The Wheel of Time – Channelling A Magical Weave

The Wheel of Time turns and Ages come and go, leaving memories that become legend. Legend fades to myth, and even myth is long forgotten when the Age that gave it birth returns again. In 2016, an Age of Kindles and long train journeys, this reader finally finished the epic fifteen-book series through the Westlands. The fate of future story enjoyment hangs in the balance. What was, what is, and what will be may never compare to the journey I went on in Robert Jordan’s epic collection.


There are many, many, fantasy series out there, and one of greatest (first world) troubles a reader of fantasy might have is picking a series to read. If you only have limited time to read each day, then you’ll want to make sure you lock yourself into something good! I don’t know about you, but if I start something, I damn well finish it. Even if it turns sour before the end. The Wheel of Time was an enormous series to get stuck into, and while we had our ups and downs, our slow times and our fast, I regret none of the time I spent with Rand Al’Thor and the hundreds of characters he meets.

It all starts innocently enough. Emond’s Field in the Two Rivers region is a sleepy farming village that is cut off from much of the developing world. The people live a simple life and keep very much to themselves, so much so that even the Monarch has nothing to do with the place, and few are sure whether or not they even have a King or Queen. Emond’s Field is home to three very important young men (among other characters who form a large part of the story!); Rand Al’Thor, Matrim Cauthon, and Perrin Aybara. All three of them catch glimpses of an evil presence close to home, prior to the arrival of a fabled Aes Sedai and her Warder, Moiriane Sedai and Lan Al’Mandragoran. Within a few chapters, the three boys are whisked off out of the village on a journey to the Northern reaches of the known world. From there, the story spreads out across the world, with our characters splitting up and having their own adventures with a grand cast of characters. The whole set up is remarkably similar to my favourite genre of videogame, the JRPG. It was easy to get caught up in the unfolding adventure told in The Eye of the World, and it was no time at all before I’d tapped right on the side of my Kindle Paperwhite for the last time, and was prompted to purchase The Great Hunt for £6.99 (if you’re interested, the whole Kindle series set me back £104.85).

Throughout the first couple of novels, I found Rand Al’Thor to be a great main character; a man struggling to come to terms with unwanted nightmares, unknown enemies, and the small matter of being able to wield the tainted male half of the One Power, Saidin. For obvious reasons, the man who would end up becoming the Dragon Reborn was the focal point at the beginning of the series, but it wasn’t long before the sheer number of characters in the book left poor old Rand Al’Thor being swept somewhat by the wayside, and putting in minimal appearances for much of the story, and many of those did little to forward his story until late in each entry.

Now, I really did enjoy the overall story of The Wheel of Time, but it was frustrating to come to terms with reading so little about the character that the whole story was originally focused on. Fortunately, the vast majority of the players in this story were all interesting in their own way, and the annoyance of losing Rand’s journey was often diminished by discovering more on how Perrin had become able to talk with the wolves, and watching how Mat managed to come out on top again and again, no matter the dire situations he found himself in. And Jordan doesn’t just limit us to the three boys, he opens up the story to the point of view of characters from around the world and from all walks of life. Chief among these characters are the Aes Sedai – women who can channel Saidar, the untainted, female half of the One Power – and the women who would eventually become them. Egwene Al’Vere and Nynaeve Al’Meara from Emond’s Field play a huge role in the story, The Amyrlin Seat Siuan Sanche (chief among the Aes Sedai) follows a tragic tale that would have been a great story told alone. Countless women from the seven Ajahs (factions) of the White Tower (headquarters of the Aes Sedai) take the reigns at various points and give us new insights into the workings of the Tower, and we also get to find out how three women in love with Rand Al’Thor overcome the difficulties of all wanting to be with the same man (spoiler alert – Rand just gets to be with three women…). We even get to spend a good deal of time with several unsavoury characters that are acting in the interests of the Dark One.

It is always refreshing to see how the evil characters view the unfolding story, and it also means we get to spend more time with Jordan’s excellent horde of vicious monsters and terrifying beings. Jordan’s Trollocs form the footsoldiers to rival Tolkien’s Orcs, huge creatures formed of an unnatural mixture of human and animal. More chilling are the Myrddraal, evil creatures that drive the Trollocs and form the basis of tales told to scare children around the world. Similar in build to men, Myrddraal have no eyes yet no disability when it comes to locating their prey. They can move on shadows and disappear when escape seems possible. They move with horrifying speed and an attack from their blade nearly always proves fatal. Elsewhere are the vampire-like Draghkar, Seanchan monstrosities from across the ocean that resemble great lizards and dragons, and the nightmares that inhabit the dead Blight to the north. Everything on offer feels very much a part of the world they inhabit, and are a change to oft-used goblins that are seen in many a fantasy tale. With these creatures, the story can often become quite violent, with many a ruined throat and charred corpse to be found. However, the writing itself remains largely clean throughout (assuming you aren’t offended by “bloody” and “flaming”, otherwise this will be the most foul-mouthed story you’ve ever read).


One of the most interesting aspects of The Wheel of Time is the One Power. Split into two halves of Saidin and Saidar, that can be used exclusively by men and women with the talent, the magic of the story is ubiquitous enough that it can be used in almost any situation without feeling forced, or simply a means to an end. Certain characters have greater abilities with different aspects of the power, such as fire and earth magic, healing, or controlling the weather. The One Power allows us to see the usual range of magical abilities we expect to see in fantasy, and still manages to feel very much a product of the story itself, and not something borrowed from other stories you may have read.

With the One Power being such an important force in the world of The Wheel of Time, the taint-free female half of the power has caused the world to develop into a very women-oriented place. Men who can channel are reviled, doomed to go mad and threaten the very fabric of the world, capable of bringing dark forces that everyone should rightly be terrified of. As such, the rare men who can channel are hunted by the Aes Sedai, and elsewhere around the world are simply exiled or sent to their deaths by various forms of execution. That the Dragon Reborn – the man destined to battle the Dark One and bring peace to the world – is a man that can channel, there are mixed feelings throughout the world debating whether or not such a man should be allowed to thrive or be neutered. After all, without a Dragon for the prophecies, the fated end times cannot come without him there.

A frenzied reaction from the Aes Sedai takes place whenever a man pipes up that he is the said saviour of the world. Rand Al’Thor is one of several men who end up proclaiming themselves as the Dragon Reborn around the beginnings of the story (very rarely can four novels be classed as the beginnings, but they certainly are in this case). Of all of the men, Rand is the most reluctant, terrified of going mad and rotting away, unable to accept that friends and family will come to revile him for the power he holds and the destiny he faces, and very uneasy of the prospects of fulfilling the prophecies he is bound to carry out. Yet despite his reluctance, Rand finds himself ticking off the boxes one by one, locating the Eye of the World and the Horn of Valere, dispatching the first of the awakened Forsaken, agents of the Dark Lord, and eventually proclaiming himself the Dragon Reborn itself. Rand’s rise to the Dragon is very well done, and his struggles with the torrent of pure power that is Saidin had me believing he would be ruined long before the climax of the story.

It is at around the point of Rand accepting his status at the Dragon Reborn that the story begins to slow down and lose momentum. Rather than pushing on full steam ahead towards the destined Last Battle, books five to ten begin to spend more time with many different characters as they spread out around the world, seeking out the tools needed for Rand and hunting down the secretive members of the Dark One’s forces. At the time, reading these books wasn’t so much of a chore as it was just mildly frustrating. All the places that Jordan takes us are interesting, and I don’t care how many times Nynaeve tugged her braid, or an Aes Sedai smoothed her skirt, each character felt unique and interesting, especially as we get to see the story from several very different points of view. It’s just that… well, we know that Rand’s nemeses, the Forsaken, are out there and gaining power. I wanted to see him deal with them more regularly, and the snippets we see of Rand edging ever closer to each one made it a huge tease when it seemed a huge chapter was on the horizon, only to be diverted away by another day spent with a travelling circus.

As the story begins to draw to a close (and by close, I mean the final ~4000 pages), big things begin to happen with the male half of the One Power, and it finally feels like the story is picking up again. Unfortunately, it was at around this point in 2007 that Robert Jordan sadly died, unable to finish his story within his lifetime after releasing 11 releases in the main story, and one prequel book. Back in 2007, I was already reading The Wheel of Time but was only at the fifth book, The Fires of Heaven, and perhaps misguidedly decided to give up on a story that I doubted would ever see an end. In a somewhat surprising turn, the series was picked up by renowned fantasy author Brandon Sanderson, and wrapped up in a further three entries.

Now, I have no idea what Jordan’s intentions were for the remainder of the story. I mean, everyone that has finished the series will have the gist of it, but was this exactly what had originally been planned? My personal opinion is that Brandon Sanderson was the best thing to happen to the series, and I mean this with no disrespect to Robert Jordan himself (after all, he created this amazing world that so many have become lost in), but I can’t help but think that had Jordan carried on, the Wheel of Time would have ended up as twenty books, and probably wouldn’t have been finished even now. The Gathering Storm was the twelfth book in the series, and from the first pages it becomes apparent that the pace of the story has finally kicked into high gear, with developments coming thick and fast and a tangible sense of foreboding growing throughout the final three novels. It really feels as though the world is coming to an end, hope is sparse and death is ubiquitous. With each book, the Dark One and his minions inch closer and closer to their goal of annihilating the world of light, and by the time the last battle came around (which is largely the entirety of the final book, A Memory of Light), I was tearing through pages, desperate to find out how everyone fared. I even had re-read a few pages several times just so that I could take in what was happening to these people I had been reading about for fourteen books. With so many people dropping with each page, I began feeling quite shell-shocked by how sudden each loss was, and how the characters had no time to mourn in face of the disasters around them.

One might think that changing authors would derail and ruin a story, and anybody would have been forgiven for being wary of seeing what was about to become of their favourite characters. By and large, Sanderson did an excellent job of maintaining the essence of the characters we all know and love. In fact, out of the hundreds of characters he had to deal with, only Mat Cauthon felt a little off. And that isn’t to say that he was badly written – some of my favourite chapters of the final three books focused on Mat – he just felt slightly different, as though we were picking up the story in an alternate dimension where the only difference was Mat was a bit… funnier. Given all of the dimensions that Rand witnesses early on in the story, this is probably a fairly acceptable way to look at the last three books.

Thanks to the urgency and horror contained with the final novels, the slower books in the middle of series take on a new life. We are able to look back on a time where the world wasn’t on the brink of disaster, and the forces of good were still able to keep the situation in hand. Had the whole series run at the same pace, then the Last Battle wouldn’t have had the impact it now does.

The Wheel of Time is a huge commitment. Fourteen main books and a shorter prequel. Each book is somewhere between 600 and 1200 pages, and they more commonly lean toward the larger number. Reading the series took me eleven months, and as I closed the final book I was met with an emptiness that I have never felt from a story before. It is always sad to say goodbye to any great characters from a book, but I spent a lot of time with Rand Al’Thor and company. The story was wrapped up well, and in my mind the characters still live on in the their world, enjoying new adventures that we’ll never read about. Turning the final pages didn’t feel like reaching the ending of The Wheel of Time. There are no endings, and never will be endings, to the turning of The Wheel of Time. But it was an ending.


Contemporary SaGa – The Legend of Legacy

I’ve been shirking my game-playing duties recently. This time last year I had six finished games under my belt, and none of them were short. I suppose I thought that the older I got, the more refined my interests would become and with that the more time I would have for them. Well, that is clearly not the case; between planning for the arrival of our baby, writing what is now a trilogy of books, photography, reading (and, of course, work), there has been little time to spare for playing games.

So, despite my backlog of games that seems to be forever growing in size, I thought I’d take a chance on The Legend of Legacy. The game is a continuation of the SaGa series of games in all but name. If you’ve never played (or even heard of) the SaGa games, then just know that they tend to be slightly more experimental takes on the tried and tested JRPG gameplay styles. When Final Fantasy was originally leading players down a relatively straight path to the end boss, The Final Fantasy Legend (or Makai Toushi Sa-Ga, as it was known in its native Japan) provided an almost open world and a certain degree of decision making on the player’s behalf when it came to developing characters. While Final Fantasy continued to enjoy the limelight for major JRPG release, the SaGa series became a more left-field series, with fewer releases and definitely a greater sense of a cult following. They’re all good experiences in their own way (in my experience), though I imagine most players will find Unlimited SaGa something of a tough nut to crack. In a pleasing turn of events, The Legend of Legacy manages to emulate the classic formula of the SaGa games, and only really presents any difficulties once it well and truly has you locked in.


As if to prove just how big a presence this game would become in my gaming time, The Legend of Legacy arrived in a box roughly one foot by two (Creme Egg for scale). After going on my own mini-quest to retrieve the item that clearly wouldn’t fit through a letterbox, I began playing immediately. In the beginning, I had the impression that this might be one of those games that I buy, play five minutes of, then shut away in a cupboard until it becomes worth something (a fate that far too many of my games have met), and all because it looked and felt considerably like Bravely Default, and I’ve already played Bravely Default. But as soon as I found myself exploring the starting location of the Forest Ruins, trees and rocks and mysteries began popping up all around me as I navigated the top screen, all while my map was filled in on the lower: I already had the sense that this would be a game persevered with. My first few battles saw my characters learning a few new skills, improving existing ones, and having their own personal stances and stats improved with pleasing regularity.

You see, The Legend of Legacy is almost perfectly designed for portable play. Even if you only get to play for the duration of a short tea break, the way in which the world is presented means that you are almost always making progress. With so many different attack styles and magics on offer, focusing on one over a short period of time will undoubtedly see them improve. Your hit points are always on a steady rise. It is really quite difficult to play this game without making some sort of headway, and to cap it off you can quick save at any time out of battle or cutscenes.


The Legend of Legacy takes place on a mysterious island known as Avalon, and the character that you pick to begin your quest (from a selection of seven, though you’ll be playing with three of them no matter who you pick) is tasked with exploring the island and uncovering its secrets. You’ll begin with only one area to explore, but that soon expands as you push the boundaries of that location and find pathways to entirely new places that run the usual JRPG locations of forests, deserts, caves, and ancient villages. You can even buy maps to new locations, though expect these to set you back a bit financially. There are also plenty of unique locations that are better left hidden until you discover them yourself. Each area is formed of at least one map, but usually many more. As you explore deeper and deeper, you’ll see your maps creep their way to 100%. None of the individual maps are particularly huge, but the sheer number of them means that for at twenty hours you’ll be contented with a 100% here, and a 100% there. At any point, you can choose to sell your maps for a sum that depends on the level of completion you are offering. I’m not sure why anybody would choose to sell an incomplete map, but it is an option available to you. A word of warning comes when selling maps though! You can only sell a map once, and once done, you might find that the challenge in that area is reduced somewhat. This might seem preferable in the short-term, but if you need a place to beef up your characters late in the game, you’ll curse yourself for selling maps early.

With such a variety of locations available to you, you might wonder which map you should explore first. The Legend of Legacy encourages you to work this out for yourself, which is a refreshing change in games that funnel you along a path, and it also reinforces the sense of exploration as you come across new areas individually without any prompt the game to direct you there beyond the location icon on the world map. Sure enough, you’ll run into one or two areas that sees you kicked out with a sound beating in seconds, but this only made me more determined to see what those maps were hiding.


Well, if you want to uncover all of Avalon’s secrets, you’re going to have to fight, and fight a lot. The Legend of Legacy plays with JRPG tradition by providing you with a turn-based battle system with a few twists that make it a uniquely enjoyable system. You’ll have three characters in your party (and after playing other JRPGs that give you four or five characters to play with, this did feel restrictive), and unless you’re fighting an oft-beaten foe, you’ll soon discover that each character has to perform very specific functions. My party consisted of mercenary Owen, holy knight Garnet, and frog dude Filmia (and what fan of Chrono Trigger wouldn’t want a frog in their party?). Owen was the resident death-dealer throughout, wielding a huge Buster Sword of a weapon, and a more modest long sword. Garnet was the very definition of a Shield Maiden, blocking hundreds of incoming attacks, and eventually learning to deflect those attacks back at the enemy. Filmia became a Spellsword with a variety of magical attack and defence spells, and was also pretty handy with a spear. Although players are 100% free to mix up how they use their characters (you can equip different characters with different weapons and spell stones and take them in a direction you wish), I stuck to the aforementioned roles for my crew, and was rather pleased with how they looked when the end-game came along. Owen had come to learn not only hugely powerful attacks on one enemy, he was also pretty handy at taking on groups of seven or eight foes alone. Garnet rarely let an attack past her, and Filmia became invaluable for buffing and healing when magical attacks on my group became too much. However, so fixed were my characters in their positions, that if one happened to fall, the battles would tend to go south fast. As you are completely free to build your gang up, it would have been entirely possible for me to have each character learn all of the skills that were spread across my party. However, I didn’t particularly want to spend sixty or so hours to do this…


Although battles tended to be more on the physical side during my playthrough, The Legend of Legacy houses an interesting magic system that relies on the player finding magical shards that offer up a skill (or skills), and utilising them in battle by calling over the requisite elemental to your side of the fight. There are four elementals to be aware of, and very predictably they are fire, water, air, and shadow. Your characters will learn spells in all but the shadow element, which is very useful as there are only three of you… Aside from the spell-providing Whispering Shards, there are three Singing Shards that allow a character to call their requisite elemental over in battle if equipped. If there are any general frustrations to be had in this game, they largely lie with the magic system. Each character has two item slots with which to equip various items and shards. If you want to go down the route of learning spells, then you must use both of those slots to equip a Singing and a Whispering Shard. Even after this, you still have your work cut out. Firstly, you’ll be best off finding a location where the enemies you face don’t prefer use of the elemental you are trying to learn spells from. There is little more annoying than setting your party to cast spells throughout a turn, only to have the bastards standing opposite you steal your elementals to their side, resulting in a crushing failure to cast a spell when it comes to your character’s turn. Things can be improved by learning various stances that will let your chosen character recklessly beat out a spell before the enemy can take their turn, but whatever setup you use, you will still need a sizeable dose of luck when it comes learning spells. Fortunately, once you have learned a spell (achieved through continued use of your Whispering Shard), the spell becomes a permanent part of your repertoire, and you are then free to unequip the Whispering Shard if you wish (in favour of an item or another shard). You will, however, still need to hold onto that Singing Shard if you wish to continue using your learned spells, as they’ll still require you to possess the element in battle if you wish to cast them.


At the beginning of this review, I mentioned that The Legend of Legacy was almost perfectly designed for portable play. If I’ve done things correctly, you’ll likely agree with this until perhaps the twenty-hour mark of your first playthrough. However, The Legend of Legacy did not take me twenty hours to complete. It took me thirty-seven.

At twenty hours, I had filled in all of the maps, located all of the available Whispering Shards, and killed all of the optional bosses. Fair enough, I sold my complete maps without knowing that it would remove higher level enemies from the maps, but the game never explains this to you anyway (I only discovered this from the Japanese wiki!). The last location in the game was open to me, and I eagerly ran along its pathways expecting the boss to a tough but fair battle. Not so. Within one turn I had been wiped out by a devastating area-of-effect attack. Well, this is turn-based game and the attacks are somewhat random. I’ll try again, I thought.

Third turn, same attack, party wiped out.

Okay, I thought, I’ll go and learn some more shield-based spells. Over the next couple of hours, I did just that and made my my way back to the boss again. Turn one, I had all my characters pull the elementals over to my side of the battlefield. Turn two, I had my characters all prepped to cast their shielding spells, and used my “Haste” setup that should have allowed them to go first. What did the boss do? The big attack, right before I could even cast a spell. The third game over. The whole setup felt very much like a boss battle at the beginning of an old anime series called Jungle Wa Itsumo Hale Nochi Guu (click the link and skip to 2:13 to see what I mean).


I’m all for tough battles in my JRPGs, but being wiped out repeatedly before I could even get a hit in seemed more than a little unfair. Still, I did my due diligence and scoured the land for foes that would see me level up enough to take this guy on. However, given that I had had no trouble throughout the game until this point, it felt especially bad as I no longer had any new areas to have fun in while I developed my team. Eventually, I went back and slaughtered the git – he barely even got a hit off on my – but as this is a JRPG, I was under no impressions that this guy was the real final boss. Without wanting to spoil the game too much, there was something after that treated me in much the same way as the previous guy had. More levelling.

All told, I spent nearly as much time grinding to fight the end boss as I did fighting to get to it in the first place. It was annoying, but not hateful. I’ve played so many JRPGs where this kind of thing happens that I pretty much accepted it as par for the course. If you’re not the type that relishes these difficulty spikes, then I would have to say that you would be better off looking elsewhere for your role-playing fun.

Personally, I don’t believe that this bump ruined the game. It added challenge that perhaps could have been better distributed throughout the game, but when I actually managed to defeat the final challenge of the game, the sense of satisfaction was incredible. For fans of post-game content, you’ll not find much in the way of new stuff here, but instead the game asks that you play the game again with a different character as your main. Subsequent playthroughs are bolstered by increased drop rates and better items, so you will see your playthroughs hitting completion in shorter and shorter times. There is a special surprise for those that finish the game with all seven characters, but that isn’t a challenge I think I can deal with right now. The story, often shared focus with battle systems in JRPGs, is much of an aside in The Legend of Legacy. Your chosen character will have a scene at the beginning and end of their run, and a few choice lines here and there at major battles, but completing the game with each character really does amount to completing the same game seven times, with perhaps a variation on battle setup.

The Legend of Legacy is a fun game, marred by an uneven challenge. For fans of the SaGa series, it is a nice return to the types of games you might have played back in day, but much as the SaGa series sat on the sidelines while the heavy hitters put out release after release on the SNES, PS1 and PS2, this contemporary saga feels like it may go the same way. After seeing it through once, the game holds a special place in my heart for being the first game finished in 2016, and for rekindling a love for the more old-school style of JRPG. But for many others, in a year when Bravely Second and Fire Emblem Fates are released, who wouldn’t go for the heavy hitters first?


Made Mario and his Merry Levels


I’ve owned the Wii U since its UK launch back in 2012. I’ve enjoyed the console a lot, but more often than not it spends its days gathering dust beneath the heavily used PS4 and PS3. With the exception of perhaps The Legend of Zelda: Wind Waker HD, each game I’ve purchased for Nintendo’s current console has provided me with a brilliant, but short, 5-20hrs of gameplay. Not to say that there isn’t more to the games on offer for the console (I’m sure Mario Kart 8 and Smash Bros will one day break the magic 25hr barrier), but I’m usually no completionist, and Nintendo has certainly proved itself a master of short, sharp, fun games. They are the greatest while you are playing them through for the first time, but you are always left wanting to experience that feeling of discovery again, which you’ll never get back no matter how often you revisit them. It has almost always been this way with Nintendo. Even fond memories of my first epic journey through Zebes with Samus Aran on the SNES were revealed to be no longer than an eight-hour playthrough. Pity then that Nintendo don’t release a new game every week.

If only their games were just a bit longer. Better yet, if only they held an infinite resource of Nintendo magic in their colourful worlds.

Well, it turns out, for Wii U owners at least, that this is now a possibility for the much-loved Super Mario series!
Traps Galore
Nintendo’s Super Mario Maker, released on September 11th 2015, hands you the keys to a content creation tool that lets you dream up whatever outlandish plans you might ever have had for Mario during his 2D escapades. Super Mario Bros, Super Mario Bros 3, Super Mario World, and New Super Mario Bros themes are on offer, and within those shells are the backgrounds and bits and pieces that you will need for fashioning jaunts through six styles of level. This is a level design kit that anyone can use, as sure as Bowser will kidnap Princess Peach again.

The interface is staggeringly simple. Just drag and drop whatever aspect of a Mario game takes you fancy, and place it on the grid that will eventually form your level. Initial results might be rough in terms of design and flow, but thanks to the way everything is held together by the robust Maker tools, it will simply look and feel like Nintendo just allowed a member of their crèche to build a level. Everything looks, and feels, Nintendo.
When you start the game for the first time, you’ll be presented with scant few options, available on only the Super Mario Bros and New Super Mario Bros style levels. Thanks to a day-one patch, the content you received will now be practically rammed down your throat (rather than drip-fed over days), and soon fashion you with the full complement of Mario tools! Every component on offer has its own function within each of the styles of Mario game. Enemies will generally act the same way whether you place them in 1985 or 2012, but later additions such as Yoshi will be transformed into the shoes that Mario could bounce around in in Super Mario Bros 3. You can bring into the original Mario game all of the traps and tracks that were introduced in the games that came after, and create truly monstrous creations the likes of which you would never have seen on the NES. Yet still, they manage to feel authentically NES-y.

One of the limits you’ll have to deal with is that all planes are horizontal, unless you are making a winding track for a platform to follow (but even then, the platform will remain flat). This is but a small blemish on the creator itself, but had the player been allowed the slopes and slides that were introduced post-Super Mario Bros, then it would have been impossible to retain that NES feel on levels that might have incorporated them. If anything, I feel that the small limitation just asks that you get more creative. Try building ingenious systems of boosts and jumps instead, that will wow those that play them, and lend an intensity to levels that was never present back when you held your rectangular joypad with a D-pad and 4 buttons.
Test your levels
For everything else, it is likely that the user’s imagination will impose its own limits. You don’t just have the 60 individual tools available for creating your levels. Drag one of the icons from the tool bar, hold it over the grid and give it a little shake with the stylus. Chances are it will transform into something else, or being an exciting new variant on what you selected. A simple example of this is that a shaken Green Turtle will become a Red Turtle, a Bullet Bill will become a more ferocious, heat-seeking version. The modifications don’t just end there either! You can combine items with each other. You might drop a Mushroom onto an enemy and create a giant version of that creature, or you could drop pretty much anything you want into a pipe and shower the player with contents.

For me, I find that the Super Mario World and Super Mario Bros 3 creations are the most exciting. There’s something about the 2D artwork here that looks just as good today as it did when it was released. Each and every creation option you have is a joy to watch unfold in your own mini world. I have to admit that I’m not a huge fan of the New Super Mario Bros stylings – despite firmly believing that New Super Mario Bros itself is the finest addition to the Mario series since Super Mario World itself. There’s something about the psuedo-3D looks that just doesn’t sit well with me. When I create a level and transfer it between styles of Mario game, I often end up balking at the New Super Mario Bros version and reverting to a more visually arresting choice.

So, for my money, the two styles of game that are unlocked last are where the most fun is at, however, there is another reason for sticking with the original Super Mario Bros besides the need for a nostalgia hit: Amiibos…


Upper (2)
Hi, my name is NanashiNoProfile and I am an Amiiboholic. It started, as do all addictions, with just a single peek inside Pandora’s Amiibo box. Just one, brief glimpse, and I came away with a Kirby Amiibo. Perfect model for me, as he worked in all of the games I owned that had Amiibo support. I only needed one. I told that to my colleagues, and I told that to myself. Kirby itself was an excellent, if simple, model. I scanned him into Kirby and The Rainbow Paintbrush and got a Star Dash power. It was a small function, but it was cool to just scan the Amiibo and get the power. I started fighting my Amiibo in Smash Bros, raced in his colours in Mario Kart 8. Small additions, but something so very Nintendo, and so very…

I bought Toon Link. Zero-Suit Samus, Bowser, Ganondorf, Shulk, Ness, Megaman, Pit…

Pretty soon I had 18 Amiibo, and more on preorder to come.

I’m 32. Most of the Amiibo really do very little. Except unlock a new skin in Yoshi’s Woolly World, become a “friend” to fight in Smash Bros, and unlock a playable icon for Super Mario Bros styled levels in Super Mario Maker! Nintendo really know what they’re doing with their plastic nostalgia models, and I have fallen hook, line, and sinker for them.

And will no doubt continue to do so as long as there are models left to be released. Bloody Amiibo.

amiibo lower (2)

Tapping your Amiibo onto the Gamepad will cause the game to stop what it is doing as it allows a pixellated 2D approximation of your Amiibo drop onto the screen. It works for pretty much every Amiibo (and they’re at least a tenner each). You can then use this icon as a Mystery Mushroom, so when Mario picks it up, instead of growing larger he will become the character you have hidden inside, or simply take on a random form of the skins available if you haven’t otherwise chosen a specific one. These skins can only be used in the Super Mario Bros style levels, but once you get over the initial disappointment of that, you’ll likely start to see that you make a fairly authentic Mega Man level, or the ‘original’ Super Princess Peach. You can unlock skins by scanning Amiibo, or by completing the 100 Mario Challenge, once for each skin. The problem this presents is that once you get inspired, you’re going to want that skin. If you don’t unlock it after a few plays of the 100 Mario Challenge, you’re going to buy that Amiibo.

I bought Wario for this reason (to make Super Wario Waker, naturally), and then unlocked the bastard as soon as I had delivery notification…

So, you’ve made yourself a whole host of levels. You’re going to want the world to play them! Uploading your creations is simple – just prove to the game that the level can completed, give it an appropriate name, and you’re away. Super Mario Maker limits newcomers to 10 uploads to begin with, and you can increase that limit by having players play and ‘star’ your levels. It is a long road to earning more uploads. You’ll need 50 Stars for your first ‘Medal’. New medals grant you an additional 10 uploads. I have two medals, and have maxed out my upload limit. I need that third medal, but sources seem to to suggest I’ll need 150 Stars for that. I have 96. This is quite a problem with Super Mario Maker: it’s all well and good preventing new players from uploading hundreds of terrible levels from the off, but the fact that some there are many players with the full 100 uploads available now, players new to the game are going to have a hard time getting their levels noticed in and among the heavyweights. You’re going to need Wii U friends, a resource that I sadly lack. You can always delete your uploaded levels and place new ones online, but if you’ve ten or twenty solid levels up already, you might not want to do that. Fortunately, you can save 120 levels to your Wii U itself, so will have plenty of time to make new and exciting levels that you may want to replace the older ones you have online. I just feel it would have been a little fairer if the minimum upload limit had been a little higher – or that the medal thresholds were somewhat more reasonable!
And what of the levels that other players have uploaded? There are multiple ways to experience the creations on offer. You can play the 100 Mario Challenge, and choose between Easy, Normal, and Expert. This will throw you 8-16 levels that seem to be organised based on their completion statistics. It is important to remember that no level is impossible, but by the cliffs of hell some of them seem that way! Nintendo has implemented a sort of Tinder-like system where you can swipe away a level you are not getting on with and never see it again (possibly). Enjoy the sounds as it clatters out of your sight and is replaced with a fresh new level to help grind your gears. The quality of the content on offer is less a mixed bag, and more like a box of Quality Street where you’re after the Strawberry Creams but find only three in the box and about fifty Coconut Eclairs. I feel that it is hard to find great levels. There are sparks of brilliant ideas here and there, and some truly brilliant creations, but too many levels have dead ends, or unavoidable traps. Yes, the levels can be completed, but there is nothing to stop the creator (knowingly or unknowingly) create a level with a drop that won’t kill you, but one you can’t jump out of either. There is almost nothing more frustrating than playing a difficult level and then finding that the path at the end splits in three. Paths with no return. Choose one, accept your fate. That fate is usually a spike trap that you now have to walk on. As Super Mario Maker levels feature no checkpoints, “level design” like results in an immediate sweep to the right!

There are other common types of level out there as well. Super easy levels that ask you to run right (sorry, I also made one, though it was a joke), levels where you have to sacrifice Yoshi countless times – seriously, I feel like Yoshi’s use in Mario Maker has become little more than that of blood sacrifice. I’ve not played a single level where I get to sit on his soft leather saddle, and beat him repeatedly about the eye so that he will lick up those that would seek to do me harm on my way to the exit – or “auto” levels where you just start the level and hold still while a set prop boots you on your way to the finish. The latter can be genuinely impressive, but every now and then I actually want to run, jump, and stomp on Goomba heads. Of course, the game is only just out, the sheer number of these levels may die down, and at the least, the people who can’t make a level for toffee will hopefully just give up (or never get the Stars needed to upload more than ten levels!).
Fortunately, there are sites that are gathering lists of great levels that means you can sift out a lot of the crap. You still have to enter a 16-digit code to play them (thanks, Nintendo). However you choose to do it, just expect some poor levels every now and again. This is a content-creation tool after all, that’s all there is!

For all the moaning I make about the levels that other players have made, I really love this game. I have spent so much time on it, in such a short couple of weeks, that the game is quickly becoming an addiction. I check every day for new stars, then end up getting lost in making a new level with an idea that came to me during the day. I can see the game being something that I will always come back to my Wii U for, in much the way Minecraft beckons me to my PS4 during a dry game spell. The bad content is a mere blemish on an excellent tool that Nintendo has kindly allowed us all to enjoy. Level creation is almost too simple for words, yet can result in astoundingly complex levels. You can’t really ask for much more than that, and I for one am happy that there will now always be new Mario when Nintendo is not releasing a new Mario game.

I think this game is finally the reason for anyone to pick up a Wii U.

Might as well ply some levels I made as well!

New Mario Bros Arcade (E1E1-0000-006D-8E3A)
Tool Up! (3CF9-0000-0070-91CA)
You Need It More Than He Does… (8015-0000-0077-D785)
Run Right, Run Left. Don’t Stop (8115-0000-0045-2062)
Inferno – Seal One (F3BD-0000-002F-7192)
Inferno – Seal Two (438D-0000-002F-DF75)
Inferno – Seal Three (9595-0000-0039-27E0)
Inferno – Final Seal (CF64-0000-0039-77BD)

Interesting Puzzles

Edinburgh Evening Spirit Chasers

Without being any more misleading, this isn’t a piece on what beverage fits best for washing down a tequila or whisky, but is instead a review of the PS Vita and PS3 supernatural strategy RPG Tokyo Twilight Ghost Hunters. I just happened to play most of it in Edinburgh and can’t resist a bad pun.

Several years ago I would usually turn to Nintendo’s DS if I was after a left field Japanese game, but these days it seems that all the best examples of these games end up on Sony’s Vita. The Vita has become a hallowed ground for the weird and wonderful, as well as a format that the types of games I used to look out for on PS2 now crop up. Recent Vita releases such as Tokyo Twilight Ghost Hunters have also seen PS3 versions, but Sony’s handheld is by far the best place to experience them (and not just because I can easily grab screenshots from it).

Ghostly Beginnings

Tokyo Twilight Ghost Hunters is a frustrating game, let’s make that clear from the start. The game does feature some rather odd design choices, and is never quite sure whether it wants to be a Visual Novel or a straight up SRPG. Though despite the schizophrenia, it is an endearing game, and what it eventually ends up being is more than capable of holding your attention for the twenty or so hours you’ll spend on your first playthrough.

Your character arrives at a Japanese high school for reasons unknown, and immediately bumps into several people who manage to enrol him into a magazine company named Gate Keepers before any sort of background checks are done – for their benefit or yours! It soon becomes apparent that there is much more than writing and interviewing involved in the Gate Keepers position: the magazine is actually a front for a ghost hunting company! Before the first hour is out, you are fully fledged ghost hunter with (hopefully) one exorcism under your belt, and a part of a group that feels a lot like a cross between Buffy the Vampire Slayer and Ghostbusters. The only problem is that you’ll barely have a clue on how the game itself works.

Gate Keepers

The story itself is largely episodic, and structure of each chapter is rigidly set throughout: talky bit, fighty bit. Each self contained episode moves along a fair clip, and while the immediate nature of the game will be welcomed by anyone burnt out by games with unnecessarily long exposition, the game also avoids tutorials and does barely anything to explain exactly how you’ll be playing along the way.

Even the relatively straightforward story sections of Tokyo Twilight Ghost Hunters throw in unexpected mechanics that you can only learn by trial and error, and if you do happen to make an error you’re unlikely to understand what or how that was until much later into the game. To begin with, the game resembles a visual novel. You’ll sit back and tap “R” through the text and conversations. The story is well written, if fairly generic in places, and resembles any number of occult anime or manga you might have watched or read. The cast are a delightfully diverse bunch, but again they all fill the roles you have seen countless times before; it certainly helps that they are a largely likable bunch that will keep you entertained when the game seems intent on leaving you baffled.

And what of those unexpected mechanics? Well, you’ll be happily reading and tapping along and then suddenly a circular graphic will pop up with a range of icons on it. This is how you get to interact with the story, and make slight changes to the ways in which the conversation that follows will play out, reaching as far as later parts of chapter. But how? Although never properly explained any further than “Sensory Input System” by the back of the game box, these sections allow you to interact with the game by picking an emotion and a sense. Yup, you can angrily taste someone in Tokyo Twilight Ghost Hunters. Or maybe you’d like to lovingly sniff your obvious love interest Sayuri Mifune? You’d be correct in assuming that interactions such as this rarely go down well, hell, most folk don’t even like it when you try a fairly safe option like a friendly handshake. So weird are the options, and so strange the reactions, that you’ll never feel entirely sure how to proceed in the moments, but if you do get your choice “right” then you might unlock a “Sixth Sense” section toward the end of a chapter, providing more story and a trophy. Needless to say, if you’re after the platinum trophy you’ll need a decent guide or several weeks off for the trial and error that is otherwise required.

The system isn’t fantastic by any stretch of the imagination, but it is oddly compelling if only to see what horrendous situation you’ll put yourself in by sadly groping your boss.

To Battle!

With all of the talking out of the way, you’ll then inevitably run into the ghost that brought about the chapter you find yourself in. Tokyo Twilight Ghost Hunters fancies itself as a strategy role-player, and if you’ve bought this game then the chances are high that you’ll have played a game of that ilk before. You’ll be fine, right?


Maintaining the general theme of incomprehensibility is the fighting system, where you’ll progress the story, level up, earn money, and squeeze your Vita until the OLED screen distorts and becomes unusable. Initial impressions make the battles look relatively simple. We have a top-down view of a computer image of the battleground, it looks somewhat like a simplified version of Rondo of Swords – it plays nothing like it. The simplification is there for a reason, as the battle is being watched from the sidelines by fellow Gate Keeper Masamune Shiga. Your wheelchair-bound comrade is the genius of the group, but is unable to take part in fights due to his disability (this is eventually spoken about, but I had great concerns the game would end before we understood how Shiga came to be in his wheelchair). So you don’t actually play as yourself in battle, though you do plot where your gang will be heading. The USB sticks in the sides of the device denote your team on the left, and the ghosts on the right.

It is never explained why the ghosts have their own USB sticks.

For your team though, it seems to form a video link: whenever a character in the fray attacks (or tries to attack) a ghost, the view shifts from overhead map to first person headcam. It’s a really cool touch that finally puts you face to face with the ghosts you are hunting, and feels a lot like one of the supernatural ghost hunting “documentaries” you’ll get on the less worthy TV channels. Then only problem is that this zoom down also happens when the ghosts attack you, so I can only assume that Shiga wheels around and fashions them all with their own headcam prior to the hostilities. He’s a solid guy.


Visually, the battles are interesting, but structurally they are a damn enigma! Typical turn-based battles allow each side to take turns, but that wouldn’t fit with Tokyo Twilight Ghost Hunters’ take on how games should work. Instead, both teams move simultaneously once you have set the parameters for your own team. This makes it nigh on impossible to guess where your target will be in any given round. The ghost’s USB sticks will glow blue or red to denote whether they are attacking or chasing, but this is of minimal help as your own characters can move a pathetic distance anyway: if they foolishly wish to look left, right, or (god forbid) behind them, then you can fully expect all of their action points (AP) to be drained on the spot and for that character to remain useless until the next round. Without wishing to offend, these guys seem to be less mobile than the guy in the wheelchair! And just in case movement itself wasn’t restrictive enough, your attacks also have very specific areas of effect. Each character has a weapon that will form a green and red zone on the map, you need to ensure that this attack zone is set in a location that a ghost will move onto, or is trapped in. Some attacks are a long line, some are wider attacks. Some don’t allow you to attack the immediate vicinity of your character. Combined with a crippling inability to move, you’ll find that fights end in disaster again and again simply because you cannot maneuver your attacks into a location where the ghosts will be.

So we’ve established that attacking and movement are difficult to get to grips with. Does Tokyo Twilight Ghost Hunters remedy this with relaxed winning conditions? No, it adds a timer. A timer that rarely tops 15 minutes. These aren’t real minutes either, they are turns. That’s right, you’ve got to battle the ghosts and the game together and win, usually within 15 turns. Again, none of this battle system is ever explained to the player.

The clock ticks down, two minutes left.

“Predict their movements!” Shiga helpfully chimes in as another ghost travels in the opposite direction to where all of your team are directing their fire.

“Tell me how you got them to hold still for their fucking headcam fitting!” the whole team shout back.


Hopefully you can sense the outrageous frustration I felt while genuinely battling through the fifty or so fights that the game throws at you before you see the end. With a little fairness to the game, the battle system does at least give you a chance to level the playing field with the use to traps and gadgets in pre-battle planning stage. As long as you have a general idea of the where the ghosts might be, you can lay down salt to block thoroughfares, wards to direct the spirits in one general direction, or traps that cause minimal damage to the enemy. You can buy such items from a shop manned by a ninja. Making any purchase goes towards earning raffle tickets that allow you to win some pretty good (and pretty suspect) equipment. Furthermore, if the shop isn’t doing it for you you can also enlist Gate Keepers’ mad scientist Moichi to build you items, but you’ll need to bring him the raw materials to do so. Whatever you do bring to the fight though, ghosts can break it all with seemingly minimal effort. Of course they can. To prevent this you’ll need to buy better gear, but better things cost more money, and the whole reason you are fighting these ghosts is to make money for your boss, Chizuru Fukurai, not spend it on yourself!


Chizuru loves money, so don’t expect to hear kind words if you earn anything less than an “S” rank in battle. An S rank requires ghosts to be dispatched quickly, damage to the environment to be minimal, and costs for set up to be low. Bearing in mind that a missed attack will likely destroy some costly form of item on the battlefield, and that most attacks miss, you’ll start to see how difficult it can be to earn serious money. You’ll groan when Moichi Sengen destroys the tenth object that battle, wince as you see the damage report rack up, punch the air in happiness when you see the “Victory” screen and walk away clutching your 15 Yen.

I am being too harsh, I had around one million Yen by the time the credits rolled (yep, a whole £5000).

Your in-game website.Battles are by far the most frustrating aspect of the game, and you’ll have to fight at least once per chapter to continue. However, if you only do that you won’t be anywhere near the level required to tackle the later ghosts, or the later free-battles. Whether you like it or not, you will need to fight regularly, and these battles come about by taking jobs from the Gate Keepers’ website. Much like every other aspect of the game, the jobs are on a hidden page of your intranet (accessed with a simple button combination) which is helpfully hinted at but never outright mentioned. Job difficulty is measured in… tears? They’re probably spirits. Fortunately, the majority of these fights are more straightforward than the story-based battles. You can decide the difficulty of what you take on, and you can also give up ones that seem to much for you to handle. These asides are the best way to level up and make money. Money can rack up fairly quickly, but experience doesn’t come so easily. To level up faster you’ll need to fight harder battles, that much makes sense in any game. In Tokyo Twilight’s case though, harder battles simply mean battles where predicting enemy movement becomes an exercise in futility again. So, you’ll go with the easier fights, you’ll level slower, but you’ll face much less frustration and probably find that you’re really enjoying the game! At least I did, despite how the above reads.

One of the more surreal moments...

Visually the game is a mixed bag. The 2D character artwork is excellent, and feels like a premium quality anime. The UI of the game is slick and well signposted, even if the game doesn’t tell you how it works itself. There is generally a pleasingly consistent style going on until you factor in the background art of the areas you travel to. As with other visual novels, the game is presented with a series of still images. Despite the effort that has gone into the bits you’ll see up close, the backgrounds look like poorly photoshopped photographs. I’m convinced that some of them are. Perhaps to aid in focusing on the important parts, the backgrounds are usually blurred images of buildings, streets, schools and so on. They just don’t look good, and really do detract from the general aesthetic that the rest of the game shows off. This is in no way a deal breaker, but it means that Tokyo Twilight Ghost Hunters looks just that bit worse than other similar anime-styled games that are also available.

On the other hand, the audio aspect of the game is stellar. The voice acting is great to listen to, and fit well with each character. The soundtrack is so good I went and bought a copy. Of course, you’d expect quality where Nobuo Uematsu is concerned, and Tokyo Twilight Ghost Hunters does nothing to tarnish this opinion. A fun aspect of the soundtrack is that you get to pick what you want to listen to in each battle by way of slipping the relevant cassette into the stereo of the Gate Keepers’ van before each fight. It’s a small detail, but it honestly does make some of those skirmishes a tad more palatable.


It can’t be denied that Tokyo Twilight Ghost Hunters is a teeth-gnashingly frustrating game at times. I wouldn’t be at all surprised to hear that 90% of players switch off after encountering their first ghost and never return again. The thing is though, despite all the annoyances and mental threats to hurl my Vita down the length of the train carriage, I did enjoy what I played, and I kept coming back to it. While the game does offer a New Game+ option and an extensive trophy list, I wouldn’t expect that to be a draw for many players. For those that have had a passing interest in this game though, I would certainly recommend a single playthrough of the game (and perhaps a download of the soundtrack). The game has stayed in my thoughts for some time after finishing it, and I may yet be back for more, but the heartiest endorsement for Tokyo Twilight Ghost Hunters is that despite its many foibles, you’ll likely not play another game quite like it again.

Sayuri Mifune

Tales of Reminiscia

Perhaps Recollectia is a better name…

Tales Collection

My current Tales collection, numbering 38 releases from the series

There is actually another word I wanted to ‘ia’ for what was once going to become an encyclopedia of Tales knowledge, but it was too good to let slip. For those who have no idea what this long page is about, I am referring to the “Tales of” series of Japanese Role Playing Games. This is a bit of a rambler, so if you’ve no interest in the tried and tested tropes of a thousand console RPGs, then you’re probably better off navigating away from this page.


The series began in 1995 on the Super Nintendo with “Tales of Phantasia“, a game which set the naming standard for a series of games that generally end in “ia” (though there are some exceptions that actually start with the second game), and has since proven to be a solid series that has reliably brought fans of the JRPG genre new entries with incredible regularity – if you’re a Japanese speaker. Tales games feature colourful, anime stylings often with pastel shades. Even when trying their hardest to be “mature“, they still end up being brighter and more cheerful than just about every other JRPG series bar Gust’s Atelier games. One of the most important features of the Tales games is the battle system, which mixes random battles with an action-style system that has evolved from something representing a crude Streetfighter, to  a complex beast that personally provides me with more fun than dedicated 3D fighters such as Soul Calibur. However, this is just the start, we’ll come back to the battle system later on!

But as good as the Tales games are, like most things you fondly remember from your childhood and earlier years, the recent entries just aren’t as good as the ones of old. Perhaps it is simply the frequency of which we hear about new games in the series but the last few years has seen merely good releases, and nothing that captures the excitement and scale of the older games. In many cases, feelings like this reveal themselves to be created by a solid pair of rose-tinted glasses, but I would personally guarantee that if you pick up any game in the series that was released before 2009 you’ll have a better time of it than you would with a more contemporary release. Part of me even believes that Bandai-Namco also agree, as they recently released a high definition update of one of their greatest entries, Tales of Symphonia (2003). If you do fancy playing some of the series, it may even be more prudent to work your way back and find the series improving as you delve into the past. I once had grand plans for a sizable tome on the series’ past, present and future, but the last few years of releases have put me off somewhat. Maybe this piece will inspire me to get back to it, or perhaps it will stand as the “thing” I write about the series.

Tales of Originia…

Tales of Phantasia was once just another member of the rich vein of  2D JRPGs that populated the SNES’ library. If you were into your role-playing games in the 1990’s, then you’d have been right to hope that that large, rectangular box under the tree at Christmas wasn’t a Sega Mega Drive!

Brattish attitudes aside, the SNES really was the place to be for levelling up, chocobos, moogles, and the exquisite views of twee fantasy worlds from atop cliffs. This was irrefutable if you lived in Japan, hard to argue against for North Americans, and the best place for those of us in the UK (though the PAL release schedule often left a lot to be desired!). The slight problem that came with the appearance of the Tales series was that it was strictly a Japanese-only game! On other platforms this might have meant you wouldn’t hear about the series for many years to come, but the SNES was reported on by a great magazine by Future Publishing called Super Play, and that magazine thrived on the Japanese games and oddities that the console had to offer. One of the issues I managed to get hold of when I was twelve-years-old was somewhere in the 30s of the 48 issue run (I’m pretty sure it was the magazine with the Secret of Evermore cover but it is currently 312 miles away from me to confirm, and it could have been Kirby), and inside this issue was a first look at Tales of Phantasia. More than anything else, the game caught my attention because it was a 2D JRPG, but it was also notable for being a game that required a 48Mbit cartridge so that the developers were able to include a host of voice acting for the characters, and songs on the soundtrack that included vocals: this was a Big Deal™ for 16-Bit consoles. Nevertheless, as much as I was intrigued by this game, my pre-teen self had no way of picking the game up, much less read the Japanese that would have been required. For now, the Tales series was just another one of those things I read about in Super Play that I had to accept I would never be able to play, alongside Final Fantasy III (VI), and Chrono Trigger

Tales of Sequelia

The next phase of the Tales series was actually turning it into a series. Much like Final Fantasy, the Tales games were developed as standalone games, and didn’t require knowledge from the previous games in the series to be fully enjoyed. As a gamer in the drab, flat lands of Lincolnshire though they did require a pricey foreign console as unfortunately Europe still remained a forbidden (dramatics) territory for localisation and publishing. The United States did get the second though: Tales of Destiny. With the SNES breathing a death rattle beneath the weight of the 32 and 64-Bit consoles, the second game abandoned Nintendo in favour of Sony’s PlayStation in 1997 (almost a whole year later for North America). While other companies saw fit to try out their games in these new-fangled three dimensions that the gaming world was going mad for, Wolf Team (the Tales developers of the time) saw fit to keep the bulk of the game set firmly within two dimensions (the world map was polygonal) and was all the better for it. Say what you will about classics such as Final Fantasy VII, Tales of Destiny has aged far better in the visual department!

Tales of Destiny perhaps wasn’t quite as good as Tales of Phantasia in my opinion, though it was still an excellent game that had me glued to my screen until the credits ran. Random battles were incredibly frequent, but the offset was that the fights themselves were fast and fun. The game must have made more than a few good impressions though, as North America solidified itself as a location that Tales games might be released in, and eventually welcomed in the third game in 2001.

The third game’s official name was Tales of Eternia, but thanks to He-Man it was stripped of its official title when leaving Japan and slapped with the thoroughly uninspiring Tales of Destiny II. The name made sense from a marketing point of view for the Americas, as the only other game released in the Tales series there had been Tales of Destiny, but as both games featured no ties save for general structure of the game, people wanting to continue the story were left scratching their heads. To make matters worse, a year later in 2002, the original Tales of Destiny actually received a Japan-only sequel, genuinely called Tales of Destiny 2. This game has never been released outside of Japan, but has seen a later port to PSP. All in all, the third Tales game may as well have been called Tales of Confusia, which would actually have been less confusing to someone coming into the series post-2002.


Still, ignoring the naming slip-ups, the Tales series was now beginning to make a name for itself among Japanese and English speaking gamers. But what about us poor saps in Blighty, eh? We may have had Terranigma (a one-up over the US releases of Final Fantasy III and Chrono Trigger), but that game was released in 1996, and as good as it was, after tens of playthroughs I at least knew that I wanted something else: something unobtainable by normal means.

Tales of Importia

2002, United Kingdom. The Nintendo GameCube was released, and while perhaps not receiving the greatest amount of third party support (a sad future for Nintendo, really), they did gain the attention of Namco’s Tales Studio just the once. Fortunately, once was all it took before Namco graced Nintendo’s little purple box with arguably the best entry in the Tales series: Tales of Symphonia!

Now, while Tales of Symphonia was eventually released in Europe (twice, in fact), there was no precedent for this back when the game was first announced. Hell, there wasn’t even a guarantee that the game would see the light of day in the US, as they had already missed out on the real Tales of Destiny 2! Tales of Symphonia was also the first 3D entry into the series, and Namco had left it long enough that the 3D was able to make sublime use of cel-shading and as such remains largely unaffected by the ravages of gaming time. Now was the time for panic, now was the time for credit cards, Japanese dictionaries, Freeloaders, and!

Tales of Fantastica

Around the time of Tales of Symphonia, I was finally able to play Tales of Phantasia for the first time thanks to the shady world of emulation and fan-translations. I say shady only to make it sound dark and mysterious, it is actually a wonderful thing that I am fairly confident has played a large part in inspiring the big, brutish games publishers to make the effort to localise games for regions outside Japan. This was around the time that I was really getting into the Tales series. I had a PlayStation 2, Xbox, and GameCube, as well as a PlayStation, Saturn and SNES and a host of handheld machines. Yet despite all of this newness, it was the first entry in the Tales series that had me returning to my PC every day. It didn’t matter if I finished the game, I just bust straight into NG+ again and again. It was brilliant, the soundtrack, the graphics, the battle system, the Whole. Damn. Game. Because of the amount of time I had spent with Tales of Phantasia, I just new that Symphonia was going to be better, or equally as awesome. At this point I didn’t even know that both games shared the same world of Aselia, and that Symphonia was actually a prequel that set up the world for Phantasia (huge spoilers, by the way, but the game is over a decade old). All I knew was that I needed the game, and a little bit of research led me to discover that it was actually very easy for anyone to bypass the GameCube’s region locking with Datel’s Freeloader: a simple disc that opened the console up to games from around the world. Never again would a lack of publisher confidence stop me from playing a game (until firmware upgardes on future machines, at least)! The only barrier now was the Japanese language. Not to be dissuaded, I picked up a couple of Japanese dictionaries, and a teach yourself guide. The game arrived (my first import!) and it transpired that basic Japanese wasn’t even that difficult to pick up! Within a few days I could easily read the menus, understand character names, items, basic plot points… Fair enough, I didn’t get the full extent of the story and the game took me over 100 hours to complete, mostly because for the life of me I couldn’t understand what “Penginisutomiton” meant, but by the time I watched the Japanese credits roll, there was the announcement that Tales of Symphonia would be heading towards the US! Even though I had just finished the game, playing it through again in English was just what I wanted and I went back on play-asia and ordered it again, this time in a language I could read in its entirety.

Incidentally, “Penginisutomiton” actually meant “Penguinist’s Mittens”, no bloody wonder that wasn’t in the J-dictionary!

Even so, while Tales of Symphonia did eventually get a PAL release, only the GameBoy Advance and PlayStation Portable received PAL versions of the Tales series for a while (re-releases of Phantasia, Eternia, and new IPs Radiant Mythology), and the “Mothership Titles” of the series continued to elude my PAL consoles. The PlayStation 2 ended up having similar options for importing to the GameCube, with the use of Swap discs, but they were never quite as intuitive as the Freeloader and required you to do things to your consoles that felt illegal, be it on the original model of the PS2, or its slim variant. Whatever. I needed the Tales games I didn’t have.

Tales of Collectia!

My awful penchant for collecting things came into full flow. Credit card in hand, and eBay to the rescue, I soon had orders for a US PS2, and Japanese PS2, and emails saying the Tales of Rebirth, Tales of Destiny 2, Tales of the Abyss, and Tales of Legendia had been dispatched. Then came the PSP imports of the Radiant Mythology games, Phantasia, Rebirth, and Destiny 2: Sony’s handheld became the place to be for the series, and the region-free nature of the machine meant that it was relatively easy to develop a collection for. It even gained it’s own games in Tales of VS and Tales of the Heroes: Twin Brave in its later years


It wasn’t just Sony’s handheld though, Nintendo’s GameBoy, GameBoy Advance, and DS also received their fair share of games (though they never had as many). While the GameBoy Advance made a home for yet another Phantasia rerelease, both GameBoy and Advance were the format for a spin off series known as Narikiri Dungeon. The Narikiri games were an offshoot of Phantasia, and were dungeon crawlers with costume-based gameplay: not quite the scope of the so-called “Mothership” games themselves, but pleasant offshoots in their own right, and the sign of a popular and well established series! What’s more, while the Tales series was really hitting its stride, it was somewhat noticeable for being a series that consisted of mostly good games. Sure, the games appealed to a specific type of gamer, but their action-oriented battle systems and grand casts of characters were well received by most that played them. It was at this point that the lacklustre entries to the series were the exception and not the norm. Not to sound completely damning of the current releases, but Tales of Legendia was largely remembered because it was (at time of release) the weakest entry into a generally strong series. It wasn’t even that bad when ranked among the myriad of JRPGs out there, but was notable for not being developed by the Tales studio, having a weaker battle system than the other games in the series, and the US release didn’t even have voice acting for the latter half of the game (which was technically post-game content, but provided as much game time as the rest of the story before it).

The Tales series was becoming a behemoth, releases were everywhere and on pretty much every platform that was worth owning, including mobile phones!. I had done everything in my power to own as many of the games as possible. I even picked up the obscure Tales of Fandom games on PS1 and PS2, though I haven’t had actually played them… Something unexpected then happened.

Tales of Vesperia

So here we come to a chapter in this not-very-to-the-point write up the Tales series that is actually named after a Tales games itself! In my opinion, Tales of Vesperia was the last truly great entry into the Tales series. It is hard to say to say whether it is better or as good as Symphonia. It was notable not just because it was a grand example of how the JRPG should be done, it was also released on the Xbox 360, and it saw a release in Europe as well as the US and homeland of Japan.

Tales of Vesperia came at a time when Microsoft was desperately trying to break into the Japanese market with its distinctly American box of tricks. The Xbox 360 was a good console (despite me burning through five of them), but it was not well received in Japan where it sold only 6 copies: nowhere near as well as Sony’s machines performed! If you were a JRPG fan and you had an Xbox 360, well you could count yourself very lucky if you only had Tales of Vesperia on it.


I would also like to tell you that it was Tales of Vesperia’s Yuri Lowell that brought Troy Baker to the attention of the gaming world in general and ensured that he voiced every videogame character from 2011 onwards, but it was probably more likely to have been Catherine. Whatever, at least he put paid to Nolan North’s and Johnny Yong Bosch’s ubiquity.

Tales of Vesperia was a game that easily sits among the Final Fantasy VIIIs (yup.), Chrono Triggers, and Secret of Manas of our time. For starters, it looks amazing (and still does), featuring some of the most delightful cel-shading I’ve seen this side of the Wind Waker. The chief character, Yuri Lowell, was something of an anomaly among the Tales casts in that he was quite obviously a bad-ass. This was a guy who got shit done, even if it meant getting his own hands very dirty in the process (see 6.30 in the linked video), and it wasn’t just the one time. Seeing a protagonist outright kill a character in a series that rarely saw folk die (at least not in terms of being murdered) was something that I personally hadn’t witnessed in a Tales game before, and it was something strange to witness in a game that was so colourful and resembled a family-friendly game. Yuri’s story took him through many terrible choices, and had him lead an ever-growing group throughout a globe-trotting adventure around one of the largest Tales worlds. The game was quite easily the biggest entry into the series, and that it was on a console more suited to brown first person shooters was all the more baffling. Vesperia did eventually get a release on the PS3, but it was Japanese only and I’m not sure that English speaking Tales fans have ever got over that given that it was generally regarded as the better version (though this could simply be contrarianism at its finest!).

Tales of Disappointia

So, Vesperia had been released! The Tales series had proved itself as a worthy opponent to Final Fantasy (the current big hitting rival). Everything was good for the Tales series, right? Well, not quite.

Following on from Tales of Vesperia was Tales of Hearts. Hearts was a DS-only game upon release, and was also a Japanese-only entry into the series to boot. Despite being a “Mothership” title in the series, Hearts wasn’t released outside of Japan until a PS Vita port in 2014. Perhaps because of low sales due to the odd choice of platform for the worldwide release of Vesperia, the Tales series had sunk back into relative obscurity. Those that imported the Japanese DS games knew that there were great games in Innocence, Hearts, and (to a lesser extent) Tempest, but it certainly looked as though Namco had turned its back on the western world for Tales releases.

Following on from Hearts came Tales of Graces, a Wii-only game that formed the twelfth Mothership entry into the Tales series. The game saw good reviews in Japan, which only made the lack of a release outside the country more frustrating. Importing was possible, but after being able to play Vesperia in english, slogging through a game in different language no longer held the same appeal. We had tasted JRPG nirvana and we wanted it back! Namco did something strange.


A puzzle was hinted at by Namco which eventually led to a website called “” (site no longer works so I haven’t hyperlinked). From here Tales fans could see the above image, in which you could clearly make out the “Tales” of a Tales title! Yup, Tales of Graces was heading to both the US and EU newly entitled Tales of Graces f, featuring an extended epilogue and releasing on PlayStation 3. This all sounded fantastic, and there was hope once again for those of us clamouring for a new, readable Tales game.

I’m sure that many people enjoyed Tales of Graces f, and I didn’t hate the game. The problem with Graces though was that it just wasn’t up to the standards set by the previous epic entries into the series. The game featured two worlds, but each felt small and under featured, as though each globe was nothing more than a small village overall. The battle system was (as per the standard) hugely rewarding and fun to play for hours on end, but the characters were uninspiring and not a patch on those seen previously. The prologue took a long time to finish, and the story itself took such a long time to get going, made worse by the fact that there weren’t really many places to go so the world you thought was coming had actually already been traversed.

I finished the game thoroughly underwhelmed. It wasn’t too long after that another console entry into the Mothership series was announced with Tales of Xillia. The game did turn out to be better than Graces, but again did away with a decent overworld (there was no traversable map to speak of at all this time). Worse, the gameplay areas themselves were formed almost exclusively of canyons! Almost every location was a corridor walled off by rock walls making for a claustrophobic experience that didn’t express the epic nature that a Tales game usually shipped with. Back in my day (Phantasia) we would be on those cliffs looking at the lands below! Instead, the game plied replayability with the inclusion of two protagonists, a neat idea but one that didn’t really hold much water when there could simply have been a greater storyline in the first place. Once again, the battle system pulled me through the game, and the characters were a little more likeable. The game even sprung its own meme with a salesman who seemed to populate every town in the game, incessantly begging for someone to buy his damn mutton!

Well, Tales of Xillia 2 then came around, and was a game where you had to pay back a loan. Really.


Again, it wasn’t a terrible game, but it was far from the heights we had seen from the series. Luckily, a ray of light shone from the PS Vita for Tales fans with the remake of Tales of Hearts. Tales of Hearts R was a fully 3D iteration of the 2D DS game. The game had stuck with the anime stylings (the original DS version shipped in two flavours: anime, and the hideous CG edition) and honestly resembled the games that longtime Tales players remembered: a huge world map, random battles (without enemies on the map), a large and fun cast of characters, two large worlds, and the kind of scale that we had come to expect with Vesperia and Symphonia. It wasn’t as good as either of those games, really, but it went a long way to show that a future epic Tales game could still be on the cards.

The future of Tales is somewhat uncertain from my point of view. It seems that handheld games are the place to be based on the latest releases in the series, but it won’t be long before the next console entry into the saga is released on both PS3 and PS4 with Tales of Zestiria. The game certainly looks good, and I’m excited to play it, but I’ve also read mood-killing reports of another smaller world despite being something of a free-roaming adventure. What’s more, we have also seen the announcement of Tales of Berseria (again for both PS3 and PS4) with an as yet unknown release date. Already, Berseria’s protagonist Velvet conjures up ideas of a female Yuri Lowell, but time will tell! I do genuinely worry that the games are getting churned out a little too quickly, but I do hold out a good deal of hope for Berseria. At least while we know next to nothing about it!

Tales of Battalia

Let’s not end of a bum note though. The Tales series still stands as my favourite JRPG series out there, holding its weight alongside the many Final Fantasy games, the less frequent Dragon Quest series, and tens of smaller collections I have across my PS1, 2, and 3. Even if the more recent games aren’t quite up to scratch, the series in general has many games that you can mine if you’re interested, and thanks to the 2D and cel-shaded 3D graphical styles of most the games they generally tend to be easy on the eye, all while countless other games from similar times past are practically hideous to behold. I’m no graphics whore, but knowing that a game has aged gracefully from a visual standpoint is at least going to be a good start.

The greatest way in which Tales games remain among the most playable JRPGs since the original release is almost completely thanks to an engaging take on the part of a JRPG that inevitably eats up around 70% of your playtime (or 50% if you’re playing a particularly cutscene heavy game). The Tales battle systems form the centrepiece of the games and have undergone many changes throughout the series, starting out as a 2D, side on fighter, and developing into a fully 3D brawler. The system was originally given the name of Linear Motion Battle System, or “LMBS” in its most simple iteration. The battle systems gradually introduced multiple lines of attack, the ability to run free, and even once tried to emulate Tekken in Legendia. As is expected with systems of Japanese origin in a videogame, the original LMBS became hilariously overtitled at times, seeing such hits as “Cross Double-Raid Linear Motion Battle System” (XDR-LMBS), but whatever the name was, the games have consistently provided a battle system that doesn’t feel old throughout the many hours it usually takes to complete a Tales game.


Heading back to Phantasia, the fights on offer can feel somewhat sluggish by Xillia’s standards but are still remarkably robust (if a little on the frequent side). Trying to play through Final Fantasy’s ATB from the same time period is a painful experience in comparison! Even better, the battling really does feel different with each game, despite being fundamentally similar. This is a substantial boon for those considering playing through a large number of these games. You’re not just getting a new story laid on top of the same skeleton again and again. In fact, you’re actually getting more the opposite, as many Tales stories are relatively similar despite being incredibly exciting at best and merely passable at worst. Still, even if the stories can be a bit samey, you can kill all of the bad guys in new and inventive ways! And who can say no to countless variations on the Hot Springs? Oh, you can?

Tales of Summaria

Alright, perhaps Concludia might have been better, but I am trying to Tales-ify as many words as I can here, give me a breakia.

So you know what? Here you go Bandai-Namco – Tales of Compendia. That’s what I was going to call my encyclopedia of all things Tales (actually, perhaps “Encyclopedia” would have worked just as well…). Maybe you could trademark it now, maybe you have. Maybe you could ignore the fact that I was going to use it as the title of a book and simply slap as many games onto a Blu-Ray as possible and follow Rare’s suit with their upcoming Rare Replay and do every Tales fan out there an enormous favour!

If you’ve never played a Tales game before, or perhaps only played some of the more recent entries, you might find yourself quite surprised by the quality on offer in the back catalogue. While the series never seems to make as much of a splash as say Final Fantasy, the games are more consistently enjoyable than most series I’ve played. While the last couple of games have been a little shaky, I’ve yet to play Zestiria to say whether or not it does match up to the Tales games of years past. Clearly I’m hoping for a new Vesperia, guess we’ll have to wait and see.


Tales of Referencia

In order of appearance:

Criminal Girls: Invite Only – A Very Exclusive Party

You may or may not have heard of Criminal Girls: originally a 2010 PSP role-playing game that has now been updated slightly, given touch controls and slapped on the Vita with the subtitle of “Invite Only“. It has also somehow managed a western release this time around.

So what is it? Well, there are two types of people who seem to know about Criminal Girls: Invite Only, and when they discuss the western release, both take umbrage to the one part of the game that makes people sit up and notice it… In fact, if you too have heard of it, it is likely because of this one small aspect of the game.


Criminal Girls: Invite Only is a JRPG that follows the tribulations of seven (later nine) girls who have prematurely found themselves in the afterlife; Hell, if you want to be specific. The girls are now classed as delinquents, having fallen foul of the seven deadly sins; some more vaguely than others. The caveat here is that the girls haven’t entirely succumbed to their transgressions and now have this opportunity to redeem themselves by making their way through four trials, with the reward of rehabilitation meaning that their once-miscreant selves can return to the real world. The man (no female choice here I’m afraid) who will be tasked with leading these girls from delinquency and back to life is you. Your own appearance in Hell is something of a mystery that is somewhat explained during the story, but never given much weight despite the massive solid you are doing these girls (and I’m not entirely making a lewd joke with that one). Thankfully, each of the girls themselves gets a decent chunk of the story assigned to them, and while often falling into tried and tested anime tropes, is actually quite entertaining, and definitely enjoyable enough to warrant seeing how it turns out for each girl.

So how does a girl that has fallen off the rails make her way back to her old life? Mostly through dungeon crawling, fighting beasties in a turn-based battle system, levelling up, and learning new skills – more on the latter later!

2015-02-07-201912You may have played a few dungeon-crawlers before, particularly if you’re a fan of RPGs! The systems are often fairly basic on the surface, while containing hidden depths that only those that persevere will uncover. Criminal Girls is no different, in fact, the general “crawling” aspect of the game is almost insulting simply. The game world is built up of several levels of Hell, each of which contain a few floors of their own. Your quest takes you upwards, out of cells, into a wood, through fire and through ice, and even around a school. It really is a good job that the levels each feature their own skin, as you’d never notice a difference based on the level design alone: Criminal Girls‘ floors are all simple mazes set across roughly the same spread of land. If we’re being brutally honest, the design is truly awful, and it’s painfully obvious that the guys in charge of setting quests had very little to work with when each goal of every quest and sub-quest forces you to traipse around the same corridors again and again. This aspect of the game takes up about 50% of the time you’ll spend in Hell. Maybe it really is just a good approximation of Hell, I don’t know, I’ve not been there (though there are some who say I will for playing this game). Fortunately, the deity in charge saw fit to break these woefully under-designed walks into short, easy to manage sections. You may well make a weary groan when a new objective sends you back across the same floor in the opposite direction for the fifth time in a row, but you’ll likely never be on each floor for more than half an hour, and in many ways the sense of progression through the underworld is one of the more compelling aspects of the game: you’re never really that far away from seeing what lies at the top of the next flight of steps. Okay, so it’s just more right angled corridors, but there is often some intriguing story to accompany it, and you’ll always know that it is never far until the next major plot point reveal.


During your treks through the samey floors, you’ll be drawn into many a fight with denizens of the depths. Judging by my maths throughout this review they’ll take up about 45% of your playtime. Fights are genuinely interesting in Criminal Girls: Invite Only. They’re one of the main reasons that I kept playing until I watched the platinum trophy pop up on my Vita. The system is turn-based, and mostly made up of static images. So far, so 1992. Bear with it though, and you’ll find a wealth of depth behind the random nature of the attacks on offer. Each girl has a particular set of skills (yes, in the case of Tomoe, those skills), and they fall generally into the jobs you expect to find in a role-player: fighter, mage, healer, thief… It may be tried and tested, but it does work. How this game differs is that it doesn’t give you an array of menus to work through, but rather has each girl shout a line that offers a hint as to the type of attack they’re going to make should you choose them to do your bidding. You might get a simple command that has one to four of the girls attack one after the other, a buff to one or more of the girls, a debuff to the enemy, or a powerful special skill. Battles become a careful act of balancing health and magic points, guarding, and going for maximum damage. Some characters work better in some situations than others, enough so that it is more than worth your time to experiment with all the girls (no, not that way! Not yet, anyway). You’ll find yourself eagerly anticipating the next round of each battle, just so you can see what options will come next. If you’re grinding you’ll pray to the role-playing gods that you see a sweet area-of-effect attack, perfect for taking out swathes of enemies in one fell swoop.

If there is one area in which the battle system frustrates, it lies within the buff/debuff system. In short, it works brilliantly for the enemy, and is somewhat functional for your party. Do you like paralyzing your foes? Give it a go, but don’t expect the effects to work when you really need it. Conversely, do you find yourself paralyzed? Well good luck making any sort of effective attack, as Criminal Girls really like to punish the player when they are on the receiving end of debilitating effects. Again, maybe it is a Hell thing, but if ever there was a moment when I came close to switching off the Vita in frustration, it came at a time when the enemy got cocky with the paralysis!

By and large though, if you like role playing, you’ll probably like the battle system. Progression through the levels is swift, and you’ll find your party becoming noticeably stronger floor by floor, while always having challenging opponents lined up right up until the ending (and secret endings).

So where do these attacks come from? I guess I’ve put it off long enough…


As alluded to at the beginning of this review, there is a reason why Criminal Girls: Invite Only is on the radars of the people that know of it: the “Motivation” minigames.

As I said, the girls of this game have a special set of skills, but they don’t necessarily know these skills right off the bat. In fact, none of the girls will even fight for you until you decide to try your hand at motivation, and a bat is probably what you’re going to need to get their attention. Motivation is a minigame that sees you interacting with the girls via the touch screen in a series of sexy scenarios.

Only, they’re not sexy at all. In fact, they’re just downright embarrassing. And the touch screen aspect of it all means that if you do happen to be playing in public you’ll be hunched over your Vita so awkwardly that your attempts to hide the screen become somehow more incriminating.

To grease the wheels, as it were, you’ll be provided with a whip so that you can slap the temptations out of each of the girls. Successfully completing a minigame will provide you with some arbitrary points that fill up a bar and unlock skills. The amount you score in each game barely matters, the games are so simple, brief, and altogether pointless that you may as well just sleepwalk through them anyway. Yes, close your eyes, for no matter how titillating whipping these well-endowed girls might seem on paper, you’ll not see anything through the pink mist that obscures your interactions, from the very first minigame to the last. Sure, the fog dissipates the more you persevere with the motivation, but all that does is reveal that the scenes behind the censor-curtain weren’t really all that risque to start with. The western edition makes a big deal of hiding the games, and the hiding makes it worse!

I’m not really sure who the motivation aspect of the game is supposed to appeal to really. For those after a bit of hanky panky, everything is covered up. For those who just want to unlock skills and move on, you’re never even really sure as to what you’re doing. Perhaps Nippon Ichi felt that censorship was the only way that Criminal Girls could justify a release on western shores (the game isn’t censored in Japan), but if you’re really after some softcore porn in a video game, then you may as well just knob romance Cassandra in Dragon Age: Inquisition. Yes, the motivation minigames are embarrassing, and are often the focus of many a review of the game. This is actually the reason that I left this aspect of the game until the end of this piece. For all the disgust that whipping, shocking, oiling, tickling, and… just touching(?) stokes up, you’ll very likely spend less than an hour doing so between the first cutscene and the last – for reference, reaching 100% completion of the game took me a whisker over forty-five hours, so you’ll actually spend very little time indeed in the chamber with the girls.


Reading back over this review myself seems somewhat schizophrenic: I like it, I don’t like it, it’s fun, it’s embarrassing. 95% of Criminal Girls: Invite Only is an addictive trek through the well-worn world of dungeon crawling and battling. The story is fun, if fairly generic (and to see it all you have to complete it, like, nine times!), the maps are like Brio train tracks all made using the same twenty pieces, and the battle system manages to be one of kind despite looking like any number of turn-based systems. The game is almost (not quite) perfectly suited to portable gaming, being a role-player made up of many bite-size chunks. It’s basically a trashy anime in game form. If that description resounds well with you, then I think you’d be doing yourself a disservice by avoiding this game. Yeah, it gets scores like 10/100 from some sites because of the motivation side of things, but then again some people give vaccinations a similar review – you can only trust your own judgement with things like this (yep, I put the game on a pedestal much higher than it deserves there), and to form your own conclusions you should really try it yourself.

Hell, I platinum’d the game, and the only other games I’ve done the same for are Dark Souls and Dark Souls II. If I can be arsed to see a game through to the very bitter end, then it has to have something going for it.

Just so that nobody has any misconceptions about the game though, I’m going to finish (gross) with an image of the end-game motivation:


Just don’t play it on the train.

Verdict: Criminally Underrated.