chooser of the slain, her empathy and wisdom allowed her to stand above even the gods.
Chrono (Chrono Trigger)
Chrono is not deep at all.  He's another silent RPG protagonist.  Yet, that doesn't mean he has no character.  Chrono has a unique look, tons of reliable friends, and a loving family life, all while being skilled with the katana.  And when one of his friends is sent back to the past and stranded by a time machine, Chrono embarks on a journey to save her.  In so doing, he discovers that several hundred years after he will die, the world will be destroyed by an intergalactic entity called Lavos.  Even though he need not fear it, Chrono sees the devastation and the hopelessness that engulfs the world after Lavos appears and, with his faithful friends, decides to fight against this evil, even if the odds are stacked against them.  Chrono cares about helping others no matter the time or the place because he is a good hearted soul.  He's also very lucky, too.  At one point in the game, Chrono is outright slain and wiped from existence by Lavos.  However, his friends go back in time to the moment of his death and swap his body out for a cheap clone they were able to find, effectively defying fate to save him.  With Chrono back to life, he is not shaken by fear or the realization of what very nearly could have happened to him, but redoubles his efforts to save others from Lavos's power.  Along the way, he and one of his friends, Marle, develop a close bond.  Eventually, they fall in love.  Marle was the one who saved Chrono, after all.  Chrono is an avatar of the player to some degree, but even if silent, he still maintains a unique personality through his body language and the actions he chooses to take.  I suppose what I love most about this character is his perseverance.  Despite the odds, Chrono never gives up and will fight on.  Even after dying, his memory inspires the others and eventually ends up having him resurrected.  He may not say much, but for the sake of his friends and for the sake of people everywhere, Chrono will travel to the ends of time itself, fight dinosaurs, robots, and monsters, and do it all while having the time of his life.  Chrono never gives up.

A timeless hero, he shall traverse the ancient past and the far off future to protect the innocent.  Even in death, he perseveres.
NiGHTS (Nights into Dreams)
What could be more admirable than a character who embodies dreams and protects others from nightmares?  Nights is a spirit who was originally created to cause nightmares, but broke free of his master's control to enjoy and protect pleasant dreams.  Dreams are hope.  Nightmares are despair.  And when children in despair come to the world of dreams, Nights can help them to find their own strength.  Courage gives Nights power and with that power, Nights helps children recover control of their dreams.  Nights is hope in despair.  Neither male nor female, Nights is a fragment of dreams and imagination that is playful, free spirited, and perhaps most interestingly, vulnerable.  Nights is unable to fight the nightmares without the aid of children who doubt.  Because courage is not something that can be taken from you in the world of dreams.  Even if hope is lost, courage remains.  And it is the courage of children that grants Nights the power to fight.  Nights helps people find the strength within themselves, the strength they always had but were unable to see.  That's why I can't help but admire Nights.  Nights fosters self improvement and hope in people, showing them that if they believe and keep moving forward, then they can face their fears, their doubts, and all the horrors of the real world and their nightmares.  Through Nights, we realize our own power.

The playful dreamer offers hope in despair, showing us the strength within ourselves.
Terra Branford (Final Fantasy 6)
Terra's one of my favorite characters ever.  I first met her when I was just a child, playing Final Fantasy 6, so part of this is nostalgia.  But there's more to it than that.  Terra is a character who goes through a remarkable journey and immense personal growth to overcome a lifetime of slavery and oppression.  You see, Terra was taken from her parents as a baby, raised by a totalitarian empire that saw her as only a weapon, and made to kill and slaughter against her will.  When she is freed from their control, she is horrified at her actions.  Terra is a warrior with great power, but underneath it all is a scared girl who wants to understand who and what she is.  The child of a magical being called an esper and a human, Terra begins without the ability to control her vast stores of power and is a danger to those around her.  But through her friends, she is able to find joy and acceptance, even learning to make peace with her two different lineages.  Terra, despite doubting herself, decides to fight for others, joining a resistance movement to fight the empire at first, and when the world is destroyed, Terra devotes herself to raising and protecting children in a tiny village.  The children even give her the strength to fight to save the world in the end.  Terra acts as a mother without children, seeking to find meaning in her own life.  That's why I admire her.  Even with all her doubts, even with being horrified at her actions, and even with being torn by her very blood, she always finds a way to fight.  To protect.  Her kindness and innocence coupled with her immense power juxtapose nicely with the Kefka, the main villain, who is cruel, self serving, insane, and in possession of godlike power.  When the Kefka asks her what the point of life is, why people live, even when all that remains for them is pain, Terra has finally found the answer.  We take pride in our small victories.  In kindness.  In protecting others.  In hope.  We find our own reason to live.  Terra knows these struggles more than anyone else, being born into slavery and having to discover her own purpose for being alive.  Once the game ends and Kefka is dead, Terra too starts to die, as magic and the espers which spawned her cannot exist without Kefka's power.  However, she chooses life and embraces humanity fully, remembering that she has found her reason to live and will continue to exist, even without magic.

The girl struggles with her two lineages, but ultimately finds her reason to live.  Armed with this reason, she fights to save the world.
Vyse (Skies of Arcadia)
Everyone loves pirates because of their swashbuckling spirit.  The search for adventure, the exploration, the threat of the unknown, the magic...it's why even today we look back nostalgically at pirates and the age of exploration.  Vyse takes that to the next level.  He's a sky pirate.  In a world made up of islands and continents which float in an ocean of clouds and air rather than water, he soars the skies with his trusty crew of pirates seeking adventure and fortune.  However, Vyse is no Blackbeard.  Vyse is a kind, noble individual.  He's a member of the blue rogues, a group of pirates who are noticeable for sparing the innocent, only robbing the rich, and basically being good hearted people.  He saved a girl named Fina when she was in trouble and together with his childhood friend, Aika, they go out of their way to help Fina recover six ancient artifacts to prevent an evil empire from taking over the world.  Along the course of his journey, Vyse gets stuck working for an old sailor and a ladies man, is forced to sneak into a prison to save his family and friends, and is wrongfully accused of being a thief and a villain.  However, he never loses his good nature, his humor, or his sense of wonder.  No one is bound by their circumstances according to Vyse.  He strikes out on his own with naught but his friends for support and he frequently encourages others to do the same.  He shows an old sea captain that revenge may not be the answer.  He offers a young prince the chance to do what he believes is right rather than what is expected.  He even convinces several of his enemies to pursue their true goals, be it love, honor, or to become pirates themselves.  Vyse defines freedom and choice. Everywhere he goes, he finds undiscovered lands and treasures and visits ruins and people who were lost or isolated from the rest of the world.  In fact, the wonder of exploration and his friends are why he goes out of his way to save the world.  Vyse's ultimate goal is to have his own pirate ship and sail the endless skies.  And he can't do that if the world's destroyed.  He wants to see everything that he can and experience as much of the world as possible.  Vyse is a strong fighter, a reliable friend, and a capable captain, but above all else, he's an explorer, charting the skies of Arcadia, free as a bird.

The pirate flies free as a bird through the skies of Arcadia, ever seeking new treasures to discover.
Naija (Aquaria)
There is something wondrous about Naija.  Every new vista she sees and strange sight she encounters causes her to gasp at the beauty around her.  Naija is a girl who loves to explore and the thrill of unknown waters washing over her fins is what constantly pushes her forward.  Naija is interesting because she still retains a sense of child-like wonder and awe at the world despite having to learn to fend for herself, frequently killing others for meat or power in order to survive the dangerous waters of Aquaria.  Even though she must kill to survive and find answers as to why she is alone, she never forgets to stop and smell the kelp flowers or ride a seahorse for fun, or sun herself on the beach.  Even love is all about exploring and experiencing new things to her, which leads her to fall for a human diver named Li.  These feelings of wonder are precious to Naija and she protects them ferociously, dolling out punishment to those who would defile the world or harm her love.  I find something unbelievably beautiful about this creature who started out young and fragile, only to become hardened and tough, while still being able to be moved by the beauty of the world around her.  This is especially true, considering that her mother stole her memories from her.  The one complaint I have about Naija is that her story is not complete.  We only know half and may only ever know half.  It's a bit depressing.  Still, for the half we do know, Naija is someone I admire because of her ability to be moved by all that she sees.  The wonder of exploration is Naija in a nutshell.

The child of the sea truly knows she is alive when uncharted waters wash over her fins and new vistas appear before her.
Gwendolyn (Odin Sphere)
When people say games are inherently misogynist, Gwendolyn is the character I point to that breaks that rule in every way possible.  Gwendolyn is a valkyrie, a warrior woman whose greatest joy is battle and whose greatest fear is marriage and subjugation by a man.  Despite this, she is a respectful daughter and will do anything to make her father, Odin, happy, even if it means she must suffer.  While this could make people think she's a straw feminist with daddy issues, Gwendolyn comes off as surprisingly human, questioning her own motives and thinking some pretty horrible thoughts from time to time.  When she meets her much more beloved half sister, for example, she thinks, "If she's dead, I'll be daddy's favorite.  I'll be all he has left."  However when faced with the chance to let her sister die at the hands of one of her father's generals, she slaughters the general and frees her sister, telling her to run.  And when her father confronts her about her actions, she accepts his punishment, believing she has done what was right in protecting the child he loved.  At first, Gwendolyn never strays from her duty, doing all that she can to grant her father victory in his war with the fairies, even going so far as to betray the trust of someone who loves her.  However, she is not blind to what happens around her and starts to learn that duty is not all there is to life.  Slowly, she starts to change, following her heart rather than her duty as a soldier or a daughter or even as a wife.  She always tries to do the right thing and in the case of saving her sister, her father enchanted her to love her bitterest enemy, the shadow knight, Oswald, as punishment for her betrayal.  Only...Odin didn't.  He didn't enchant her and counted on her loyalty so that he could get a special ring the knight had bequeathed her as an engagement gift.  Gwendolyn didn't know and out of respect for her father, she retrieved the ring for him and saved him from being killed by a traitor.  When she realized afterwards that Oswald killed the king of the dragons to get that ring, which he gave to her as an engagement present, she started to wonder about her feelings and sought to protect Oswald.  She saved him from being slain by another dragon and when her ring was stolen from her father, she fought through a small army to get it back.  When Oswald learned she had given it away, he fell into despair because he knew that she was not enchanted to love him and had tried to win her love through his devotion and actions.  As soon as he learned of Gwendolyn's betrayal, however, he felt that she had chosen not to love him and died from sadness.  Gwendolyn refused to accept this and went into the netherworld itself to retrieve him, killing the queen of the netherworld to save her husband and standing up to her father, at last, for herself and for the sake of her love.  Gwendolyn is a character who is very human.  She is conflicted about her choices quite often and ultimately ends up hurting people she loves.  However, she accepts her mistakes and tries to make amends.  She is strong willed, refusing Oswald's advances at first, even though she believed she had no choice, and strong in body, routinely battling dragons and huge beasts.  She's a romantic and loyal to her dear friends.  Gwendolyn moved me for being exactly the kind of female protagonist I wanted.  Strong and capable, but not just a man with breasts...she was flawed and human, facing very real concerns about being a woman, such as the fear of childbirth and subjugation in a male dominated world.  She and Oswald made a good pair in that regard, as he would never treat her as an object.  I suppose what I admire most is the love Gwendolyn and Oswald share, even though they grew up as enemies.  They respect and care for one another because of all that they have gone through to be together.

The valkyrie faithfully does her duty, until love makes her realize her true duty is to her heart.
Yuri Hyuga (Shadow Hearts)
Poor, poor, Yuri.  He's suffered all his life, lost his mother, father, his lover, his friends, his soul, and eventually his life.  Yet, for all that, he's pretty bad ass.  Yuri is sarcastic, snarky, and lives everyday with purpose, whether that means getting into a fight for fun or just trying to make the voices in his head quiet down.  He's an honest and kind young man underneath the tough street punk that was born out of his mother's death.  In fact, if it weren't for his ability to fuse with demons as a harmonixer, he might well be the star of a dozen different action movies.  Yuri is cursed by his demonic powers and is filled with malice that must constantly be purified, lest he lose his soul.  He doesn't really know compassion till he meets his beloved, Alice, and she gives her life to save his.  Despite the loss, Yuri continues forward, protecting her grave and any people he finds with his power.  Yuri even goes so far as to try and revive her from the dead with his friend, Roger Bacon.  It fails and all he's left with is Alice saying she loves him before she dies once again.  Depressingly tragic, Yuri never lets his misfortune get him down too much.  While he laments Alice's death, he has friends he can depend on, even among the enemy, and tries to make the most of his time, which is sadly limited due to a curse.  When all is said and done, though, Yuri manages to defy fate and return to the moment he first met Alice, this time, sure that he can save her.  Yuri is a survivor.  He keeps on moving no matter what is thrown his way and will protect those who can't protect themselves.  This attitude earns him the respect of his friends and enemies alike.  No one is too high and mighty for Yuri, who isn't above smacking a god with his brass knuckled fists for causing trouble.  What I find most endearing about Yuri though is his romantic streak.  Never having known love besides his mother, he cares so deeply for Alice that he seeks to revive her from the dead.  And when that fails, he defies fate in order to try one more time.  Yuri Hyuga.  He makes even fate quake with fear.
The harmonixer is without fear.  For his love, he will stand against fate itself and emerge triumphant.
Well, that's the top 10 characters I admire, in no particular order.  These heroes are my favorite amongst all the hundreds of games I've played.  Tune in next week for my top 10 villains I love to Hate.

Thursday, April 25, 2013

Where Did Final Fantasy Go Wrong? A Fan's Analysis



            Well, this is going to get a few people angry.  Anyway, this discussion came about because recently I've been replaying Final Fantasy 5, which is a criminally overlooked part of the series.  It, along with other older Final Fantasys and certain games from yesteryear, are a breath of fresh air compared to the modern industry.  However, the thought occurs to me that we could face a very real possibility of a FINAL Final Fantasy.  Square has abused the franchise to a surprising degree, milking it for all its worth while overlooking what made it great to begin with.  More worrying is that other companies, good companies with strong games and smart designers, seem to be following their example, hoping for similar sales numbers.  Level-5, for example, maker of excellent action RPGs on the PS2 such as Dark Cloud, Dark Cloud 2, and Rogue Galaxy, recently released the incredibly frustrating, poorly controlled, and much delayed White Knight Chronicles games and the beautiful, but flawed, Ni No Kuni.  They're ignoring some of the same aspects of game design that Square is, and with disastrous results, at least from this fan's perspective.  During the PS2 era, Level-5 was a name I trusted.  I would pre-order any game with their label.  Now, I dismissively wave them aside, because they've lost my trust.  Same with Square.  So, to see how we got here, I want to examine where Final Fantasy went wrong.

A reminder of times gone by.  The glory days of Final Fantasy are long gone.
            Before we discuss where Final Fantasy went wrong, though, we need to outline what made it such a seminal series for RPG fans.  This can be broken down into four main categories.  Graphics, Music and Sound, Game design, and Storytelling.  These four aspects of the game series are what enraptured fans.  First, let's examine why that was the case, then, we'll examine how Square dropped the ball.

            Graphics: Final Fantasy has always focused on graphical fidelity to a degree.  Even during its time on the NES, it tried to be a powerhouse of graphical design, using complex sprites, a varied color palette, locations that were relatively unique at the time, and a style distinctive from other games of similar design, like Dragon Quest or Phantasy Star.  As the series gained steam and moved on to the SNES, this not only meant crisper, more detailed graphics, but an improvement in how they were used.  Character sprites could now emote to a huge degree, showing shock, concern, anger, disgust, etc.  Mode 7 was also a popular feature for giving certain sections, like traveling via airship or on chocobo in Final Fantasy 6 a distinctive feel.  The graphics served a purpose of not only making the game prettier, but also of making it more unique and distinctive and allowing the characters to connect to the player on a visual as well as narrative level.  There was a lot more, "Showing" instead of "Telling."  When Final Fantasy came to the Playstation, there were some graphical hiccups, with the blocky style of Final Fantasy 7.  However, it still offered, at the time, gorgeous cut scenes, a distinctive style which, love it or hate it, has not been replicated since, and a more varied range of movement for characters.  They could wield weapons outside of combat, stand awkwardly, slump in place, etc.  There were a range of emotions that could be told through body language.  And this trend continued through Final Fantasy 8 and 9.  The graphic styles were distinctive, the cut scenes beautiful, and the characters emotive.

From the very beginning, Final Fantasy featured colorful worlds that pushed the limits of its platform
            Final Fantasy 10 is where I argue that the series started to get lazy.  I did still greatly enjoy Final Fantasy 10, however with the advent of voice actors, emoting became less important, and so the voices, which could often be quite annoying, became more apparent as opposed to how character models could be used.  That aside, the graphics were still quite good and allowed a much more interesting array of monsters and summoned beasts to be called upon.  This is true through Final Fantasy 11 and 12, which each had distinct styles and graphics which were quite pleasing to the eye.  Cut to Final Fantasy 13 and its sequels.  The graphics here plateaued, in my opinion.  They were as gorgeous as they could probably ever be and didn't really need improvement.  The character models are painstakingly detailed, the environments crisp, and even the style of monsters was varied too, giving them a more mechanized look, even if far too many enemies were just soldiers in drab uniforms.  However, I personally believe that the characters lost much of their ability to emote due to the game's over abundance of cut scenes, which basically plopped a pre-rendered mess into the game at certain points, but graphically, there shouldn't be that many complaints for the game.  From a purely aesthetic standpoint, Final Fantasy started out attracting players with a more graphically engaging RPG experience on the NES and this trend continues to the present day.  Square does, if nothing else, create beautiful graphics.  However, they have reached a plateau where they may not be able to wow us with graphical design any more and will need to find a new way to attract players, either through interesting graphical styles, like Final Fantasy 9 or 10, or by allowing the characters a wider range of expression.  Not just facial expression, but full body expression.

Even if body language has fallen by the wayside, Final Fantasy remains a gorgeous series with graphics that never fail to impress.
            Music and Sound:  Music from the Final Fantasy series is iconic.  It is soul stirring.  Hundreds of thousands if not millions of people have been brought to tears by themes like the "Aria di Mezzo Carattere" from Final Fantasy 6 or "Eyes on Me" from Final Fantasy 8.  And this has warranted dozens of full symphonic tours.  If graphics were the body of the series, music was the soul.  It moved players and that is one reason the older games are remembered so fondly, even though their music was limited by the hardware of the time period.

This music was burned into my brain from childhood.  I replayed Final Fantasy 6 at least a dozen times just to linger on this sequence and this score.
            I do not believe, personally, that any one series should be defined or held up by a single person.  Games are built by teams, after all.  However, Nobuo Uematsu, the composer for Final Fantasy 1-11 deserves personal mention.  While the series has been helmed largely by Hironobu Sakaguchi, most often uses Yoshitaka Amano or Tetsuya Nomura for graphical design, and has had a slew of other directors, animators, etc.  Uematsu was an integral part of the series.  Music from Final Fantasy 1-11 ran the gambit of light hearted and fun, to heartbreakingly tragic, to almost scary.  The music appealed to gamers on an emotional level and kept them gripped from beginning to end.  And, as the series moved from NES to SNES to Playstation, the music improved, as the sound chips and tools available to Uematsu improved.  Even now, he is recognized as one of, if not the, greatest video game composer of all times.

This man was the soul of Final Fantasy and his departure from Square crippled the series.
            And when Uematsu left Square, Final Fantasy lost its soul.  Square still owned many of the popular themes Uematsu created, such as "Victory Fanfare," "Mambo De Chocobo," "Prelude," and "Final Fantasy."  However, Square took to retooling or just ignoring these themes after Uematsu's departure, with few of them used in FF 12 and none, save for the Chocobo theme used in FF 13.  And that theme is so bastardized it's barely recognizable.  I will not say that the music got significantly worse after Uematsu stopped composing for Square, however it never stirred or gripped players like it used to.  It was passable, competent even, however the music lacked the soul and emotion Uematsu gave it.  Instead, Square has chosen to use more modern pop themes, the most used theme from Final Fantasy 13 being "My Hands" by Leona Lewis, an X-factor contestant.  Nevertheless, these themes COULD have held a place in the series if paired with Uematsu's music as a nice counterpoint, however as it stands, they feel like crass replacements.  Musically, Final Fantasy has become boring.  And if Square ever wants to recapture the previous soul, they either need to contract Mr. Uematsu to compose for them again, since he is now an independent composer, find someone who can create similarly evocative music, such as Yoko Shimomura or Akira Yamaoka, or stick with themes they already posses.  Final Fantasy will not get better if they ONLY use old music composed by Uematsu, but it may at least slow the degradation.  However, musically, it can't get much worse.  Bland is even worse than offensive at times in video games because it is forgettable.  At least offensive music sticks with you. 

I cut Final Fantasy X-2 a fair bit of slack, but that was a one off.  We didn't need pop music or bland themes in every game thereafter.
            Game Design:  Here we come to the key part of Final Fantasy.  Game Design.  The series is well known for starting off using turn based combat, then an active time battle system, and after many tweaks, a system not unlike those of MMOs.  Looking back at the original turn based combat, it was very stiff.  Battles progressed slowly, but that was because each character needed to be assigned a move, then perform it, then enemies did the same.  The active time battle system improved on this by speeding up combat.  Enemies and players could now have their turns intersect and whoever was fastest got to move first.  It allowed a great deal more excitement and tension in combat.  Then the shift to an MMO style took control away from all but one character, while still retaining the basic features of the active time battle system.

Say hello to the Active Time Battle System, staple of the good Final Fantasy games from 4-10.
            Ignoring combat for a moment, game design also had a great deal to do with how players experienced Final Fantasy.  Starting out on an overworld which allowed for non-linear exploration, players were given a path, told to follow, but allowed to deviate to find hidden treasures, new monsters, or just goof off and play with their abilities.  There were distinctive divides between overworld exploration, town based exploration, and dungeons.  Dungeons were dangerous and had plenty of enemies, but also lots of treasure.  Towns offered players a chance to buy items, hear rumors from NPCs and become immersed in the world.  Overworld exploration was the bridge between these two segments, giving the player the feeling that they could control where they moved not just in towns or dungeons, but everywhere.  This general structure would remain consistent with the series from Final Fantasy 1-10.  However, after Final Fantasy 10, the series tried to wean players off these features.  Final Fantasy 11 only gave players one character to control while still allowing them to have a non-linear world and job system to explore and play with.  Final Fantasy 12 still only had players controlling one character and made the game more linear, but the world was large, interconnected, and had branching paths which led to hidden secrets.  Final Fantasy 13 only had players control one character through a linear 60 hour hallway.  Even when the game supposedly opened up for exploration, there was very little in the way of secrets, hidden treasures, or anything really interesting to find.

The MMO style of gameplay was not a good fit for Final Fantasy.  It robbed us of our freedom.
            What I want to make clear, however, is that linear exploration and changes to combat are not, in my opinion, what hurt Final Fantasy design wise.  The series has always been ready to explore and experiment with different styles of gameplay.  What irked me most was the general lack of control players had after Final Fantasy 10.  Control is what Square took away from players since Final Fantasy 11 and the series has never been the same.  Players controlled between 3 and 5 characters at a time before Final Fantasy 11, were given free range to explore wherever they wanted, and a wealth of other options were made available to them, from weapons and armor, to spells, summons, and personal abilities.  Final Fantasy 11 reduced the game so that each player controlled only one character.  To a degree, this made sense, as it was an MMO and the job system and constantly changing world allowed players to explore and experiment without the game getting stale.  However, Final Fantasy 12, which was not an MMO, also only gave control of one character to players, even though a party could have three characters and a guest.  The characters not in use by the player were AI controlled and had to be given orders beforehand using a series of logic loops called gambits.  While frustrating, at least these gambits gave players some semblance of control and Final Fantasy 12 had secrets to be found, like hidden summons, dungeons to revisit, bounties to hunt, etc.  Final Fantasy 13, however, was the nail in the coffin.  Only one character out of three could be directly controlled.  The others were handled by the computer.  While there is an illusion of choice, as you can select individual commands in battle, the computer is smart enough that if you hit auto battle, it will basically do what is necessary to win/survive.  There is some control in party layout, as each character has a few "jobs" with different abilities, however it all comes down to auto battle in the end.  Worse, players are given a 60 hour linear hallway to explore, with no secrets, no branching pathways, no towns, nothing that is not scripted.  It is like playing a 60 hour movie.  There were some attempts to restore control, like when players are allowed to explore for the first time some 40 hours in, but by then it was too late.  Gamers had already resigned themselves to the hallway.  Final Fantasy 13-2 seemed to understand this to a degree, and there are more places to explore nonlinearly, but the game still only allows control of one character at a time.

Here's a typical map from Final Fantasy 13.  A long hallway, with no branching paths, no exploration, no control.  This hallway was the nail in Final Fantasy 13's coffin.
            Final Fantasy was, at its core, a role playing experience and control is the heart of that experience.  You have to role play.  To feel like these characters are under your control and so their fates and yours are intertwined.  When you explore, they discover and when you make a mistake, they suffer.  Removing control essentially removes all elements of role playing from Final Fantasy.  A ROLE PLAYING GAME.  In previous iterations, job classes which players could customize to their taste were available.  Summons could be swapped, mixed, matched.  Skills could be learned and experimented with.  In Final Fantasy 10, the most enjoyable addition to the series was the ability to CONTROL summoned beasts, as well as swap out party members mid fight.  The level of control was staggering and it made players invested in seeing these characters succeed.  But, if control is removed and a computer can do the job of the player...why do we even need to play the game?  Where is the tension?  Where is the investment?  This is, in my opinion, the biggest misstep of the Final Fantasy series.  But not the last.

When it comes down to game design, control is the name of the game.
             Storytelling:  Storytelling is a prickly issue for Final Fantasy.  Despite how beloved the games' characters, stories, and twists are, they are also rather silly.  Nothing is too out there for Final Fantasy games, which frequently included steampunk elements, alien invasions, cloning, time distortion, dimensional travel, crossdressing, gods fighting mortals, etc.  I believe that one of the reasons people find the stories so enjoyable is because they were paced well, kept a decent mix between high tension and comedy relief, and offered a different story each time from what was expected.  True, many of the stories in Final Fantasy boil down to "Kill the evil wizard/swordsman/whatever" but the tweaks and twists added kept it interesting.  We dealt with something we knew, but in a manner that was wholly original to us.  How do you spice up a kill the evil wizard plot?  Throw him into the past so he can absorb ancient monsters to become a god and create a time loop.

Time Travel.  A sure-fire cure for boredom in a kill the evil wizard plot.
            Personally, I believe that the stories started to degrade in quality when voice acting was introduced.  It created a disconnect between player and character where if you didn't like a character's voice, that was too bad, you were stuck with it.  And while a player's imagination could fill in the gaps for a bad joke or an emotional moment in the previous games, from Final Fantasy 10 onwards, that job fell to the voice actors, and if they flubbed a line or made something awkward, that was how the story was.  There was no wiggle room.  As the games continued, voice acting was not the only problem.  Scripts generally became less coherent and focused more on melodrama rather than on actually telling a story that made sense and held together.  Worst of all, however, it would seem that the newer staff who replaced those working on the earlier Final Fantasy games, particularly the staff who worked on Final Fantasy 13, simply did not have a unified vision for the story they wanted to tell.  A number of times, there were leap of faith plot twists that were impossible to ignore, infuriating plot conveniences, and revelations that were head scratching.  Also, an encyclopedia was added to hammer out story details they couldn't bother to put in the narrative itself.  When you need an encyclopedia to explain a character's motivations or history, you are failing at storytelling.

This is not good storytelling.  This is the antithesis of good storytelling.
            What is truly a shame, however, is that most Final Fantasy games, even up to 13, had some interesting ideas to explore.  Interesting themes to be brought to light.  Final Fantasy 6, for example, looked into the idea of what would happen to the world if a capricious and nihilistic god ruled over it.  This outlook allow players to explore the issue of "if life is so short, so fragile, so fleeting, why bother?" and find some interesting viewpoints and reasons for why humans continue living.  Final Fantasy 10 examined how a world ruled by a corrupt theocracy could ultimately live in blind ignorance of the real monsters, even when it was being menaced by a creature the size of Godzilla as well as exploring the ephemeral nature of life and the power of dreams.  Final Fantasy 13, loathed though it is, looked at ideas of prejudice, how stereotypes and hatred can ultimately ruin a world, rotting it from the inside out, to where anyone associated with the accused are viewed as less than human by others and acts of brutality against them are deemed justified.  The true disappointment in Final Fantasy's storytelling was not that there were no good ideas.  The insane ideas and the deep themes practically made the story.  No, the true disappointment was in how poorly executed the story, and script, became over time.  They went from being a bit quirky and insane to almost totally nonsensical.
 
Final Fantasy 13 did have some amazingly powerful, moving character moments, exploring complex and mature themes...pity the story itself was so poorly told.
Conclusion:
            Looking at the data, it should be pretty clear what the major stumbling blocks for Final Fantasy are and why it's becoming less and less relevant to fans.  Graphically, there aren't really any problems.  Characters may not emote or use their body langauge as well in the HD age, but the series has always had a fairly high graphical pedigree and that's continued on into the current generation, with absolutely gorgeous vistas and backgrounds, interesting character and enemy design, and just tons of beautiful eye candy to amuse players. 

            Musically, the series lacks a strong hand to give it direction.  Uematsu provided that hand before and they haven't found anyone else to give it the necessary soul to match the onscreen events.  It hasn't become terrible overnight, but the slide has been gradual, with Final Fantasy 10-2 moving into more j-pop, Final Fantasy 12 trying to recapture the feel, but ultimately being a little forgettable, and Final Fantasy 13 being often times boring, annoying, or just confusing.  Why did they include an American Idol singer as a selling point?  Why license a song like that instead of having one made for the series by a strong composer? 

            From a storytelling perspective, the scripts seem to have gotten poorer and the over reliance on voice actors seems to be pushing scripts and dialogues into certain directions that ultimately make them less reliant on clever wordplay, body language, or situational context and more reliant on the talents of the VA.  This may be the world we live in, but you need a balance of those things, since not all VAs are created equally.  The nonsensical parts of Final Fantasy are, for the most part, fine.  The series has always had some goofy elements that don't make too much sense.  The important part is having a script which keeps players engaged until the game is over and they start realizing how damned goofy what they just played was.

            However, most importantly, Square needs to give players back control.  When you take away a player's control in a game, it stops being a game and becomes a movie.  Final Fantasy offered a huge amount of variety and control options until it hit 11, which limited it due to that game being an MMO.  After 11, though, all the single player games have been lacking in options.  Now, the norm is to only control 1 player where before a party of 3-5 could be under your control.  Restricting control is not a good idea, as it will remind players they are going through a very linear, scripted, and stifling experience.  Give players back the ability to make mistakes, since mistakes help us grow.  Give them the ability to explore, to talk to people, to shop, for god's sake!

Ironically Final Fantasy 13 sold very well...then, people realized it was crap and so sales dropped like a rock.
            And, there you have it.  They need a strong musical hand, a more balanced script that relies less on voice and more on context, words, and body language, and they need to give players back their control.  So, do I think Final Fantasy can recover from these pitfalls?  Well, it can, but I'm not sure it should.  Final Fantasy has always been a sort of industry standard for what an RPG is.  If people see this poor standard, they can at least learn from it.  Besides, Final Fantasy has already alienated a ton of fans, not just with flaws like the above in its main games but with numerous money grabbing schemes from its spin offs.  The brand is pretty weak right now.  It might just be better to start fresh, so to speak.  For example, Uematsu and Sakaguchi, both Final Fantasy Alumni, worked together to create The Last Story and Lost Odyssey, games which had a Final Fantasy feel, but which were not Final Fantasy, strictly speaking.  These games won over audiences with their graphics, music, storytelling, and above all else, their control.  So, a Last Story 2 or Lost Odyssey 2 might not be such a bad idea.  Start a new legend and let the Final Fantasy series have a break.  Better to let it rest in peace with over a dozen good titles than slowly wither and decay until there really is a "Final Fantasy."  And maybe someday, it'll be ready to come back.
 
It's possible that Final Fantasy has gone too far and will never be as it once was.
 
Even if Final Fantasy is gone for good, however, worthy successors have stepped forward.  The Last Story(Top image) and Lost Odyssey(Bottom image)
            Before I sign out, I would like to remind people that I am not an expert.  Just a gamer who knows what he likes, what other gamers like, and where the industry seems to be heading from my perspective.  This is just my opinion on what the hell happened to Final Fantasy.  Take it, leave it, or argue if you like.  Let me hear what you think happened.

Tuesday, April 16, 2013

Diminutive Diatribes: Encyclopedia Moronica

I'm preparing something special for May and working on my novel at the moment, so free time is a bit sparse.  I will probably have another full post before April is out, until then, please enjoy another diminutive diatribe.

Diminutive Diatribes: Encyclopedia Moronica


            In-game encyclopedias.  They take many forms throughout the game industry, from a journal entry which tells players what's happened up till the present, to a bestiary in an RPG, to dozens of terms which need to be explained, which aren't properly explained in the story, which players need to understand in order to know what the hell is going on.
While sometimes a useful tool, these aren't necessary to play video games.  And they never should be.
            Encyclopedias in games aren't always a bad thing.  Bestiaries can make great tools, alchemy guides can be very useful, and references to controls that you've learned but might have forgotten are essential if you need to put a game down for a long period of time.  However, too often in this day and age, games are using encyclopedias as a crutch.  They think that there's no reason to sit down and explain what's going on or what have you because it's easier to just throw a term out there and let the players do the work themselves to try and understand it.  Or worse, they are repositories of information that is necessary to understand the story, but which the game couldn't bother to tell itself, due to budget problems, disrupting the flow of the game, or just general laziness.
Encyclopedia and tools like them are useful, but they should never be made mandatory.
            Developers, take notice.  If you drop a term like Fal cie, necrology, nethicite, etc. but don't properly explain what it is...then you're just going to confuse and annoy your players.  If this term is important, then don't shove its definition into an encyclopedia in-game.  We have wikis online if we really want to know more about it.  If it's important, explain it to us, the players.  If it's not, then that negates the entire point of including an encyclopedia, because if it's not important, why should we care?  Why should we do YOUR job in trying to figure out what a term means when we paid you for this game?  And if these terms are essential to a story and you just dump them in an encyclopedia and tell us to research on our own, then you, the developer, have failed at storytelling.  You have failed at your job of telling us a story or explaining a concept.  And last I checked, if someone fails to do their job, they get fired.
This look of horror?  Yeah, it's what gamers get when they realize their game has more required reading than their school work.
            Final Fantasy 13 is one of the most disgusting abusers of this principal.  It dumps huge blocks of terms from the game into an itemized list that takes hours to go through, slowing the game to even more of a crawl than it usually is.  Some biographies are included for characters, some with events we have seen and some which happened before the story, so if you want to understand everything then you have to read them all.  And some entries in this encyclopedia CHANGE over time, so you have to re-read them occasionally.  This is just a waste of time.  True, a number of these terms can be ignored, but some, like what a Fal Cie and a Lcie are can cripple the impact of the story if not explained.  The story tries to explain a few of the terms, but often times it leaves the player to discover who and what the gods of the world of Cocoon are and why they matter.  Who are the individual Fal Cie?  What impact do they have on the players or the world?  You'll never know unless you read!  And it is all explained in such a bland, annoying way, with a drab grey menu screen with nothing exciting about it at all.  This is the most moronic way to use an in-game encyclopedia.
Hope you enjoy grey menus and generic fonts.  Cause this datalog(encyclopedia) is going to take you hours to read.  And the reading is required.
            If you want an encyclopedia in a game, if you MUST include it, then take a lesson from Ni No Kuni.  Ni No Kuni's encyclopedia is set up like an ancient wizarding tome, with colorful illustrations, an old timey paper look to it, and above all else, no obligation to read it if you don't want to.  It has a bestiary, an alchemy recipe list, item lists, spell lists, and a world map for reference.  That is the key word.  REFERENCE.  You don't need to look at it to play the game, but perhaps you want to know what skills a monster can use or where to buy an item?  Then you have your encyclopedia.  There are stories included in the book that aren't told anywhere else, such as the source of an eye in the sky which causes a storm or why your companion Mr. Drippy has a lantern in his nose.  However none of them are required reading.  They add to the world, certainly, but you can get by fine without reading them.  These phenomena are explained in-game, while more is there if you want it.  Mr. Drippy is a fairy and has a lantern attached to his nose because...fairies, am I right?  The eye in the sky creates a storm and is controlled by the bad guy, it's ancient magic.  Simple.  Why is the eye in the sky?  Well, you don't need to know, but if you want to, there's a story for it.  That's how to use an encyclopedia in-game.  It follows the logic of older titles like Wild Arms, Ultima 7, and Final Fantasy 6.  There are stories waiting to be found all about the world, told by npcs, hidden in bookcases, or just as side events.  They help add to the world, they help build it, but they aren't required to understand and appreciate the story.  There's two weapons in Final Fantasy 6, both called Atma weapon.  Do I need to know what they are?  Not really.  Can I find out if I want to?  Certainly.  What happened to Blackthorne in the Ultima universe after Ultima 5?  Do I need to know?  Nope.  But if I want to, I can find out.  The remake of Wild Arms for the Playstation 2 even includes an entire novella with interesting characters, plot twists, and high stakes...none of it is connected to the game and you don't need to look at it at all to win the game.  But if you take an interest, it's there for you.
You want to include an encyclopedia?  Make it interesting, make it unique, and most importantly, make it unnecessary.  Ni No Kuni nails this principle.  The Wizard's Companion is gorgeous.
            If you're going to include extra details in a game, be it journal entries, audio logs, letters, or an entire encyclopedia on the world, ask yourself two questions.  1) is it necessary?  If yes, then ask yourself if it flows along with the game or just takes players out of the experience.  If it takes them out of the experience, then you have a problem.  2) Is it enjoyable/fun?  Do these entries add to the world?  Do they make the experience something more?  If not, then why include it at all?  Extra details in a game should add to it, not make it a slog.
Encyclopedia-esque references have been in gaming for decades and aren't going anywhere.  But only in the era of the PS3 and Xbox 360 did they become mandatory.  This beautiful image is from a reference in Chrono Cross for the PS1.  You never had to look at this through the whole game.  But aren't you glad you did?  It's a stunning image.
            On the whole, still not sold on the idea of encyclopedias in games, but I recognize that they can be harmless or at least offer extra details for inquisitive minds.  I prefer those details to be woven into the game world organically, like finding an old man with a legend to share or reading a random book on a book shelf to hear about an ancient and tertiary conflict, but there's no harm in adding extra bits in the form of an encyclopedia entry.  However, they should never, ever be mandatory.  Slowing a game to a crawl because you need to learn about what the hell a bio-static electro gauntlets or a gravity discharge bomb is will only annoy players.  And annoyed players are more likely to avoid or abandon the game.