Bombslinger (PC) Review

Developer/Publisher: Mode4 || Overall: 7/10

Bombslinger?  Looks like roguelike Bomberman.

::plays it for 5 minutes::

Yeah, it’s roguelike Bomberman.

I’ve never been much of a fan of the Bomberman series, but I got the point of it.  In fact, Bomberman is a lot more fun than the evolution of the game into roguelike territory.  Bomberman‘s appeal was using the map in such a way to kill the other enemies that were running around while not blowing yourself up.  All of these concept carries over, but considering you are in a roguelike, you’ve got procedurally generated room layouts, dungeons, and bosses.  Except, in Bombslinger, the game intentionally slows down the pace significantly by adding obstacles you have to blow up.  In doing so, Bombslinger becomes much more like a strategy puzzle game than an action game where you go around and put down a bunch of bombs and run around hoping you don’t blow yourself up.

As always in a roguelike, there is loot and powerups you can unlock.  Killing enemies nets you gold most of the time, but they can also drop Spirit, which allows you to use the special abilities you find.  You also gain XP to earn levels; leveling up allows you to choose one of three bonuses, depending on your need at the time/gameplay style, usually being health, bomb, or spirit-related.

Without bonuses, you only have one normal Bomb and three Hearts.  It is very easy to get hit by your own bombs if you’re not paying attention.  In general, it can be a bit annoying if you don’t already have a lot of practice in anticipating when bombs will explode, and if you don’t really like “Bomberman” gameplay, you’ll lose the will to play pretty quickly.  Especially since you get hurt by your own bombs, and always have to move out of the way, it becomes tedious having to blow up fucking corn stalks one at a time when the map is full of them.

The whole reason Mr. McMean (your character) is on a rampage is because his wife dies in the opening cinematic.  I suppose it can be ironic that you also die over and over, and I suppose your wife dies again every time you start over as well.  The first level is the main character’s house, known as “McMean’s Ranch.”  You’ll be spending a lot of time here as you start playing, and it seems to be an unfortunate choice because the music gets annoying and the map is boring, despite the nice pixelated style.  When you get to the second map, you trade the “desert ranch” map with corn stalks and old men in thermal underwear, for “traditional desert” with chickens and bandits.  There’s also goats.  I’m not entirely sure why you are killing old farmers when it is your old bandit gang that killed your wife, but they look mean so it’s time for murder.  I suppose the story really doesn’t matter, but if they’re going to bother setting something up, at least have it make sense in the context of the story created.

The boss rooms are more traditional Bomberman grids, but the first boss, a goat, can charge you so you have time your bombs correctly.  They can also push the bombs away which can change the calculation of being in a safe area.  Stuff like this is probably where the game shines the most because it doesn’t veer too far away from the original Bomberman formula.

In general, the roguelike improvements seem fun enough for the confines of wanting to play a more “modern” take on Bomberman.  There are what seems to be about thirty or more unlocks and power-ups.  You can also buy the same items from the randomly appearing shop that you would see in chests.  Some chests can be only opened with money, whereas most need a key to open.  There are occasionally timed chests that will blow up if you don’t reach it in time.  The rooms are randomized and all of the enemies must be cleared out before moving to the next room — this again loops back to being a slow process since you have to clear out map elements to get to the enemies.

At the end of the day, Bombslinger is serviceable.  It isn’t terrible, seems to work okay, looks good visually, the controls are fine, and also has a local multiplayer mode that could be fun.  It’s about as standard as you could get for a little game like this, and depending on your love for the Bomberman series, your mileage may vary on how much enjoyment you get out of this title.

 

Dream #25786

I had a dream about a party at my parent’s house with tons of random “family” members, even dead ones.

Melissa Joan Hart was there and she knew me and waved.  A pair of twin brothers named Eddie and Edik I hadn’t met before were also there.

There was some sort of evaluation sheet that allowed me to jump back and forth to see their degradation in smartness or something and if they changed over time, it would give a status about them.

In the family room, I wanted wine but my mom would keep pouring watered-down sparkling water and then pour some wine afterwards, despite not wanting that.  I finally took the wine myself and then left to go to another room.

In the other room was a room full of young hipster-type people.  I was done with my “family” and decided to go into the next room with those people.  They were all huddled around the couch playing some board game, and there was about 15 to 20 of them and not all of them were playing.  They all looked at me but didn’t know who I was.  I said “Hi, my name is Dave and I’m an alcoholic” as a joke, but they thought I was serious and asked if I was an alcoholic.

I remember something about “The Mayor” (not a real person) showing up at the party and then all of a sudden there were gun shots or something like that, someone was trying to kill him or me, I don’t know.  I woke up at that point.

 

Dream #25785

The dream starts with me launching two ICBMs while on the freeway.  Unsure where they went, but they didn’t explode.  I got arrested but was taken to a school convention instead of a jail.  I left overnight, then woke up and was arrested again outside the market place I was dropped off at.  I then called elmoisfurry to warn him about the whole situation since he was supposedly there too.

Then I woke up.

 

Super Daryl Deluxe (PC) Review

Developer/Publisher: Dan & Gary Games || Overall: 9.5/10

I often wonder what a “perfect” game would be for me, as a gamer, rather than a reviewer.  There are merits such as admirable game design, interesting story, fun game mechanics, but what do **I** really want to play.  I like things that are strange, humorous, and keeps me guessing, among other things.  Super Daryl Deluxe is one of those odd times that I could potentially say “I want something like this” and it actually exists.

Set during the post-apocalypse of a seemingly “libertarian” self-help renaissance society, Super Daryl Deluxe is what I would call a “post-modern fantasy”-themed Brawler RPG.  It integrates a lot of famous historical characters, LARPers (known as the Dwarves & Druids Club), and other popular science fiction elements thrown in to make things even more weird.  There’s also a lot of cultural references, like the Paranomal Club based on the “Ghost Hunters” TV show, or “Skrillex” (known as Little Johnny) being an antagonist.  There are plenty of original characters as well, and the mish mash of all of these different crowds makes for a packed game.  The world-building reveals itself as unexpectedly deep for this genre, and you never know who or what you’re going to see next.

Lots of satirical jokes are found throughout and a lot of attention to detail to the humor really shows.  As a literal silent protagonist, the titular, spaghetti-limbed character, Daryl, never speaks or reacts to people when they talk to him; they react to him, thinking he is an idiot, or just filling in the blanks themselves — its an obvious parody of silent protagonists in RPGs. The story itself starts small, then grows bigger, as you are tasked with a simple thing like “get a can of spray from the janitor’s closet” which then leads you into a surreal adventure across time and space and air vents large enough for a space ship, located in the bowels of a high school that is itself breaking through into different dimensions.  Surrealism is the key word of this game as you go ever-deeper into the craziness, and all of the characters being “okay” with it all just makes it that much more bizarre.  Parallels can be drawn to the game Frog Fractions in this sense, but there aren’t any abrupt genre switches.

There is a retelling of the game’s satirical story in an in-game journal that satirically retells it — what shows up in the journal is never quite what actually happens.  This becomes a bit of a fourth wall breaking experience as the Journal “writer” feels like an observer who is talking to you directly.  Normally, most of the story is communicated through dialog, which never seems to outstay its welcome, but can get a bit winded at times.  The way the writing is structured, it would probably not work if it was all completely voice acted, however, there is voice acting for the handful of cut scenes.  The introductory cut scene is strangely unnerving, and while it doesn’t exactly explain what is going on in the story, it does set the “mood” for what is to come.

The art is absolutely the most appealing aspect of the game. Everything exhibits a hand-drawn quality and colors are used intentionally to bring important details out on the characters.  With so many little touches and details to the art, the result is a high production value that is reminiscent of a television cartoon show.  Enemies have fun designs and despite the theme shifts from one area to the next, all of the characters feel like they belong in the same universe.  Music is also a high point where most of the tracks integrate the name “Daryl” into the song. I never would have figured that “Daryl” could work across so many genres.  Other sound effects are good and add to the overall experience, especially when it comes to the abilities you use and landing hits.

As Super Daryl Deluxe is a “Brawler” RPG game, you’ll find a lot of variety and a build-your-own combo system. You can choose what works for you instead of being relegated to a set of abilities, with around 20 or so to choose from.  Many abilities are also humorous or cartoony, which fits nicely with the art style.  Equipment is also a thing, which gives a lot of depth to the overall gameplay.  The inventory system is very easy to manage and offloading equipment for “lunch money” allows you to buy textbooks, which allow you to buy more abilities.  Lunch money also drops from monsters as you kill them.  The currency system feels very balanced, so even as you gain exponentially more money, the cost of items you buy also go up.  There is also some simple crafting which is really just purchasing equipment with the required materials.

There are a wide variety of maps to visit, with very elaborate room layouts and fun themes, such as Science, Arts & Music, History, the Air Vents, and a couple of other smaller areas.  There are a lot of secrets to unlock and leveling certain abilities allows you to unlock chests or other special rooms.  As you progress in the game you’ll be able to go back to earlier areas and get into rooms you weren’t able to previously.  Some new formats to play also pop up, such as the Dwarves & Druids questing, or re-summoning old bosses for exclusive loot.

The game is very long for this genre but it stays fun. I’m already at fifteen hours and have no idea when the game will end, but I would guess I’m getting close. But, I’m still only in “Part 1” and supposedly there are five parts.  Fifteen hours is what they are advertising, so I suppose your mileage may vary.  A small amount of grinding is also necessary to level up so you don’t just skip through all of the areas with enemies — monsters have levels and will get harder as you go along.  If you do all of the side quests, it helps you with the grinding, but it really isn’t that bad if you’ve found a good set of abilities to quickly defeat enemies with.  While I wouldn’t classify the game as difficult, I had fun experimenting with all of the different abilities and finding out what worked the most.  I died only a handful of times, and the bosses are unique gameplay challenges that mix up the logic of beating the crap out of everything to something more strategic.  Occasionally, I didn’t read something or forgot what I was supposed to do, so I would run around aimlessly trying to do things to progress the story cussing and getting frustrated about not knowing what to do.  But this happens to me in almost every game.

That’s really all there is to it.  Super Daryl Deluxe is an experience in and of itself, and a unique one at that.  There’s nothing bad about it, really — so what prevents it from getting a full 10/10?  The lack of a really engaging game loop that makes you want to come back for more is probably what holds it back from that.  The game is also very linear, and while you can visit older zones, they aren’t made relevant again — though you spend a lot of time in each of the zones while you are there.  Presumably there are reasons to revisit as there is a locked mysterious blue door in each of the main areas, with no explanation attached.  I could also see playing through the story once and just being done.  Despite that, a lot of personality and love went into this title and it shows.  The art is great and a real treat.  If a sequel ever comes around, I’d like to see what direction they take it in.

 

Squacklecast Episode 36 – “Toys R Us That’s Why We R Bankrupt”

This entry is part 36 of 38 in the series The Squacklecast

This episode has it all!

Ass!

Titties!

Porn parody crossovers!

MORE STAR WARS!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!  And Toys R Us store-visiting experiences!!!

We talk about the general concept of shared universes and crossovers.  There’s a general lack of crossovers nowadays, and I think the idea that Alien, Blade Runner, and Soldier all being in the same universe is a dandy one.  Thanks Ridley Scott!

The new Jersey Shore reunion is a topic of discussion.

And there’s a Star Wars: The Last Jedi porn parody.  It’s probably better than The Last Jedi.

Looks like they got rid of Finn completely — so it’s actually just the director’s cut of The Last Jedi.

See you next bankruptcy!

 

Trailmakers (PC) Early Access Preview

Developer/Publisher: Flashbulb || Outlook: Seems Promising

My generation, like a couple of other generations, had access to physical toys, such as building blocks or “LEGOS.”  You could build spaceships, castles, cars …or at least something that could pass for them.  In many ways we see that “idea” of creation in many of the most popular games today, but getting back to the basics of “creating a car” with building blocks is what Trailmakers attempts to do.

Now this particular concept isn’t new to gaming, but since I’ve never played Banjo Kazooie: Nuts & Bolts, it’s new to me.  I’ve seen videos and heard awful things about that game.  So, to me, Trailmakers, seems like someone had a part in developing that game, thought they could do a better job in retrospect, and from that comes this Early Access title.  Flashbulb, the developer, is apparently made up of Rare and IO Interactive veterans, so the scenario is entirely plausible.  Obviously at this point, the game doesn’t feel anywhere near complete, but there is plenty of foundation built into it, and is seemingly waiting for the content to make it “fun.”  There have already been a couple of updates that add different modes, so the focus of the game has already changed since I initially began playing.

In Expedition Mode, your character arrives to this “racing planet” full of hazards, ramps, and lots of annoying shit to collect along the way.  The more things you collect, the more things you unlock to customize your vehicle.  You can save as many versions of your creations as you like, modify an existing blueprint, import blueprints, or start from scratch just to get through one hazard.  Once you have more pieces unlocked, your creations will obviously get more complex, with engines, wheels, different size blocks, doohickeys, gizmos, dildos, and an assortment of other random things I don’t know how to use correctly.  This might be fun for some people, but unfortunately if you’re impatient and don’t really find the enjoyment in tinkering around using a mouse/keyboard (or a controller) to build vehicles, it becomes a tedious task.  The builder itself is about as good as it can be, but since you are building in a 3D space, it can get annoying to see where things are being placed without moving your camera multiple times for each piece.  It just isn’t the same as holding blocks in your hand and putting things where you want them to go.

The driving isn’t necessarily that much fun, and the map is full of forks and different paths that lead to the same end point.  There’s also a lot of empty space, but considering you’re meant to drive around, its probably not that big of a deal.  Outside of collecting shit, there’s not a whole lot “to do” other than get past hazards and get to the next zone to collect more things.  More plainly, the gameplay loop is lacking severely; there’s just basically no reason to play unless you really enjoy making new things in the builder.

The driving controls are floaty as hell, but I’m unsure if this is part of the design or not.  The point of collecting better upgrades and designing a vehicle that works well aerodynamically and with the types of engines you are using seems to be part of the challenge, but it isn’t structured very well.  There are no early-on upgrades that can improve your controls very much, and its a constant struggle considering they intentionally make them worse if you aren’t designing your vehicle correctly according to the in-game physics.  Another annoying aspect is that the camera isn’t able to be controlled while driving, at least with a controller.

I think the fact that it is an open world with no other “racers” to race against is a large part of what makes the game feel boring outside of building.  There isn’t any motivation to continue dealing with the crappiness of the controls or tediousness of having to build something to just get through one hazard. Redesigning everything from scratch over and over becomes an exercise in “doing the bare minimum” to get past whatever is stopping you.  You might be able to stumble through hazards with your same vehicle, but you’ll be dying over and over.  There’s a lot of things that will clip your vehicle or make you blow up, so you’ll constantly be respawning at the last checkpoint over and over.

The Race Island mode, which was recently added, allows you to more fully tinker around with the game’s systems as everything will be already unlocked.  You’ll only be doing “time trials” as there are still no other racers to race against, but it is more satisfying to be able to mess around with a large array of items from the beginning — it doesn’t feel like you’re “missing” anything.  However, without proper tutorials you’re going to be building some really wacky things that don’t work the way you think they should, and all of a sudden you have a helicopter that flies upside down and goes directly up.

Trailmakers will probably appeal to a certain set of gamer that really enjoys fiddling around with mechanical engineering concepts.  Seeing what works and what doesn’t work in a real physics-driven world is pretty cool considering the amount of freedom you’re allowed to build things.  I would have really appreciated some sort of generic base blueprint archive of some sort so that I could just click it and go with a new vehicle once I had everything unlocked and then modify it as I saw fit.  As of now, there’s plenty more that needs to be added to the game to make it more appealing to someone like me, but with the existing foundation already included, it seems promising that a worthwhile game could be made out of this.

 

Squacklecast Episode 35 – “Cambridge Squacklytica”

This entry is part 35 of 38 in the series The Squacklecast

Wow, another podcast in the same year as another one?!?

We talk about what we are going to talk about. Unfortunately we have some recording issues, with dropping out and connections I guess, so sorry for that.

Pacific Rim Uprising is what we discuss at the beginning since it is out this weekend.  We talk about reviews and how it compares to transformers. then we talk about transformers and actors who appear in this sort of movie.

We then go into about Comedians becoming dramatic actors and dramatic actors who take on comedic roles, such as Chris Hemsworth in Thor: Ragnarok.

We talk about having no time to watch shows. Atlanta, Black Mirror is discussed. Then we talk about Eddie Murphy, which leads into Smash Mouth tour dates and then a discussion on fast food.

Somebody once told me the world listens to Squacklecast.

I think they were lying.

We talk about the Facebook data breach and other miscellaneous things.

I’M GOING TO GO SEE PACIFIC RIM UPRISING NOW, EVERYONE.

 

Squacklecast Episode 34 – “Your Post-Oscars Oscars 2018 Trailers Guide”

This entry is part 34 of 38 in the series The Squacklecast

Hi there!  We have a podcast?

Oh, right we do… well get ready for the POST-OSCARS OSCARS 2018 TRAILERS GUIDE!!!  WITH THE SQUACKLECAST!!!

This is Peak Squacklecast right here folks.  Or is it “Pique?”

We talk about The Oscars, and how we would improve it.  A pear is also involved at multiple times.  We talk about the movies we did and didn’t see during The Oscars.  There are other things too, I guess.  I sort of forgot at this point.

We also do a quick recap on Black Panther, our likes and dislikes.  I NEVER FREEZE!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

Something I forgot to mention in our mini-recap about Black Panther — I would have liked more “panther” type kinetic releases (like swiping and jumping or whatever) rather than a big kinetic cloud coming out of a suit.

We also recommit to doing a Squacklecast more often so that our listeners out there can get more content!  Or maybe we didn’t recommit.

Welp, see you next time!

 

Station, The (PC) Review

Developer/Publisher: The Station || Overall: 6.0/10

The dude that brought you the rare flash game “Cat Attack” and the other dude who made a local pizza restaurant’s online delivery form come together to bring you The Station, from developer The Station.  I can’t tell if the company name is just lazy or if they are the gaming-equivalent of a musical supergroup that makes one album/song and that’s it.  This needs as much explanation as the goop that is left over in the microwave after making Annie’s Macaroni and Cheese.  I NEED TO KNOW!

The premise of The Station is that you are a “recon specialist” on your way to find out what has prevented a large traveling space station from accomplishing its mission.  The original mission is to study and observe the first intelligent civilization that is found in the universe — the ripple being this civilization is in the midst of a “civil war” so the home government is unsure of how to present themselves to this new race, or if they present a threat.  Their plan is to send three idiots stalwart members of society without putting them through a vigorous psychological screening process on this important mission, and of course lo and behold something goes wrong.

As the “recon ‘specialist'” you are not-very-urgently trying to figure out what is going on with the lost crew.  No real attempts to communicate occur, as the recon specialist takes their “recon” occupation to heart.  You will walk around, look at things, read things, fiddle with switches, take things out of boxes, and put things in other things.  You’ll also listen in on “augmented reality” conversations that have been left over by the three staffers on board as you slowly realize that none of them should have been sent on this mission.  Oh, did I mention that three people might be dead or dying and there is no sign of them the whole time?  At the end of it all once you figure out all of the ins and outs of the mystery, it’s the most competently underwhelming game story I’ve experienced in a while.  I saw the twist coming a mile away, but I was holding out hope that it wouldn’t be something so obvious, though it was “disguised” cleverly enough along the way.  At the end, it went even further in the direction of “cliche” and it ended up feeling very pretentious with a blunt political message.  The passive aggressive melodrama playing out in audio-only was not particularly enjoyable nor relevant to the greater “mystery” at hand, making me not particularly care about their fates and even hoping for their deaths.  It also didn’t make sense why people’s dirty laundry would be floating around in augmented reality orbs for others to listen in on.

Technically, the game is competent as a “walking simulator.”  Any of the “lack of gameplay” this title exhibits gets a pass since that’s just the genre it’s in; it achieves what it strives for.  The puzzles are not too complex, but can be challenging if you aren’t good at remembering the differences between similar symbols (which by the way is the worst way to realistically organize/configure anything).  Not every puzzle or room needs to be explored to complete the game, and you can easily miss something on the first go around.  There is one small room that I opened up on my second play through, and I was unable to figure out exactly how to get into one of the character’s lockers due to an incomplete puzzle hint.  There’s also another section I was unable to figure out how to get in at all, and still don’t know how to get in.  It’s also possible I missed more and just didn’t “notice” it was something I was supposed to try to get into.

The graphics are a lot better than they have any right to be.  There were a lot of random doohickeys and items to look at before you threw them away to the side.  “Set design” was interesting and varied and the space station felt like one, though small.  The sound design is very well executed, and brought up tension levels when needed or provided the feeling of the ambience required.  The game lasted only about two hours, which can be a drawback if you are looking to spend at least a little more time utilizing the things you learned during the first thirty minutes to an hour.  I spent about half an hour after the game ended trying to get into places I didn’t see the first time around, but lost interest after that.  There weren’t any technical glitches or issues with frame rate that detracted from the experience.  The only way the game could have been longer was if they forced you into every room somehow, though at the same time the parts of the space station you explore feel a lot smaller than they look from the outside.

Despite being really down on how the story turned out, it was a generally pleasurable experience once my expectations were tempered in the gameplay department.  Observing and soaking in a well-crafted atmosphere has its value if you enjoy doing so.  Though I don’t usually play this genre, it really leans on its writing/presentation for the goods.  The story really needed to be executed well, and while you could say it technically was, it felt more like a prologue to an actual story, and not a complete one.  The muddled political message didn’t exactly elevate the story either.

 

Legrand Legacy: Tale of the Fatebounds (PC) Review

Developer: SEMISOFT | Publisher: Another Indie || Overall: 8.5/10

If you’ve never thought a developer, naming itself a dick joke, could make a faithful, competent, and actually fun “JRPG” then I’ve got a surprise for you.  And it’s in my pants.  Legrand Legacy: Tale of the Fatebounds coins itself as a “love letter” to JRPGs with a “fresh take” on turn-based combat.  In practice, it’s like jerking off JRPGs of the early PS1 and early PS2 eras and blowing their collective loads all over your PC’s hard drive.

During high school I became quite a big JRPG player and it has persisted until now.  Final Fantasy, Breath of Fire, Xenosaga, Persona, Legend of Dragoon, Chrono Trigger/Cross, Enchanted Arms, Star Ocean, Unlimited SaGa, Lufia, the list goes on.  I’ve kept up with my personal interest of JRPGs, exploring the Wild Arms series more recently, but its been a good four years now since I’ve really stuck with one through the end.

Legrand Legacy: Tale of the Fatebounds takes you back to specific time periods of console JRPG gaming.  Think of all of the titles that are released just as a new console comes out, with developers trying to get their first JRPGs out quickly; they are less about doing something new and exciting, but more about the basics of the genre and telling a fun story.  Legrand Legacy hammers this feeling right on the head, and while it’s admittedly a better-looking game than you might be used to from those time periods, there are so many callbacks baked-in from past titles.  So much so, that you just get a nostalgia overload for gaming mechanics being combined in one place and seeing it all just work out becomes a fun exercise in pointing out what came from where.  Practically every gaming mechanic can be referred back to another game, and while there are some modern sensibilities, such as a quest log for sidequests, nothing particularly “degrades” from making you feel like you’re playing a JRPG from the era it hearkens back to.  And, of course, the characters are also of very attractive design.  They really thought of everything!  Just don’t hump the mattress too hard, friends.

The biggest accomplishment for Legrand Legacy is that it is actually enjoyable, despite not really solving any of the problems JRPGs from that time period have in today’s gaming environment.  Combat is the biggest gameplay aspect; the battles are a bit slow, but you’re not “waiting” as much as you might be used to in this genre.  Turns are more phase-oriented, but a turn-order is not completely ignored.  The biggest efficiency increase is allowing for all melee attacks to execute at the same time, with spells “channeling” and being cast after melee attacks.  Most spells are channeled, while some will cast before melee attacks.  Melee attacks are also allowed to interrupt enemy spells, but you’ll have to use the Formation mechanic to prevent that from happening to your characters too.  Your “front row” is best served for melee characters, while the “back row” is typically better for casters/ranged.  Although enemy spells can still interrupt your back row, you are more reliably able to cast spells there.  There is also a slight stat re-balancing from placing a character in a certain row, reflected in having less attack but more defense in the back row, and the opposite in the front row.

You are allowed three active characters during battle, but are able to switch them out like in Final Fantasy X.  I’ve always sung the high praises of FFX being the best traditional turn-based system since it opens the ability to use all of your characters during a fight rather than only being able to switch out of battle.  It always annoyed me when I’d have so many characters but didn’t have any reason to use them.  Though, in Legrand Legacy, when switching characters from the “Reserve” they are able to act in the same turn as well, but may need to move from the front/back row to properly work for your strategy, which does cost a turn.

The major aspect of defeating enemies is the Persona-like elemental weakness/strength attribute system where using particular attacks/spells deal more or less damage.  Although not as intuitive/fast-paced as Persona is, Legrand Legacy‘s spell-casting system, known as “Grimoire,” is akin to Chrono Cross with no mana cost and assigning the skills to particular slots.  You can use your Grimoire skills as often as you like, with no cooldown or mana cost, and their effectiveness mostly relies on the enemy’s weakness/strengths.  Similarly, items are assigned to slots and you’re not able to use your whole item list, forcing you to strategize about the item spread.  Grimoire heals are not particularly overpowered, actually healing less than items, so the decision between attacking and healing, and how to heal is a thing.  This isn’t typically a dynamic that is present in JRPGs, at least in my experience, since it tends to be an out-of-battle-only mana-management exercise.  In Legrand Legacy, however, the only way to heal out of battle is by using items, which are all percentage-based, giving them longevity in their usefulness.  Learning of new Grimoire spells is reliant on the way you build your characters with stats as they level; while they basically force you to go in a particular direction, how you get there is up to you.  Character builds are intentionally not diverse as a result, but having control over the path allows you to aim for particular spells before others.  I have yet to see a dick-themed spell, but anything is possible late-game.

The combat interface is reminiscent of Xenosaga in a sense, while being as functional as a typical Final Fantasy game.  Unfortunately, that means you menu hunt a bit more than you feel like you should, and it would have been nice to add “shortcuts” to your favorite spells on the main interface layout rather than having to go two levels to repeat the same skill over and over.  Also, for some god-awful reason, they decided to allow for the directional buttons to confirm your choice of spells after highlighting them, which I constantly accidentally hit since the Xbox360 controller’s D-pad is ass.  This made me find out there is no way to customize any controller inputs and stop that from happening.

Most actions require the same QTE game to be played for each character, a call-back to Legend of Dragoon and Final Fantasy VIII to a certain extent.  There is a circular wheel with a quadrant highlighted; if your dial is timed to land inside of the highlighted quadrant then you are good, but getting it in a small sliver allows for a “Perfect” execution of the skill, allowing for bonus damage or a lesser chance of being interrupted if it is a spell.  While it is simple, quick, and not particularly annoying to execute, it does demand that you are actively paying attention during an entire fight.  If you don’t play the QTE game or fail it, your characters will all miss.  One of the niceties of this genre was being able to plug in all of your commands then walk away for a couple seconds and do something, but in this case it’s not something that happens.  Related to your normal attacks, your characters will slowly build up an AP gauge which allows for a special attack that deals devastating damage.  The gauge will only fill up based on offensive attacks, so if your healer is just healing all of the time, she won’t gain anything.  The numbers that fly around for damage are also a bit confusing because there are a variety of colors that can appear, and since many attacks go off at the same time, you don’t know which numbers belong to who.  Considering the weakness system is important to master, this lack of information doesn’t make it easy.

The AP gauge is important to fill up before hitting up a boss, which can be accomplished while you are in the middle of a grind.  Yes, unfortunately, you will have to grind for just about an hour in each dungeon before fighting the end boss, and that’s after figuring out the puzzles.  There is also a bonus boss in each zone, which is usually about equivalent in difficulty to the story boss, but for the sake of convenience you should defeat it first since you may instantly leave a dungeon in the course of the story.  There aren’t any random fights, but it’ll be a challenge running away from the black eyeballs that represent enemy encounters in the dungeon.  They respawn very quickly while you’re in the same zone, so it hardly seems relevant that the fights aren’t random.  It’s also very hard or impossible to avoid them all, so the point of having generic black shadow eyeball enemies on the map seems a bit redundant.  There are also extra sidequests, maybe one or two per town, that will grant you XP after finishing a task, so it can help with bypassing the grind.  I’m not particularly against grinding since you really get into the intricacies of the battle system, so the “about an hour per dungeon” seems just enough to get acquainted with the area and master challenges the enemies present before moving on.  Plus, the bosses will cut your dick off and you’ll get a game over if you don’t grind, so there’s that.

The inventory system takes on a Star Ocean-type crafting system, but for weapons and items rather than cooking.  You’ll collect all sorts of loot from enemies, who never drop actual money, but only items you can sell.  This loot can then be used to craft healing items, offensive items, and weapons.  Encumbrance is an actual thing in this game, so you won’t be able to run around and grind infinitely — you’ll have to visit a town and store away all of your unused items at a vendor.  Unfortunately, the game does not allow you to access your storage for crafting purposes and you have to have it in your actual inventory to use for crafting.  You’re still able to walk really slow while encumbered, so instead of picking and choosing, it’ll be less effort to just take everything out, craft your shit, then throw everything back in.  The same goes for weapons/gear/dildos — you’ll only be crafting these items and nothing will drop in the field.

While the cutscenes look like shit, the in-game art-style is actually quite faithful to late PS2 visuals, most notably Final Fantasy XII.  However, they go for a “pre-rendered background” look like you would have seen in, say, Final Fantasy VIII.  Instead of CG, they exclusively use painted backgrounds with some in-game art/elements overlayed on top.  The painted backgrounds all look very nice, but depending on the perspective it looks way too obvious that the main character, Finn, isn’t actually “touching” the ground; the shadows the character gives are also a dead giveaway on the dungeon/world maps.  The purpose of pre-rendered backgrounds were to supplement the art to make it not look as crappy all of the time, but they seem to have gone too far in that direction and replaced many things you would typically see “in-game” with the paintings.  This is so they didn’t have to spend time modeling things like furniture or barrels.  There is some exploring of towns, but they are segmented into selectable areas, reminiscent of Unlimited SaGa, though I’m sure there might be a more comprehensive analogy to make here.  The areas are physically explored in similar fashion to Final Fantasy VIII, with a static camera.  Music and sound effects are also quite faithful to the genre, with the music being a highlight, in terms of variety, as each zone has its own song.  You’ll also hear voices of the characters during battle.

The main character of the story, Finn, looks like Ryu from Breath of Fire, with blue hair, a “secret past,” and “loss of memory” to boot.  And probably the same 10 inch dick!!!!  DAMN!!!  However, I was surprised he wasn’t a silent protagonist.  Unfortunately, he breaks his character too often to be believed as a memory-less blank slate like they initially pitch him to be, and I wish that they went the silent protagonist route instead.  The script dialogue tends to overstay its welcome a lot more often than I’d like — typically I get the point within two or three dialogue boxes, but then they continue the conversation on the same point for another five, or ten dialogue boxes.  Perhaps it has something to do with the English translation as the game is being developed in Indonesia?  I can’t tell.  There are no voice overs either, which may or may not be good, considering they could have been forced to cut back on the dialogue if they had to actually go through and record all of the extraneous dialogue that seems to happen more often than I’d like.  Most of the other characters are designed to look like anime characters and have “live 2D” reaction pop-ups to signify who is talking.

The story itself feels more like a western fantasy “prophecy” story, with some southeastern Asian designs to enemies, which isn’t completely unheard of in the JRPG genre, but it is a bit of a diversion from what I expected it to be originally.  Generally, the idea is that the female character Aria is some sort of chosen one and has to assemble a group of random people to become the “Fatebound” and stop a Hell-like dimension full of evil Fur Bolgs from invading their world and to stop all wars.  Perhaps this is reminiscent of the first Wild Arms‘ story, but I’m unsure at this point.  Finn, the “player character” is essentially relegated to side-character in the beginning of the story rather than being the main influential character which is perhaps reminiscent of FFX where Tidus is just “along for the ride” but ends up taking a very important role later.  At about 15 hours in, the dynamic is still unchanged, but the story hasn’t delved into Finn’s forgotten past, so it could go any direction at this point.  I suppose as an Easter Egg of sorts, the lead game designer inserted himself as a traveling information guide, telling you about the city you’re in and introducing more lore outside of the confines of the story itself.  I’m not entirely sure if this is vain or not, but I suppose it may as well happen.  He keeps giving Finn some nuts, and I’m pretty sure it’s another cleverly disguised dick joke.  Randomly popping up are plenty of what I assume are Kickstarter name lists/wanted posters/character names or whatever, cause they look like internet names that don’t fit in the universe.

Legrand Legacy: Tale of the Fatebounds is squarely aimed at millennials who grew up on these sorts of games and are willing to dive back into it for one last romp before they go impotent.  I’ve definitely written way more than I ever thought I would for this game, and considering it’s something I actually want to finish, I’ll be putting a lot more time into it.  There will perhaps be a postmortem on the story at a later point if it ends up being something worth talking about.

 

Quote #25668: Talking in the mic

“But new day Dole walked faster bastard bastard bastard bastard I can like halo you sock soccer soccer the sock and sought soccer sought to the socket socket soccer sought to the socket socket and button uday Dole walked faster bastard basta best

Enter

Messrs. Backspace that at that and an ten ten ten ten then then then that in But at But the prop of that, but Pope, ,.  Zero nine eight seven seven six and 54321 supply goal notebook gates of dell Galvin that’ll back”

– davepoobond, talking into one of those text to speech programs like 15 years ago

 

Mr. Burnfur’s Grading Scale

Mr. Burnfur’s Grading scale is really the worst you could see, he makes it so that people that aren’t in shape have to work harder but still get less points than people that are in shape that do the same work and the same effort, but get more points, in P.E.

At one time in the year when our grades were posted up, half the class had over 100%, one even had 150%, while one person had a negative 3%. Who knows how the hell you’d get negative 3%? It didn’t even exist until Mr. BurnFur posted those grades up.

 

Space Wars: Interstellar Empires (PC) Early Access Preview

Developer: Desert Owl Games | Publisher: ToHeroes Game Studios || Outlook: Not Good

Space Wars: Interstellar Empires ventures into the bold frontier of slow, turn-based MMO.  Space Wars: Interstellar Something or Other takes the usual issue you have with this genre, speed of gameplay, and doubles the issue by having two phases per turn.  It’s a bit baffling how anyone can have the patience to play when the rule-set is laid out like this, not to mention since this is an MMO where you have to grind to get anywhere.  Uhh… No thanks.

For me, it was easy to make the comparison to Star Trek: Online.  You have warring factions, you get a ship, then you have space battles.  You allocate shields, power, choose which weapons to shoot, yadda yadda.  Except where Star Trek: Online is all real-time, you have a slow and plodding turn-based mechanic in Space Wars.  Don’t get me wrong, I have no qualms with it being turn-based by design, where it becomes an issue is speed and seemingly needless complexity.

As stated, Space Wars has two phases per turn — an Allocation phase and a Combat phase.  Each turn has an Allocation phase where, depending on the stage of the battle, you decide what issues to fix and how to change your combat posture.  Your combat posture includes allocating power to different systems such as shields, movement, weapons, etc.  You can also repair damage if you’ve got any to repair.  This phase lasts until everyone hits “End Turn” but the maximum amount of time is sixty full seconds.  Then, you have the Combat phase where everyone gets their own sixty full seconds to make their moves and attack considering the preparations they made in Allocation mode.  Depending on how many ships are in battle, your turn may not come for another few minutes, and after you’re done with your turn, it could be another few minutes before the Allocation phase starts all over again.  We’re talking about the potential of ten to fifteen minutes per turn at this point, and I already want to open the airlock and get sucked into the emptiness of space.  At least I’d die quicker that way, and wouldn’t have to live knowing how much of a disappointment Star Wars: The Last Jedi was.

The interface isn’t bad, but does feel outdated.  It isn’t really pleasurable to hit the different buttons and modify shields by clicking just the right pixel or clicking multiple times to modify one piece of your Allocation phase’s bells and whistles.  The interface adds to the feeling that there is a layer of needless complexity involved, and many of the numbers/doohickeys don’t feel rewarding considering the gameplay flow.  Each weapon you shoot has a targeting arc meaning you have to be pointing the right direction to shoot.  You can change the direction your ship is facing to shoot with your other weapons in the same Combat phase, so its like why do I have to go through all of those hoops?  Just automate it for me, or simplify it with some other value.  I don’t want to control my weapons through three different mechanics, I just want to control them directly.

On a grander scale the game is based on PVP between factions, which two of the four are currently available during this phase of Early Access.  The map is persistent as each faction vies for more territory and the only way for a faction to expand is to take over another faction’s slice of the galaxy.  Entering on-going fights to help out in this effort is the highlight of this dynamic.  However, if you enter a sector already in the midst of battle, you’ll be stuck in a limbo of sorts until the battle has a “Transit” phase, typically after a full turn has been completed.  I can appreciate that tactics may all of a sudden change when new players enter the battle as existing battles rage on, but it sucks for the person waiting upwards of what could be five or ten minutes before they get to do anything without forewarning.  Also, there is information on what ships are currently fighting, but this can change at any point since players hop in and out all the time.  If you go into the sector looking to fight similar ships to you, you may just end up fighting ships that can one-shot you instead.  Now that’s what I call fun!

There are some PVE missions to take part in.  While the gameplay flow is much less cumbersome, it’s also not as eventful and half of the time you’re searching for the enemy on a large map, hoping you run across them before Alt-F4 becomes a viable plan to defeat them.  There is also an XP system and Leadership Points that you can earn to unlock things and progress your Captain/Crew.  Of course, as a free to play game, there are currencies you can purchase to improve your game and skip all of the grinding and immediately begin to pound asses without knowing what the hell you’re doing.  So there’s, that, too.

Since the game is in Early Access, all of your progress and characters can be reset to scratch at any time, without notice.  Cool!  Granted the game can change drastically from one patch to the next, it doesn’t exactly inspire me to keep playing something coined as an MMO if progress can be reset on whim.  What is the point, especially when it takes a lot of time to get a level or unlock ships?  I don’t even get brownie points for the 10 xp I earned before the reset.

 

Squacklecast Episode 33 – “Star Wars: The Last Shit I Give”

This entry is part 33 of 38 in the series The Squacklecast

This episode has it all!

Self-reflection!

Net Neutrality!

Justice League!

Star Wars: The Last Jedi!

Fuck my life!!  I thought this year was supposed to have good movies!  Instead we just got fuuuuuuuucked.  Fuck you Ajit Pai!  Fuck you Rian Johnson!

Go watch Blade Runner 2049.  It was the only one worth watching this year.