Horizon and a Short Look at DLC

With the last console generation, there were certain practices in the game industry that were introduced which never could have been conceived in a prior generation. The most prevalent of these, however, was the introduction of DLC as a way of expanding the game experience.

When it was first introduced, DLC was mostly a way to add a little more story content to a game or add in a larger variety of locales in multiplayer games, but it would eventually spiral into the mess we have today, where you have to buy costumes in a Tales game or- and this is a real thing- see through girl’s clothing in Gal Gun. Eventually, this would escalate into microtransactions, a concept from Free-To-Play games that has been blighting the AAA industry for about two years now, always in disgusting, slimy fashion.

However, there is yet hope! Certain games have taken DLC in an entirely different direction. Rather than forcing you to purchase things which should have been in the game from the beginning, or pervy gross wank-mechanics, Games like The Witcher 3 have, in the past, shown that DLC could be utilized more in the fashion of an MMO’s expansion pack, wherein you add in entirely new storylines that build on an existing, complete experience. And the latest to do so is Guerrilla Games’ Horizon: Zero Dawn.

When Horizon came out earlier this year, I was enthralled with it. The combat is tense, often chaotic fun, the story was gripping and well-told, with numerous interesting characters to meet and intriguing cultures to interact with, and the world was visually stunning. Unlike most other open-world games, Horizon didn’t feel the need to fill the world with pointless collectables, instead creating a limited number that they used to create unique gaming experiences, build further on their world, and even gave them a practical use if you know where to look. It wasn’t excessively long, clocking in at 55 hours for my first completion, and after I was done, I still wanted to keep playing.

Well, come November 7th, I might have reason to. Horizon: Zero Dawn will be getting an expansion, and this makes me so excited, not just for Horizon, but for games as a whole. The expansion is meant to include an entire new area, a host of new enemies to fight, a whole culture we have yet to interact with for any significant amount of time (the Banuk, which had one small settlement you could visit in the base game, but nothing beyond that), as well as continuing the story that ended so phenomenally, but still left room for more. Guerrila Games basically took what could have been the premise for a whole sequel, and are adding it to the existing game for a third of the price.

This excites me. This is what I have wanted DLC to be for so long, the only way I could ever truly be made to embrace the concept, even. One of the most scummy businessmen in the industry, EA’s John Riccitiello, once said this: “A few years ago, the game you bought is the game you got.” He portrayed this in a negative light, but for many, myself included, we look back on the pre-PS3 era as a time when we bought a game and played the game without the game ever trying to sell us costumes or gun packs or (god-forbid) ammo packs. We bought a game and it was complete.

I bought Horizon: Zero Dawn and it was complete. I do not have to wait 3 years and pay $60 for a sequel to this game. This is the marrying of two things which should have gotten together ages ago, but the sheer bliss I feel in seeing them now is still incomparable. This is how DLC should be done. This is how it needs to be going forward. Games industry, look to Horizon‘s example and learn from it.

Tales of Berseria: The Greatest Tales Ever Told

When Tales of Zestiria came out, I absolutely fell in love with the story and characters, even if the gameplay itself was obtuse, unnecessarily difficult, and downright frustrating. Regardless, I immediately claimed it as my favorite Tales game, even if so many others are technically superior in all aspects. Zestiria garnered a special place in my heart that cannot be taken by any other. One came close, however: it’s immediate successor, Tales of Berseria.

Being a prequel to Zestiria, the games are similar in many ways, some good and others… not so much. As a result, this review will actually feature both in about equal measure. But while on the surface level, Berseria might share many similarities with Zestiria, once you graze beneath the surface, you start to see just how much improved in Berseria.

For one, the story is immensely better. Zestiria was a classic Good Vs. Evil story, “Like a bad play where the heroes are right, and nobody thinks or expects too much.” Blues Traveler’s words are very fitting for Zestiria, and it is a damning statement. Even if I personally found the world and story of Zestiria gripping, it’s easy to spot the numerous cliches. Sorey and friends are set on a journey to “save the world” from the ruin you don’t often actually see outside of cutscenes. The beautiful world sat in stark contrast to the terrified way people spoke of it. Not so in Berseria, where many areas of the world are clearly in states of decay. The world of Berseria is teetering on a ledge between doom and salvation, and even salvation would be doom. Where in Zestiria, the villain was a stock standard Stoic Evil Behemoth of a Man who had barely any presence in the story itself and a backstory that the game literally told you in a thirty second cutscene with no dialogue (it’s built on for about 5 minutes at the VERY end of the game), in Berseria, the bad guy is a Villain With Good Publicity such as Tales is known for, who genuinely wants the best for the world but was broken by his own experiences into utilizing methods that would make his goal ultimately meaningless. He is constantly in the background of the story, even if not directly involved in whatever current situation the party is dealing with.

One of Berseria’s big selling points was the first female protagonist in franchise history (not including Milla Maxwell of Xilia, who shared the position with Jude Mathis). Velvet Crowe is arguably one of the strongest characters in the Tales series, with writing that develops her well over the course of the story and a performance by Cristina Valenzuela that sells every moment. The prologue begins with her as a happy, cheerful girl who’s friends with the whole village and cares for her family deeply. After three hours, she is a broken, vengeance-fueled demon (quite literally) with the blood of the entire village wet on her hands. She is beholden to no such lofty goals like “saving the world” or “helping my friends” when she begins her journey. She wants only to kill the man who destroyed her world. At one point, one character refers to the party as a “troupe of villains,” and this indeed holds true to the very end of the game, as even though they ultimately “saved the world,” Velvet’s legacy is as the first “Lord of Calamity,” a term players of Zestiria will recognize immediately.

All the characters in the game are actually very well-written, especially on the party’s side. Rokurou Rangetsu is a demon who joins the party early on, claiming a debt to Velvet that beholdens him to her cause. He lives for the thirst for battle and aims to kill his brother for reasons he’s not immediately willing to share. Eizen (a returning character from Zestiria) is a pirate who joins the party searching for the captain of his crew. He is cold and ruthless (or so he likes to think). Laphicet is a malakim with, initially, no personality of his own, who joins the party due to an attachment he feels for Velvet. He’s also a Zestiria returner, though you might be surprised by who he is. Magilou is a witch who doesn’t care about the party at all and only travels with them because she finds it fun. She is an entirely mysterious character you learn little about, but is an absolute delight to have on your screen. Finally, Eleanor is a praetor for the villainous Abbey, who finds herself attached to the party after they’re forced to work together to survive. Aside from Velvet, Eleanor is probably the character who grows the most over the course of the story, and I found myself just as invested in her arc as I was in Velvet’s.

The most palpable improvements to Berseria were made to the combat system, however. Gone is Zestiria’s awkward Fire Emblem-esque weapon triangle, replaced instead by… nothing. Because it was unnecessary. The equipment system is far less obtuse, as well. Instead of a confusing mess where you had to combine items with abilities in specific slots in order to transfer them or mix two abilities to create an entirely new one (seriously, 60% of my frustration in Zestiria came from that), it has a more Graces-esque style of just using items to level the gear and unlock set abilities on the gear. It’s far more stream-lined and easy to grasp and I love it.

When it came to level and monster design, however, I have to call Berseria out for it’s laziness. Several locales are just retooled Zestiria locations (one particular early meadowy area I immediately recognized as a swamp from Zestiria, for example), and many trees, buildings, and such look exactly the same. Monsters were even worse about it, with probably about 50% of the bestiary being ripped from the game’s predecessor. And yes, the dreaded Marmot made a return (incidentally, being the spark that made me realize what was happening). Although, given that the game had a production cycle of about a year, I am willing to forgive this, while still acknowledging it happened.

However, character design is extraordinarily hit and miss, as well. Characters like Eizen and Laphicet have very memorable and sensible designs that clearly define who they are, others like Velvet and Magilou are far from sensible. Magilous’ “book skirt,” in p[articular, has become an endless fount of comedy for detractors of the characters, and I have to say… the book skirt is awful. I bought some of the DLC costumes just to get rid of it. Meanwhile, Rokurou wins the award for Least Visually Interesting Design In A Tales Game Since Genis From Symphonia. He’s a samurai. He wears purple samurai clothes. How cool.

Speaking of the DLC, however, this has become a major point of contention for me when playing recent Tales games. Zestiria made a handful of costumes DLC, which worried me then, but Berseria has taken the idea and ran with it. Gone are the days of cool sidequests where you might be rewarded with a nifty bartender outfit for Guy or even an epic black and red palette swap for Sorey. If you don’t unlock a costume via the story in Berseria, it’s DLC. Period. And there is SO MUCH DLC. They clearly had a lot of interesting ideas for cool outfits for all the different characters, but having to pay for them just feels gross. It’s a business practice in games that I’m becoming more and more disgusted with, where you take things that would have otherwise been in the base game, and force people to pay for it.

Ultimately, Berseria is a great game and you can’t go wrong picking this one up. It’s easily a contender for the best game in the series, and I personally would place it at the top. However, I cannot move past the hostage-taking of costumes, and I would like if, for the next entry, they made entirely new assets. Zestiria and Berseria taking place in the same world a mere few hundred years apart allows it some leeway, but going forward I would like to see both of these practices disappear.

Developer: Bandai Namco

Console: Playstation 4

Genre: Japanese RPG

Final Score: 8

Fire Emblem Awakening’s Greatest Flaw

In the late 2000’s and early ’10’s, Intelligent Systems knew one thing for sure: Fire Emblem, their series of strategy RPG’s with a respectable twelve mainstay entries, was dying. New entries were no longer garnering the attention they once did, and remakes such as Shadow Dragon went out practically unnoticed. By 2012, Intelligent Systems was ready to call it quits.

They had spent a couple of years sure in this knowledge, in fact, and had thrown everything into one last project, a swan song for the Fire Emblem franchise they had been building on since 1990. It would be their biggest project yet, with more characters than anybody knew what to do with and nigh-unlimited supports to go with them. The game would incorporate facets from older entries as well, such as the marriage and child mechanics from Genealogy of the Holy War and the overworld map and “random” battles of Sacred Stones and Gaiden. Everything was set into place for Fire Emblem to go out with a big bang, Final Fantasy-style.

And indeed, it did go the way of Final Fantasy. Just like Square’s 1987 RPG epic, Fire Emblem Awakening blew up, gaining audiences Intelligent System had never thought they would be courting. There were a few major reasons for this. First and foremost was the introduction of a “Casual” gameplay mode. This allowed players to go through a map and make minor mistakes without any permanent character losses. This is often disavowed as making the game “too easy,” and while, yes, it does simplify the game a lot, it only really makes the game better for those who want to use it. In previous entries, if a character died, and you wanted to continue using them, you had to restart the map constantly until you ran it in a way where nobody died. You could easily spend 3-4 hours (if you’re as terrible at these games as I am) resetting a map to run it the one perfect way. In casual mode, there’s no need for that. If one character dies, sure, you no longer have access to them for this match, but they’ll rejoin you for the next, and if you’re like me and want to preserve every character, this setting can only be a boon. (I want to point out that, according to what I’ve heard, Heroes Of Light and Shadow, the game before, actually introduced the “Casual” mode concept. But as that is a Japan exclusive title, Awakening may as well have been the first -Ray)

The next major factor is how prettied up the game became. Previous Fire Emblem‘s had an art style with more realistic proportions. People were usually still pretty, but in a normal sort of way. Awakening went full anime. Every single character is gorgeous or handsome or at least good-looking. There’s no Bartre’s or Gonzalez’s in Awakening, is what I’m saying. This actually ties into the third major factor and the one I want to spend the most time discussing: supports.

Supports have been around since 1994’s Mystery of the Emblem, though they wouldn’t take the form we know until the first GameBoy Advance title, The Binding Blade. Essentially, when the characters fight near each other, they can build bonds which can, in turn, lead to skits which provide character development and will, afterwards, allow those units to fight with each other even more effectively. For the sake of game balance, previous entries relegated you to 5 supports per character per playthrough, which meant to see them all you would have to play the game multiple times, and focus on different characters every time. Awakening removed this stipulation for the sake of the marriage and children game mechanic, with… interesting results.

In Awakening, a big part of the story (even though only one character from this facet of the story is ever forced on your party) is that, in the future, the first generation characters are all killed by the Big Bad, and the second generation characters, their children, go back in time to attempt to avert that from happening. But for those characters to appear, they must first exist, which means some soldiers gotta get some bedsheets rockin’. That’s where the supports come in. All the children (save the plot relevant one and the Avatar’s, as the Avatar can be of either gender) are attached to a mother, so when a mother marries any eligible husband, their child will appear on the map. To get them married, you have to support.

Supporting can be a daunting task, however. With few exceptions, a character of one gender can support and marry with just about any character of the opposite gender, as a way to ensure that most everybody can get married and you won’t lose out on any children. They can then also support with about 4-5 characters of the same gender, building strong bonds of friendship to utilize on the battlefield. As well, every character can support with the Avatar, and the Avatar can support with every character.

The second half of that last sentence probably seems redundant, right? Well, it is, but it also isn’t. There is a separate connotation implied when I say “the Avatar can support with every character.” But what could that connotation possibly be, Wombat?! Well, I’ll tell you, because it’s what I’ve been leading up to this entire time: there are characters that ONLY the Avatar can support with.

In fact, every character who joins after Henry’s addition in Chapter 13 has no supports with any first generation character except the Avatar and, in the case of second generation characters, their parents. This includes the plot important Say’ri, Flavia, and Basilio, as well as side mission recruits Tiki (who is actually a returning character from the very first Fire Emblem) and Anna, and extends to SpotPass characters such as Walhart, Aversa, Gangrel, and Emmeryn, some of whom actually have deeply personal connections with other first generation characters, but regardless can only support with the Avatar. This is especially egregious with Say’ri (who shares a national background with Lon’qu, being the only citizens of Chon’sin), Tiki (who, as a thousand plus year old manakete, shares much in common with Nowi, the main manakete of Awakening), and Emmeryn (who is the main character Chrom’s and first cleric of the game Lissa’s sister), all of whom should reasonably support outside of the Avatar but don’t.

Now, some would say that supports are not actually that integral to the gameplay, and there is an argument to be made there, an argument which fire I would fan being on the opposing side. As previously addressed, supports give a boost in stats when two supported units fight near each other. This is actually amplified in Awakening with the major new gameplay mechanic introduced in the game, Pair Up. With Pair Up, two units can occupy one space and fight together as one. Pair Up could be the topic of an article all its own, what with its controversial nature, but there is no denying that it is THE driving force behind Awakening’s gameplay. Now, how does Pair Up tie into my complaint about the Avatar’s support exclusivity? It’s quite simple, really.

All those characters who can only support with the Avatar? You know, the ones you fought tooth and nail in some of the hardest maps in the entire game to acquire and add to your available roster? Well, at best, you might be able to utilize about three or four (I named nine earlier, and only touched on a little more than half the available exclusive units) of them on any given map, and that’s if you have them all stay right next to the Avatar. This is because if a character can not effectively Pair Up with other units, you are essentially handicapping yourself by using them, and the Avatar, like all other units, can only Pair Up with one character at a time. They can still lend out their support stat bonuses to nearby allies, but will not be able to join in for Pair Up abilities. This means that, for the most part, these late game units will be receiving very little use due to their lack of variety. If you can only keep them near the Avatar, why use them at all when their slot could be taken by another unit who can Pair Up with over half the army?

The answer is, you shouldn’t.

Fire Emblem Awakening is a great game, and is indeed the reason I started to play not only the Fire Emblem series as a whole, but also began to give the entirety of the strategy RPG genre a chance. It has numerous flaws, some of which we touched upon here, but overall, it’s a glowing masterpiece that stands as one of the best of its kind (even if hardcore Fire Emblem fans hate it, this “waifu-simulator” has more than proven itself), and it really is just this one major issue that truly bothers me whenever I discuss the game with others. The game is built around supports and its strong character interactions, but all the characters in the second half of the game lose out on those strengths and appear shallow, pointless, and misused as a result. Even worse, characters who should have become game breakers are instead bench warmers, all because they cannot make appropriate use of one of the game’s major mechanics. It’s just sad to think about what could have been. But, in the end, Fire Emblem Awakening is still a great game. Go play it so you can nitpick as much as I do.

Just don’t play Fates. At all. Go get Shadows of Valentia.

 

(Edit: Some of these have since changed and more supports are available, but it was not that way for a long time. As well, their S-rank [marriage] supports are still limited to the Avatar.)

Understanding Where I’m At

The reason I’m writing this is because I really don’t know. Everything in my life feels as if it’s crumbling around me, and I’m desperately clutching to catch any pieces I can, only to discover that none of the pieces are tangible. They pass right through my outstretched hands as if they were holograms, displayed by some needlessly cruel puppet master, toying with his favorite victim.

My pain largely starts at the professional level. I spend more of my waking week at work than I do at home, or at least it feels as if I do. There is definitely not enough time in my day for any sort of social life, that’s for sure. And normally, that would be upsetting, but not crushing. However, most of the pressure of the store is being placed on my shoulders, as my boss is incredibly lazy and the other shift managers are either largely absent or incompetent. Sometimes they’re both at once. Compounded with the fact that, despite being a shift manager, I don’t actually get paid anymore than a regular staff member, and the fact that the store is steadily losing employees, whenever at work I am simply overwhelmed by everything going on around me. Principles alone allow me to struggle through each day, as I refuse to sacrifice work ethic to my stress overlord.

As we climb down from work, we reach my transportation situation. A couple of months ago, my car broke down outside of a post office. Due to the previously mentioned busy work life, I wasn’t able to go back to it for about five days, at which point it had been towed and kept in the towing company’s lot for four of those days. They were asking for $500 to get the car out of their lot, which would have left me with absolutely zero money to attempt to fix the car that already had several crippling issues, much less any cash to eat or pay bills. So I had to leave that car behind, and I was without transportation of my own for those two months. I had to rely on others, something I despise doing and which crushes my pride every time I do. But finally, this week, I bought a car of my own! No longer was I reliant on others, no longer did I have to schedule my life strangely to account for others’ schedules! That was, until, the car blew a tire on my way in to work today. There is no donut in my car to easily attach and continue going for a short period of time, either. Not only that, but as I attempted to remove the tire today I discovered that one bolt had been stripped nearly completely, making it impossible to remove via conventional methods (i.e. the only methods I know). So now, I do not even have the transportation I just purchased.

Next, my future living situation is a constant flip-flop. Currently, I live in a cheap apartment where I don’t have central air conditioning (I have a wall unit, which just does not reach the bedroom, and in Texas weather, that’s basically death) and where I’m constantly battling pest infestation. Even after a month of near-constant spraying, they have not completely disappeared. I was meant to move elsewhere with my ex-girlfriend a few months ago, but I believe the “ex-” prefix precludes that sad conclusion. Afterwards, I was meant to room with my best friend (that isn’t Raynar), but due to loss of my car they felt uncomfortable with my moving in and that future was nixed as well, possibly forever. Which leaves me living alone (and I don’t cope well with loneliness) and in an environment that only frustrates and upsets me.

Finally (and this is something that I’m terrified of talking about anywhere, but I know if I don’t get it out, I’ll just implode in a tangled mass of feelings), I’m consumed by my feelings for another person. Said other person has circumstances that make it impossible to address these feelings with them, but I feel like unless I do, I can’t move on. But that’s not fair to them, to subject them to my selfish feelings just because I have them. I’m just trapped in this cycle of liking them but unable to tell them that I do, but also unable to just drop the feelings and move on. It’s like my heart is caught in a vice grip, and either way I move can only lead to it being ripped open, and therefore I am forced to suffer in silence so as to not hurt others.

All of this while I’m trying to write, both a short story and the (supposedly) regular video game reviews, leaves me with no creative energy or motivation. There are things that I would like to do with my life, but circumstances only depress me and leave me incapable of doing anyrthing but half-heartedly playing video games and watching Netflix (which, incidentally, Master of None is what upset so much that I had to write this right after seeing a certain episode. Watch that show). I don’t know how to progress from this point, but this is where I’m at, and where I’m stuck for the time being.

Was Grunge Good? (A Response)

(A Response to an Article of the same name by NewRepublic.com)

As with all forms of media, there is no true answer to this question. Quality is subjective to the consumer and therefore, while it might be that I hold grunge to an esteemed position within my heart (except for Pearl Jam), it might be that someone else would listen to it and feel nothing but disgust and disdain (hello Mother).

It is, quite frankly, completely silly to ask after the quality of an entire genre of work, as well. There are good grunge artists (such as Soundgarden and Nirvana) just as there are terrible grunge artists (like Pearl Jam). And even then, the quality of their albums may differ, such as how Nirvana’s Bleach sounds like a drippy fart in a kindergarten class (except “Love Buzz” and “About A Girl”, I love those songs), or how Pearl Jam somehow stumbled across decent songwriting with about half of Ten. And that parenthetical statement in the previous sentence is evidence as well that a bad muffin can still have some tasty blueberries within.

Normally, I might spend more time delving into theoretical discussion, but I feel that the shared name of our articles is a dull-witted question asked only by those without enough critical thought to understand that for each person on this planet, there is an entire world, and in some of those worlds, grunge may be good, and in others, grunge may be bad. Still to others, grunge may have never entered their vocabulary.

And to your assertation that “to have much feeling for Cornell, who also fronted the groups Temple of the Dog and Audioslave, it would appear that you had to have lived in a certain era at a certain age,” I would like to point out that Chris Cornell had a solo career that, while never incredibly popular, still flourished, and that younger people are still being introduced to his work, and appreciating it, even today. Grunge is a product of the 90’s, there’s no doubt about that (well, except for all the bands and albums formed and released in the late 80’s, but I guess we’ll pretend those don’t exist), but it is not a product trapped in the 90’s. It still resonates with people today the same way it did back when you were listening to it.

Personally, grunge was my gateway to the larger music scene as a whole, with Nirvana’s Nevermind being the first album I ever bought. It’s not my favorite musical genre, nor does it house all of my favorite bands (Nirvana is still my favorite band, but most others are post-grunge or 60’s/70’s rock), but it is still a good genre to me.

And while I realize that you did not make any definitive, “objective” statements on the matter in your article (which actually further destroys the purpose of your title), the title still implies that there could be answer. There is not. If anybody wishes to find an answer to the question “Was Grunge Good?”, I would strongly recommend going and listening to some grunge yourself to find out what your answer is.

 

 

 

But not Pearl Jam, they suck.

Final Fantasy 7: A Good First Try

It was okay.

It took a while for me to get around to playing Final Fantasy 7. One reason for this was the years and years of overexposure, people constantly telling me I should play it, that it’s one of the greatest games ever, and it’s a cornerstone of gaming history. Another reason was that I had played a game from the Compilation of Final Fantasy 7 (Dirge of Cerberus), and was immensely unimpressed, souring my view of what the actual game would be like. However, last year I picked up a copy, popped it into my Playstation 1, and had my 60 hour experience with Final Fantasy 7. And when it was over, I sat back in my couch and had a singular thought.

It was okay.

I didn’t hate it like I genuinely believed I would. The combat was fun, I had a team that I favored (Cloud, Yuffie, and Vincent), picking out Materia for my characters allowed for nice customization of my team, and battles never dragged for too long. However, it was also incredibly easy. I’m not usually one to knock something for being easy, but if there had been one (story!) boss that was remotely challenging, I would have been incredibly pleased. Instead, I felt like I was walking from one end of the world to the other with little dogs yapping at my feet, a nuisance as opposed to any real challenge.

What really fell flat for me, though, was the story and particularly the characters. First, the characters. The only one who spends enough time in the party to get invested in is Cloud, and early game maybe Tifa and Aerith. This is because of how the game utilizes its characters within cutscenes. With a handful of exceptions, the only characters who will appear in any given scene are the ones currently in your party, which means that if you never have Barrett in your party (largely because he’s a terrible stereotype and also a Mr. T ripoff and also he sucks in combat), then it looks like Barrett just never does anything. The characters would definitely have benefited from far more screen time, but it just never comes. As a result, the bulk of the story revolves around Cloud, as, for the most part, he is glued to your party. And anytime the story needs another character to be important, the game basically forces them into your party, which is really frustrating when you’re used to being able to choose who you take. Just let the characters exist outside of the party, game? Please?

That being said, I did enjoy them when they were on screen (except for Barrett and Cait Sith, both of whom I avoided wherever possible [I’m pretty sure Cait Sith is never actually required in your party, but he still has a couple of scenes that will make you wanna scream in hatred]). They all have distinct personalities and are really fun to watch. As I said previously, I mostly had Yuffie and Vincent in my party, which is a really interesting contrast. Vincent is largely apathetic, never getting excited about anything, speaking mostly in short, quiet sentences. Yuffie, on the other hand, will never shut up, being highly energetic and excitable and also a Valley Girl, I think? She has more of a gunner personality than Vincent, the gunner, does, while he has more of a ninja personality than Yuffie, the ninja. It’s kind of funny and I love it, so they were my party for every boss after acquiring Vincent, wherever they were both available. That includes Sephiroth, even if Yuffie did spend most of that battle dead.

(Spoilers for 20 year old game ahead! Apparently you’re supposed to tag these things, even though it’s… 20 years old…)

As for the story, it… happens? Honestly, I’d have to say that this is one of the weaker stories in the franchise. It’s a “Villain tries to destroy the world” plot with a new wardrobe. This time the protagonist is not just connected to the villain, he’s a clone of the villain!… or so we’re led to believe, until it’s revealed he actually is just connected to the villain and his mind is being tampered with. Until about 3/4’s of the way through disc 2, it’s hard to really tell what the truth about Cloud is, which I guess was the point? But it also just muddles who Cloud, as Cloud, is, to the point where I’d argue that the true Cloud has less screen time than I ever gave Barrett (is that zing worthy?). I will say that Aerith’s death at the end of disc 1 is shocking, not in that it happens because the game sets that up far in advance, but in that it is STILL rare today for a game to kill a major character off like that. Party members are expected to perform a Heroic Sacrifice, but that’s not what happens here. She just… dies. It does set up something at the end of the game, but for a character to just be dropped like that is still impressive for a game to do, and if I had to guess, it’s one of THE major contributing factors to why this game still persists in the public eye.

The other reason is Sephiroth. Oh boy, Sephiroth. He shows up about 1/4 of the way through the first disc, and suddenly everything else that was going on doesn’t matter so much. He steals the show. Where Kefka made villainy gross and disgusting and insane, something to be reviled, Sephiroth makes it look cool and elegant, and also insane, something to strive for. He’s honestly a bit too cool, because he totally overshadows the main cast. By the end of the game, I was mostly playing just to see more Sephiroth scenes. Unfortunately, though, I was disappointed in the end. Sephiroth has been cloned numerous times, so most of what we see of him is not the man himself, but rather those clones. The original Sephiroth never actually mutters a single word. If you want to see that, you’ll have to play Crisis Core.

The soundtrack, however, never disappoints. From “Opening Theme, Bombing Mission” on to “One-Winged Angel,” the music never doesn’t deliver. It’s honestly the one part of this whole experience that doesn’t feel dated, and even while playing Final Fantasy XV, I’ll pop 7‘s soundtrack into the car and just chill.

The aspect of this game that is the most dated, however, are the graphics. I’m sure a 3D Final Fantasy game looked amazing in 1997, but today this aesthetic looks like garbage. That’s really the only way I can truly describe it. It is an assault on the eyes. Even a couple years later, with Final Fantasy 8, the graphical capabilities of the Playstation would be put to far better use, especially regarding the pre-rendered cutscenes. In 8, they would look almost like early PS2 era cutscenes. In 7, they look like… uhh…

Whatever that is.

Overall, though, I had fun with Final Fantasy 7. I don’t think it holds up very well, considering what RPG’s would become even within the same console generation (I would recommend games such as Breath of Fire III/IV or Legend of Dragoon if you’re looking for a Playstation RPG that holds up), but I can see why it was such a big deal when it was released. If you’re interested in video game history, or are a fan of the Final Fantasy franchise, definitely play this if you somehow haven’t already. Just… don’t get your hopes too high.

I can’t wait for that PS4 remake, though.

Why I’m Glad Panic! At The Disco “Broke Up” (More Accurate Clickbait Title In Progress)

Controversial statement incoming: I don’t like Panic! At The Disco. In their early days, I always felt like they were riding the coattails of bigger, better bands that they happened to be close with (coughcoughFallOutBoycough). Their music videos in particular were of the “desperate try hard” variety and evoked nothing in me but apathy, while the music itself was bland and derivative. In their current form, as essentially a Brendon Urie solo project, I find them acceptable but not fantastic.

However, in 2009, founding member Ryan Ross and bassist Jon Walker left the band in order to pursue a project of their own, The Young Veins. This project wasn’t just influenced by classic 60’s mod rock; they practically time-travelled back to that era in order to write their songs. As a huge fan of that era of rock and roll, discovering The Young Veins was as fantastic to me as The Monkees’s releasing Good Times was (which, incidentally, is a fantastic album as well and you chould go check it out right now).

Active only from 2009-2010, there sadly is not much to talk in regards to The Young Veins themselves. After a year of touring, Ryan Ross decided to try for a solo career, with Jon Walker announcing on Twitter in 2010 that the band would “be on hiatus for the time being.” In 2010. It’s 2017. They broke up. However, they did release an album called Take A Vacation!, which is what we’re looking at today! HA! I tricked you! This is an album review and you didn’t even know it!

But seriously, I adore this album and would like to share my thoughts on it in the proper Wombat fashion (which none of you know because I only ever wrote album reviews on Medium). So without any further ado, let’s work our way through the track listing.

The album kicks off with their single “Change”, which is about how, despite failing circumstances and runs of bad luck that can only be called karma, “some people never change.” The verses have a fast, punchy delivery that serves to emphasize Ross’s brilliant lyricism and a hook that slows the tempo down enough for you to get the message without killing the momentum. You’ll immediately notice the twang of the guitar on this song, which persists throughout the album and serves to sell their mid-60’s feel. It ends with a quick call to arms for “change”, and it’s gone just as quickly as it came.

“Take a Vacation!” is a Beach Boys-esque jam about how, well, the singer wants to take a vacation. It’s basically “Surfin’ Safari,” but better and with a really nice, intricate keyboard backing that I could listen to for eternity. Swallow me whole, liquid musical genius of Nick White. May I drift forever on the keys of your soul.

This is followed by “Cape Town,” a song about being in love with a woman in the titular town. The singer is clearly not about to spend the rest of his life with her, especially as she already has a husband “in prison.” Rather, it’s more about how he’s met with a rush of feelings for this woman while he’s in Cape Town. It’s very similar to the sort of temporary feelings that songs like Walk the Moon’s “Shut Up and Dance” are about, but here, rather than being excited, the singer is more melancholy, as if the feelings have continued to linger for a while after parting. It’s actually slightly haunting.

My favorite song on the entire album, however, is the Jon Walker-sung “Maybe I Will, Maybe I Won’t.” There’s not any particular reason for it being my favorite, though; it isn’t especially better than any other song, Jon’s vocals somewhat lack the same punch as Ryan’s, and I could not, for the life of me, tell you what it’s about. But it reminds me of the happy-go-lucky songs of the early Beatles or Herman’s Hermits, with a chorus so catchy I find myself singing it days after last hearing it. It just evokes a “fun” feeling inside of me that I can’t shake.

“Young Veins (Die Tonight” is another song about being young and in love and how confusing that can be. It’s rather well done, but rather than talk about the same kind of song again, let’s discuss this for a moment. Youthful love is such a fleeting thing. It’s easy to think you’ll be with your current partner for the rest of your life, but the reality is a lot less blissful. You’re both still changing, still learning, discovering new passions, discarding old ones, and 3-4 years from now, you might find each other to be complete strangers, where once you knew everything about each other. Not only that, but at such a young age, even though it feels like you know everything, you know so little. You need time and experience to learn what you need to hold a relationship together. It’s hard to sustain a serious one that begins so early in life. I’m not saying it’s impossible, but it is very difficult. As Ryan says, “Is ‘young’ a word for dumb, a word for fun?” It’s a word for both. Being youthful does mean being dumb, no matter how intelligent you are. But it also means this is the time in your life when you can have the most fun. Don’t dwell on whether you’ll be with this person in 10 years. Again, as Ryan says, “have the time of (y)our lives every night.”

If you’re listening to it on vinyl, like a hipster (or me, and I’m *totally* not a hipster), Side 1 is closed out by another melancholic song, this one sung by Jon Walker again, “Everyone But You.” Being somebody who is infatuated with the idea of love, but never wants to get married, it almost feels as if this song was penned for me. It’s all about being in love with a woman, but she only loves him back in his dreams. And he tells himself and others that “love is all (he’s) really after,” but knows it’s not true. It’s a very honest song about being dishonest to yourself.

“The Other Girl” is short, bittersweet, and not necessarily to the point. As far as the musical aspect itself goes, it’s one of the better songs on the album. However, being a writer, my focus will always be on the lyrics within a song, which, at face value, are actually well written. However, like all songs on this album, there is a story here, which means I can criticize it for plot holes and unclear wording all day long. And I’m here to say right now: what is up with this second verse? In the first one, he’s clearly talking to someone whose boyfriend is cheating on her, telling her what’s up. But in the second verse, he almost feels personally offended by the boyfriend cheating. He’s not your boyfriend, Ryan! You don’t have to get so invested! Stop trying to figure out why he’s cheating! It’s probably because he’s a horny asshole, anyway, dude, it’s not that interesting!

Unfortunately, “The Other Girl” is probably the best song on the second half of this album. I divide albums into four distinct categories; top-heavy, back-heavy, garbage, and gold. “Take a Vacation!” is very top-heavy, putting all of its heavy-hitters up to the front to grab you, and then letting the more average songs run off their momentum. Actually, we could these kinds of albums “Baseball Albums.” There, that’s a better name.

Regardless, “Dangerous Blues” is the next song, which kind of exemplifies problems I have with slow songs in general. I don’t hate slow songs altogether, but what I’ve found is that they need to have something in them to punch, and “Dangerous Blues” has no punch. Also, ” I know now love is a dangerous blues” and all the variations used within the song is a meaningless line of gibberish that I expect to come from John McCrea, not Ryan Ross.

“Defiance” is, at least, a better song than the last. It’s a slower song as well, but each verse builds up to a powerful crooning of the last word, usually “defiance” but also “wanted” in one case. It’s what meant previously by a “punch.” It’s still not a great punch, but it is enough to keep you interested in the song, and the rest of it is very solid, if not particularly memorable. It’s probably the most average song on the album, which could be damning with faint praise, but that’s all I can really say about it.

Actually, now that I think about it, they just stuck all their slower, sadder songs on the second half, didn’t they? I prefer it when songs are paced across an album a bit better than this. It would probably help a lot if the album’s track listing was switched up a bit better, so that all the fast songs and all the slow songs weren’t back to back. “Lie to the Truth” here is a perfect example of this. On it’s own, it stands as a great song, with some of the best lyricism on the album. “I’ll lie to to the truth, ’cause you lied to it too” is one of the best lines Ryan Ross has ever penned, comparable even to some of Lindsey Buckingham’s work on Fleetwood Mac’s Rumours, but because of the never ending snoozefest on the second half, it can easily get lost. If this were to come after, say, “Maybe I Will, Maybe I Won’t,” this song would have so much more oomph, and I’m very saddened by this loss of potential. As it, keep your ears open for this one, because you don’t want to miss it.

The album closes out with “Heart of Mine,” which I quite honestly dislike. It’s a wall of indistinguishable noises, fighting to drown each other out. It’s like listening to Oasis, you’re gonna walk away with one bleeding ear. And the lyrics sound like a discarded Weezer track from Red Album, with a terrible platitude for the chorus and strangely specific lines in the chorus. “Girls on the equator never even compare?” Were we asking for a comparison? Hold on, let me scroll up… No, no we didn’t.

However, as poor as the second half is, as a whole, Take a Vacation! is still a really great album by a very talented band who should have done more. Ryan Ross is trying to get a solo career going, from what I’ve seen, but it’s all very bland and uninteresting. Some great minds need buffers in order to achieve their full potential, and that’s what Ryan had in Jon Walker. Their teamwork is what made this album so fantastic, and I really recommend you give it a listen so you can see what I mean.