Suikoden II Bits

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The famous ambush on Luca Blight.

Suikoden II is the much improved sequel to Konami’s first PSX RPG. It’s a somewhat by-the-book game, but features various elements that make it stand out:

  • The mythos of Suikoden is loosely based on the Chinese novel Shui Hu Zhuan (Outlaws of the Marsh). It contains 108 recruitable characters, the majority of which can be used in battles. Some of these characters are forced on the player and employed in key roles in the story, but others are completely optional. Despite this large cast, the game is filled with lots of unique side-quests and story segments for all possible recruits.
  • The setting is geographically and historically connected to the first game, a rarity for console RPGs. Furthermore, various characters and locations from the original Suikoden play a major role in the sequel.
  • Suikoden II checks the player’s memory card to see if he has played and finished the original Suikoden, which can result in a secret character and a special ending.

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Retro Game Challenge is so Meta

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Indeed.

I first heard about GameCenter CX in the now defunct 1up Show where, in episode 0711, Ray Barnholt expressed his fondness for the quirky program.

GameCenter CX is hosted by the comedian Shinya Arino and revolves around him — with the occasional help of his staff — playing through classic old videogames. It’s a simple concept, but one that apparently stuck a chord with the public. The show is into its tenth season in Japan, and there’s even been some attempts to bring it to the West as Retro Game Master. It also got its own videogame release, GameCenter CX: Arino’s Challenge, but, unlike the show, that one has been released on this side of the pond.

Retro Game Challenge is a Nintendo DS title with a somewhat cute but ridiculous premise: an evil version of Shinya Arino sends you back in time to play various 8-bit videogames with his younger and friendlier self. The catch here is that these games never existed.

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Orange Box Designer Commentary

Valve first tried out designer commentary with the Lost Coast standalone demo. Apparently it was such a big success that they decided to do the same for all the games in the Orange Box.

Now Valve is a group of some very, very smart people, and it shows.

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Escape from City 17 at the end of Half-Life: Episode One.

Generic behind-the-scenes specials tend to tell the same old story: the development cycle was hectic, but the team eventually persevered and released a great product (even if it was a little flawed and missing some features). In between all that you might come across an interesting tid-bit or two, but don’t expect any mind blowing revelations.

The commentary on the Orange Box, though, is full of pure-gold nuggets. In fact, playing through its four commentary-enabled titles will probably teach you more about various aspects of videogame production than any game design book. If you haven’t checked it out but are in any way interested in videogame design, I urge you to do so now.

Here are just a few segments I picked out:

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Galaga Legions Bits

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Your two faithful satellites deployed at the top of the screen.

After the unique and well-received Pac-Man Championship Edition, Namco-Bandai decided to remix another one of its classics: Galaga.

Galaga Legions varies quite a bit from its predecessor(s) — your ship is no longer anchored to the bottom of the screen, bosses don’t use a tractor beam to steal your lives, there are many more enemies on the the playing field, and the presentation is filled with lots of modern bells and whistles. Still, it’s a very good shmup in its own right, and a great fit for Xbox Live Arcade.

Bullet points:

  • Pressing the right analog stick either up, down, left or right drops a satellite beside the player’s ship that points in the indicated direction. Whenever the player fires, so do all the deployed satellites. However, satellites can be destroyed, and only two can be used at any one time (pushing on the right stick repeatedly will simply teleport the “older” satellite to the ship’s current location).

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    The titular legions.

  • Enemies enter the screen in waves, with the master ship usually at the head. The waves circle around in different patterns, and sometimes end up settling somewhere on the playing field. Prior to a wave materializing, though, the player is shown a glowing track that represents the wave’s path. This results in some fast-paced, Tower Defense like gameplay as it allows for satellites to be accurately deployed and used to decimate enemies.
  • While in motion, destroying a wave’s master ship can cause a chain reaction that wipes out all the enemies connected to it.
  • Some waves contain glowing ships, and if these are the first to be destroyed, they leave behind a worm hole. Shooting the worm hole expands it until it blows up and summons a ghostly legion of ships that fights along the player’s side.
  • As bullets cover distance, the amount of damage they do is lessened. This encourages the player to take risks in order to maximize his score and playthrough speed.

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The Personality of Movement

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Arc the Lad's Poco is a clumsy, rotund fellow who must hold onto his hat while running.

A while ago while I was on vacation I spent a lazy Saturday morning channel-surfing. One of the things that came on was Disney’s Pooh’s Heffalump Movie, and something about it immediately stuck with me: the iconic movement of its characters. Pooh clumsily waddled, Piglet frantically scurried, Roo playfully hopped, Eeyore paced at a glacial speed, Tigger carelessly bounced on his tail and Rabbit had a cocksure stride.

Without explicitly stating anything about the characters, these traits imbued them with an instant and very powerful sense of personality. It’s something videogames have been known to do as well, but not that frequently.

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As Sonic picks up speed, his legs turn into the signature swirling blur.

Of course any character trait can be memorable and evocative as body language is a pretty universal thing. Generic personality quirks, though, tend to be tricky. It’s very easy for quirks to become caricatures, especially if they represent some sort of a cliche, e.g., the gruff loner who always crosses his arms. They also cover a large field with plenty of subtleties that are not always feasible to implement. Then there’s the issue of plugging them in: do they happen automatically, or are they random, or only initiated by the player?

There’s validity to all these approaches, but movement is unique because it’s pretty much a guarantee. Your characters will move, so why not use that? It worked wonders for Sly Cooper and his fast and soft gait, and for Altair with his weighty, coiled-spring like movements. And hey, sometimes even cliches are preferable to no personality at all…

Supplemental:

A new post on Gamasutra has popped up that deals with body language a bit more in-depth, so I figured I’d add a link to it.

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