We’ve linked videos in this series many times before, but it’s wuite a doozy this time. Final Fantasy is known to have a number of combat bugs. Critical Hit chances are determined by the index of the weapon in the weapon table, not the stat in that table; weapon special properties just don’t work, regardless of what the Nintendo Power Strategy Guide says; and more.

This isn’t just an explication of those bugs though, it goes through all of how basic (non-magic) combat works in the game, explaining the value of all the stats. That’s one of the things about RPGs: you’re told items are “+4 better,” but often those values don’t match up to what they’d mean in D&D, where a plus is usually either a one-point increase in damage, a 5% improvement on odds for something, or both. Final Fantasy’s attack roll turns out to be a 1-in-200 die, so, a mere +1 is negligible to attack odds.

They probably didn’t elaborate on what these numbers mean in the manual because, at the time, Square and Nintendo were keen to get players hooked on Final Fantasy and other JRPGs, and nothing would dissuade them from picking up the game than to be confronted with battle formulae in the manual. Looks too much like school work! But they could have at least mentioned something about relative chances?

If you really want to know what the numbers mean, the video is there waiting for you. You can just let your eyes glaze over during the math if you want. I won’t tell the teacher!

rodneylives

Sundry Sunday is our weekly feature of fun gaming culture finds and videos, from across the years and even decades.

I’ve posted TerminalMontage’s “Something About” series of satirical game animation videos before. The Fruitless Quests of Nabiu (8 item playlist) is another thing from them, but unlike those it doesn’t refer to any specific game. It just uses the tropes of various JRPGs in its animation and storytelling. This allows it to be much more accessible to non-game playing viewers, and I think it also makes it much better at storytelling. I quite like this new direction they’re going in, and recommend them! Please take a look.

So far, Jeremy Chinshue has released two main episodes of The Fruitless Quests of Nabiu, and six promo shorts.

The shorts: Potion Practice (44s), Beastiary Update (1m), Wandering Doortal of Rescue (1m), Fatigued Fungi Story (46s), Nabiu Stepped on a Plush Trap (38s, ad for merch) and Nabiu’s Off-Meta TCG Duel Deck (1m)

The “main” episodes are much longer and tell a continuing story. Note that most of the dialogue in these animations are presented in JRPG-style text boxes. I don’t mind it myself, but I have heard a couple people express annoyance at the chattering noises they make as they speak. Please try to bear with them.

Episode 1 (21m) introduces Karoto the bard, and sets up what Nabiu, an intern “M.A.G.E.” working for Wizzro the Wizard, is doing, searching for a lost magical chair:

Episode 2 (20m, the most recent to date) continues the duo’s quest, where they encounter a very strange town, and are also joined by Brolly the Knight:

rodneylives

The World Wide Web is now over thirty years old. In that time, more content has vanished from it than remains now, but some of it can still be dredged up from the shadowy archives of the Wayback Machine. This is the latest chapter in our never-ending search to find the cool gaming stuff that time forgot….

We posted to the long-lived FFVI site (which a handful of old people may still think of as Final Fantasy III) Caves of Narshe a few days ago. In looking up stuff about it I ran across a few other sites too that I figured I might call out. Because while humans may read this site, Google reads it too, and if I can help those other sites somehow rank above the evil and exploitive Fandom sites, then I think I can devote a day’s post to that cause.

I am being hyperbolic when I say that video game sites used to be 10% of the internet by weight, but it doesn’t feel like it. And that used to be a good thing. Nowadays it seems like many of the people who were enthusiastic about both games and the internet also have strong opinions about Ethics In Game Journalism and 8chan. I don’t know if that’s true about the people I’m linking to now; I can only hope that it isn’t.

There’s Imzogelmo’s Final Fantasy III, who wrote game patches for the ROM, tools for examining it and investigations of how it works.

Djibriel’s page Collapse of Heaven and Earth is hosted by Caves of Narshe, and bears information on FFVI, FFV and a couple of other games.

Also hosted on CoN is Master ZED’s list of FFVI (III) patches. These patches are useless to people playing the remakes of course: the ones for Playstation, Gameboy Advance, mobile (which I hear are gone now, good job SquareEnix), Steam, Switch and probably other platforms. There are some guides here too. One entertaining one, if you are entertained by the kinds of things that I’m entertained by, is SharkESP’s Low Level FAQ, a monument to breaking the game.

rodneylives

What kind of focus image does a normal standard regular website get? Well how about a screenshot?

rodneylives

In particular, the article mentions how the two of the principals behind Super Mario RPG went on to work on Mario and Luigi, and how Nintendo hasn’t made developing the series any easier with increasingly strict guidelines on how the characters can be used, like how modified versions of iconic, yet generic, types like Toads and Goombas can’t be created, possibly for fear of diluting their brands.

The article also notes that both subseries have undergone revivals lately, with Origami King and Thousand Year Door in the Paper Mario series, and the new Brothership in the Mario & Luigi line, despite the shutting down of AlphaDream, who made them. But it’s not getting easier to make new games in either series, with Nintendo’s growing strictness over outside use of their characters and the serieses painting themselves further into a corner with each installment consuming more of the feasible possibility space.

rodneylives

My latest game review is for Xanadu Next, a bit of an old school ARPG that was solid throughout.

Josh Bycer

Owner of Game Wisdom with more than a decade of experience writing and talking about game design and the industry. I’m also the author of the “Game Design Deep Dive” series and “20 Essential Games to Study”

game-wisdom.com/

Here’s the gist:

Earthbound maintains a flag that the video calls the Overworld Status Supression Flag. If this flag is on then your characters can’t get a number of statuses like Sunstroke, or take environmental damage. If this flag is on, though, and your party loses to a scripted (not random) battle, then a bug is triggered that’s popularly called the Game Over Glitch: the battle loss cutscene music plays, but the screen turns black and nothing appears to work. In fact, the game has not crashed: entering the Town Map screen, or feeling around for and entering a door, will display graphics again, although glitched out. The Game Over Glitch is best known for happening if the player loses to one of the Shattered Man fights in the Museum after the game has been won: during the ending, the Overworld Status Supression Flag is set on permanently, so getting into any scripted fight and losing will result in the glitch happening.

As it turns out, random encounters disable the flag. So there is a hard-to-avoid Mole Playing Rough at the entrances to areas with environmental damage, to make sure the flag is turned off. But the mole is just hard to avoid, not impossible, so if you can avoid it, and all other random enemies of course, and then reach a place with a scripted fight, then lose to it, the glitch will still happen.

rodneylives

For this perceptive podcast, I sat down with Camila Gormaz and Pablo Videla from This I Dreamt to talk about Long Gone Days. We spoke about how the project began, what it was like creating a game in a modern setting and trying to balance the story with the JRPG-inspired combat.

Game

This I Dreamt:
Website
Twitter
Discord

Serenity Forge:
Website
Store Page
Twitter
Facebook
Discord
Instagram

Josh Bycer

Owner of Game Wisdom with more than a decade of experience writing and talking about game design and the industry. I’m also the author of the “Game Design Deep Dive” series and “20 Essential Games to Study”

game-wisdom.com/

The expressive power of an English sentence is great, but in a way, that of an equal number of bytes of assembly is greater, due to it living and working in the machine, and not just in the head of the player. A page of text is about 700 words; at an average of five characters each, uncompressed that’s 3,500 bytes, or 3.5 kilobytes. By contrast,the whole OS of the Commodore 64, Kernel and BASIC ROMs combined, is 8K.

Most JRPGs are thought to have lots of text, but really they have less than you might think. Square used a few tricks to make a little text seem like more than it really was: like the use of larger fonts, and using graphics to put on little skits to illustrate scenes instead of just displaying them as plain old words. And of course there’s compression. A good compression scheme, while troublesome for fan translators, can still cut down the size of text by half.

But Earthbound is a unique game in many ways, and one of them is the amount of text it has. Creator Shigesato Itoi is a copywriter and essayist, and he wrote a ton of words for Mother 2, Earthbound’s Japanese version. Translator Marcus Lindblom gave it a localization that many regard as one of the greatest of all, that manages to get across much of the wit and charm of the original.

It was a huge task. The text dump on GameFAQs, compiled by someone going by the name “BlueberryButtface,” is 391 kilobytes; the size of the game’s ROM is a bit over 3 megabytes. A direct comparison isn’t really helpful because the dump on the page is uncompressed, but it’s still useful to get a sense of scale.

A lot of this text, as it turns out, is hidden. Not in the sense of being locked off from the player, unused in the game. The text is findable in the game, but much of it is obscure, available only at a specific part of the game, or easy to miss. And, this being Earthbound, much of the text is pretty funny!

On Youtube (again), Cybershell has put together a 28-minute video that uncovers much of this hard-to find text. I already knew about much of it, because I’m weird like that, but it’s nice to have someone present a guide to what’s there and how to find it. A lot of it is the text of the Hint Guy, who, as in the style of Nintendo’s games at the time, will give you a pointer to whatever you have to do next in the story if you pay him a fee. All the hotels in the game have newspaper text appropriate to the point of the story you’re in, even the one way back in Onett, the starting town. Items have interesting descriptions if you think to ask for them. And of course, after you win the game, you can go back in and talk to the NPCs on the way back home, and frog help me, Shigesato Itoi wrote, and Marcus Lindblom translated, congratulatory text for nearly everyone in the game. And there’s more, even than that.

Here’s the video. It’s a fun use of half an hour, if you have any interest in Earthbound.

Rare and Obscure Dialogue in Earthbound (Youtube, 28 minutes)

rodneylives

ꔠ⋲ɣ-ơ! 𝕂ηơ⍵ ɣơ⊔ ⍭ꔠ⋲ꭱ⋲ β⋲ ᨓꭱ. یƌ⍭⊔ꭱη ⍭⋲ⵋ⍭ 𝙶⋲η⋲ꭱƌ⍭ơꭱ ơη ⋲ƌꭱ⍭ꔠ ⟟η⍭⋲ꭱη⋲⍭ βơ⟟η𝙶? ⟟⍭ ηơ⍭ β⋲ φ⋲ꭱⴥ⋲ᘓ⍭ β⊔⍭ ⟟⍭ ơⴥ ی⊔ⴥⴥ⟟ᘓ⟟⋲η⍭ ⍵ƌᘓ𝕂⟟η⋲یی ⍭ơ ᨓƌ𝕂⋲ ⟟ᨓφꭱ⋲یی⟟ơη ơη ⴥꭱ⟟⋲ηɗ ƌηɗ ᨓơηی⍭⋲ꭱ ƌℓ⟟𝕂⋲! ɗƌ𝕂ơ⍭ƌ!

(Did you know there is a website that will convert whatever you enter into an approximation of the text from Mr. Saturn from Earthbound and Mother 3? It doesn’t look exactly like it does in the games, but it is certainly reminiscent of it. Dakota! Dakota?)

It turns out there is a TrueType Mr. Saturn font as well, as presented in this Reddit post. Note that this link should not be construed to mean that I in any way approve of Reddit, or of how much internet content that it’s concentrated under its fetid profit-seeking embrace. That’s where this is, so that’s where I linked. It is a vectorized version of a pixel font recreation of Saturn-speak, which is available here. Message over boing!

rodneylives

One recent thing I learned is that Wizardry, the CRPG series began in 1981, that hasn’t seen a new version from its creators since 2001, not only has seen Japanese sequels that faithfully follow the original style, but starting in 2022 and continuing today is a manga faithfully set in Wizardry’s world, called Blade & Bastard. It’s so faithful that it bears the Wizardry logo on its cover, looking similar to how it did on the 1981 Apple II box. Some logos get updated over the years, but classic computer CRPGs tend to keep theirs for the long haul.

Reading it legally at the moment, in English, isn’t possible. There is a version that can be found on Amazon, but don’t be fooled: despite its relatively large filesize, it turns out that’s just text, and each volume is pretty short, like, around 30 pages short. There are websites where you can find fan-made scanlations of the manga. I won’t link to them, but they’re not hard to find. My suggestion, if you’re interested in reading it, is to use them for now, and get the official translations of the manga when they arrive. Signs seem to indicate they may be coming in October.

I’ve not read enough to know where the story is heading, but currently it’s seemed to mostly cover the basics of dungeon exploration life. Iarumas was a corpse found sealed in a part of the dungeon that shouldn’t have had human visitors. Revived at the Temple of Cant, he (as seems common for fantasy anime and manga protagonists and JRPG heroes alike) has no memory of his past life. He makes a living bringing dead adventurers back to the temple and getting a portion of their revival fee, which is a nice nod to one of the unique aspects of classic Wizardry.

He soon picks up a couple of other party members. Most descriptions I’ve seen fixate on “Garbage,” a girl found being used as bait by dungeon monsters, who is a fierce and strong Fighter-type but talks and acts like a dog, but she mostly seems to be in it for comedy. The actual protagonist seems to be Raraja, a kid thief who had been paid to try to use a magic item to attack Iarumas in the dungeon, but the item in fact teleported both of them. The kid joins the party because, as a thief, he’s the only one who can meaningfully interact with treasure chests in the dungeon.

They also meet the “All-Stars,” the most popular adventuring group in town, a group of high-level characters who originally found Iarumas’ mummified body.

The connections to classic Wizardry are many:

• It faithfully uses the spell names from the games and their purposes, to the extent that it adds a bit extra to a couple of scenes if you know what the spells are.
• The Temple of Cant is in operation and just as money-grubbing as they are in the games.
• The MURMUR CHANT PRAY INVOKE messages are alluded to when a character is revived in the early pages.
• Dead bodies who aren’t revived turn into ash. The priest character says this means God has decided they’ve lived a good-enough life, but they take their fee all the same. In the manga story, being ashed is the end, but in the games recovery from ash is possible, but at double the cost, and if it fails too the character is gone entirely.
• Iarumas maps out the dungeon on graph paper!

• The characters mostly keep to their class abilities, but some are obviously multi-classed; Iarumas, for instance, seems to currently be a ninja, but he must have picked up some spells in a previous class.
• A bishop character identifies items, because if they have them identified at the trading post there’d be no profit, because the identification fee is the same as the sale price.
• The trading post is run by an elf named Catrob, which is a reversal of Boltac the dwarf, who owns the trading posts throughout the early Wizardry games.
• The Ninja is named “Hawkwind,” a reference to a character in Wizardry IV. (They may also be one of the pre-mades in Wizardry I, but I haven’t managed to get it running to check.)
• Being teleported into solid rock is mentioned at one point.
• Characters seem to be aware of alignment, and experience levels.
• Iarumas seems to be a character who’s a holdover from the Apple II era of Wizardry, because he sees the dungeon in wireframe!

I hope an official translation of the manga comes out before long, because I’m rather looking forward to reading it!

It was brought up by ChurchHatesTucker on Mastodon that this isn’t even the first Wizardry manga, there was one in 2009 called, in the way of manga, Wizardry Zeo. It was considered a “shounen” manga, for a target audience of young teen boys. How many teenagers in Japan were playing Wizardry in 2009, I wonder?

And there were even one or two earlier that that, called Wizardry and/or Wizardry Gaiden. There were Wizardry Gaiden games in Japan, which were alternate scenarios using the same rules but with different mazes and story, and this/these may have been a spinoff of that/those.

rodneylives

The video (21 minutes) has a lot of interesting changes though. Paper Mario: The Thousand-Year Door has sustained a huge amount of fan interest over the years, due to its story being actually really good for a Mario game, it’s terrific sense of humor, and its deep gameplay. It’s generally agreed to be the highlight of the whole Paper Mario series, building on the ideas of the first game.

This is a good opportunity to muse upon what the gameplay merits of TYD are. I identify these:

• The combat system, which keeps most of your moves useful in different ways by giving them special properties that make intuitive sense. Jumps can’t hit spiked enemies or enemies on the ceiling, while hammer attacks only hit the first enemy in line and can’t hit enemies in the air. There are exceptions to these rules, but they’re more costly. Follower attacks also have their own limitations along these lines.
• The action commands, and Guard and Superguard functions. Paper Mario wasn’t the first JRPG to add a timed minigame to combat (that may have been Super Mario RPG), but the design here is very good. Most moves have an action command minigame where good performance increases the move’s power. Guard reduces the damage taken from attacks by pressing a button in a brief time window, while Superguard negates damage if a different button is pressed in a briefer time window. The button you press changes both the difficulty and the reward. Both aren’t easy to perform consistently, as many enemy attacks have tricky timing, but the Superguard bonus is great enough that it’s really tempting to use it. All three of these functions largely replace the general randomness and variance in JRPG combat, making it a lot more skill-based. (Finding ways for players to demonstrate skill in RPG-style games is a long-standing design challenge. I should write something about that here in the future!)
• And then there’s the joy of exploration, and the many secrets in the game world that reward it. Paper Mario had a bunch of them, but TYD really goes overboard. I can’t name a game with as much cool stuff thrown into its game world for players to just happen upon. The old line used in many Nintendo game manuals is to “try everything,” but how much of everything should the player really try? TYD is one of the few games that feels like it lives up to the true breadth of that word. There is a character in the game whose purpose is to give the player hints at finding obscure secrets. The Trouble Center offers further rewards and fleshes out the game world by giving Mario and friends the opportunity to perform helpful tasks for people. There’s so many things to do!

Super Paper Mario also had a lot of tricks, but it had a worse story (IMO), and it completely abandoned the classic Paper Mario battle system. Later Paper Mario games went in a completely different direction with unique battle systems for each. It was Thousand Year Door that got the most right in a single game.

So, um. The video! Yes, watch it, it’s interesting.

Obscure Changes in Paper Mario: The Thousand-Year Door (Youtube, 21 minutes)

rodneylives

This interesting, and even slightly useful, website combines the various layers that the cult classic SNES JRPG Earthbound uses to construct its funky battle backgrounds. There are more combinations here than actually appear in the game. There is a GIF-making function, but it seems to be broken for the moment. You can still make them full-screen and save screenshots, that’s what I did, though unfortunately doing it that way means they aren’t animated.

Here are a few still examples.

Earthbound Battle Backgrounds (a bona-fide website!)

rodneylives

It’s not completely positive, as they point out the game’s high encounter rate and the slowness of battle, but gosh there’s a lot of awesome things in Skies of Arcadia that don’t seem to have ever been revisited in other games.

The main overworld is one in which you have an airship and fly around a world that has floating islands but no real ground. Sure, that’s been done by other people, and more than once, and fairly recently too, but SoA brought some really interesting nuance to it that gave players good reason to explore, like interesting optional subquests. You could find mysterious locations out in the world and sell them to the Explorer’s Guild for extra money, but only if you’re quick enough to stay ahead of rival ships also looking for them. There was also an alternate form of combat, ship-to-ship (and sometimes ship-to-huge-monster) battles, that played out very differently from the JRPG norm. All the extra things to do gave the game this weird veneer of simulationism, which I always find interesting, even if it was largely an illusion.

Skies of Arcadia was originally a Dreamcast release, one of only two substantive JRPGs made for that system (the other was Grandia II), and fell victim to the Dreamcast’s short life and subsequent exit from console manufacturing by Sega. It did get a remake for the Gamecube, but that was the last we’ve seen of Skies of Arcadia, other than character cameos in Sonic racing games.

JRPG Junkie: Back to the Backlog – Skies of Arcadia

rodneylives

Kimimi the Game-Eating She Monster writes lots of interesting stuff, and we’ve linked to her several times before. In fact I have a whole Firefox window devoted to pieces she’s made. This one is about the Super Famicom (and others) game Brandish, one of Nihon Falcom’s many interesting RPG experiments.

Brandish is played in a dungeon where each level is a map, and monsters appear on it, and you attack them in real-time, without going to a separate screen. That is to say, combat isn’t “modal.” When switches change the state of the dungeon, you see their results happen immediately. Areas blocked to you are shown as just plain wall until you reveal them.

These things all make Brandish seem almost like (here’s that word again) a roguelike. But Brandish’s dungeon isn’t random, but set; the game isn’t a generalized system like roguelikes often are, but has set scenario. That makes it seem like a lot of other early RPGs. And one weird thing about it that’ll definitely require some adjustment is, Brandish is programmed so that your character always faces up; if you rotate to face a direction, the dungeon rotates around you. But the game doesn’t use the Super Nintendo’s “Mode 7” rotation feature: the dungeon turns immediately, which is disorientating until you get used to it, and even, it’s still a little disorientating. Brandish probably works that way because it was originally a Japanese PC game, and to implement Mode 7 rotation would mean having to rework some graphics to reflect the different perspectives.

Here’s a Youtube video of a playthrough. Skip past the intro, and what I’m talking about should become clear:

And now you’re ready for Kimimi’s own piece on Brandish. She likes it! And I agree, it’s a very interesting system. Brandish was popular enough to get multiple sequels. If you want to learn more about the series generally, Kurt Kalata’s Hardcore Gaming 101 has a good introduction to them.

Kimimi the Game-Eating She Monster Covers Brandish

rodneylives

Sundry Sunday is our weekly feature of fun gaming culture finds and videos, from across the years and even decades.

Among other accomplishments (most of them recently have been musical), years ago DoctorOctoroc made a number of 16-bit Square-styled videos based on a number of media properties. We linked to their humorous take on Breaking Bad a while ago. This is another, from around the time of 11th Doctor Doctor Who. You might say that DoctorOctoroc doctored 11th Doctor Doctor Who. Gimmie the news, I got a bad case of loving you!

Here is that take, which will take four minutes of your time, and is suitable to watch during your stay in some kind of medical waiting room.

rodneylives

Here are a small selection of included magazine scans….

GamePro’s review of the TurboGrafx port of Cadash, which unlike the Genesis/MegaDrive’s version has all four characters from the arcade game. The review’s written by “The Pizza Boys,” and has slangy writing and goofy little cartoon faces over the review scores, because it’s in a magazine written for teenage boys from 1991. Notice, the whole review is seven paragraphs, with four section headings, and four “PROTIP” inserts that don’t offer useful advice:

The review of Dragon Warrior from Game Player’s. I love it when magazines from this era publish the address of Nintendo of America. This review doesn’t really tell you much about the game though:

I had forgotten about this phase in Nintendo Power’s history. Check out their dissing the inventory of Earthbound, Nintendo’s own product! (I disagree, BTW, Earthbound is designed around its inventory limits, and they’re an essential part of the game!)

VideoGames & Computer Entertainment has always had a place in my heart, and Clayton Walnum is one of my favorite reviewers. In its heyday it had a no-nonsense approach to their reviews that appealed to me. It was the exact opposite of Electronic Gaming Monthly, a magazine that, honestly, I never much liked because of their loud editorial style and tendency to bloat their magazine up with advertisements:

Who doesn’t love Grandia? This review reminds us that we almost didn’t get an English version of it!

Little King Story is, no lie, one of the most overlooked Wii games of all time:

“VideoGames: The Ultimate Video Game Magazine” had a redundant title, but some fun layouts. Here’s their two page review of SNES Ogre Battle:

Sega Visions’ review of Phantasy Star II, a very grindy game without much story really, but with some really great twists:

EGM’s review of the remake of Shining Force for GBA:

GamePro’s review of Suikoden II didn’t age real well:

Vay, here mostly to show off the anime character portraits:

Zelda II in a late review from The Nintendo Official Magazine, with Dr. Mario riding along:

The JRPG Review Archive (spritecell.com)

rodneylives

Quest of D was a dungeon crawler where the player’s inventory was collected as physical trading cards, that were scanned into the game in order to use them. Shining Force Cross was similar in concept but without the cards; it lasted until 2016. And finally there was Soul Reverse, introduced in 2018.

The world of Japanese arcade games from around this time is largely a big dark area to me, and right around the time when the US arcade industry started its death spiral. It was also a time when server connectivity and online updates came into vogue, meaning when the servers went down, many of them ceased to be playable. It’s really sad that this has become essentially a lost age of gaming, at least to people outside of Japan. We probably couldn’t play them then, and we certainly can’t now.

Dungeons & Deckbuilding: Sega’s Lost Arcade RPGs (JRPG Junkie)

rodneylives

They often fudge the exact age they’re trying to depict, with genuine medieval institutions sitting beside Renaissance improvements like taverns and shops. Nearly of them also put in magic in a general D&D kind of way, sometimes institutionalizing it into a Harry Potter-style educational system.

Notably, they usually choose the positive aspects of that setting. The king is usually a benevolent ruler. It’s rare that serfdom and plagues come up. The general populace is usually okay with being bound to the land. The Church, when it exists, is sometimes allowed to be evil, in order to give the player a plot road to fighting God at the end.

Hyrule of the Zelda games is likely the most universally-known of these realms, which I once called Generic Fantasylands. The various kingdoms of the Dragon Quest games also nicely fit the bill. Final Fantasy games were among the first to question those tropes, presenting evil empire kingdoms as early at the second game.

John Szczepaniak’s article at Time Extension dives into the question by interviewing a number of relevant Japanese and US figures and developers, including former Squaresoft translator Ted Woolsey. I think the most insightful comments are from Hiromasa Iwasaki, programmer of Ys I and II, who notes that this Japanese conception of a fantasy world mostly comes from movies and the early computer RPGs Wizardry and Ultima, that the literature that inspired Gary Gygax to create Dungeons & Dragons (which in turned inspired Wizardry and Ultima), especially Lord of the Rings and Weird Tales, were generally unknown to Japanese popular culture. Developer Rica Matsumura notices, also, that there is a cool factor in Japan to European folklore that doesn’t apply, over there, to Japanese folklore.

It’s a great read, that says a number of things well that have been bubbling up in the back of my head for a long time, especially that JRPGs recreated both RPG mechanics and fantasy tropes at a remove, that they got their ideas second hand and, in a way similar to how a bunch of gaming tables recreated Dungeons & Dragons in their own image to fill in gaps left in Gary Gygax’s early rulebooks, so too did they make their versions of RPGs to elaborate upon the ideas of Wizardry and Ultima without having seen their bases.

Why Do So Many Japanese RPGs Take Place In European Fantasy Settings? (timeextension.com)

rodneylives

It’s also the first Dragon Quest/Warrior game that allows for class changing, which resets a character to Level 1 (similar to an human AD&D character who dual-classed), but only halves their stats, and lets them keep all the spells they learned. Since they’re Level 1 again, they gain levels very rapidly for a while, allowing them to quickly surpass their previous heights. It’s kind of an early version of the “prestige” mode of clicker games, where you reset all your progress in exchange for faster progress afterward!

It also has a cool story that eventually connects with the first two games, and has a good variety of activity, including growing a town from scratch like 25 years before Breath of the Wild and betting on monster fights! It’s also got all the challenge of the early Dragon Quest games, with later monsters who can cast instant death spells on everyone in your party at once, as well as doing other horrible things to them.

Because Dragon Warrior III doesn’t pull its punches against the player, the various tricks that the narrator does to use the engine’s bugs against it feel like playing fair, and yet, even with full knowledge of the game and multiple player leveling and cash gaining strategies he still has problems once in a while. It’s a really tough game!

This may end up being U Can Beat Video Games’ magnum opus, at least of the NES era, it’s a really long game that takes three videos, of almost 12 hours total length, to cover in its entirety! Here they are:

EPISODE ONE: Creating Your Party Through to Getting the Ship (3 hours, 59 minutes)

EPISODE TWO: Getting the Ship through to Defeating Archfiend Baramos (4 hours, 22 minutes)

EPISODE THREE: The Dark World to the Final Boss, Plus Extras (3 hours, 35 minutes)

Please enjoy, and Rubiss help us all!

rodneylives

JRPG Junkie looks at the Super Robot Wars series, the mostly-Japan-only giant fighting robots game series with over 70 entries and that crosses over everything (in various games) from Gundam to Full Metal Panic to Cowboy Bebop to Captain Harlock to Gunbuster to Giant Gorg to Evangelion to The Big O. The article, which is far far more knowledgeable about it than I am, is an excellent place to start with this extremely prolific series.

Some of the Switch versions of these games have English translations built-in, and because you can log onto any region’s store on the Switch, those particular versions can be enjoyed by English-speaking players the world over. But there are tons of these games, and many have fan translations, if you’re willing to jump through those particular mechanized, articulated hoops.

Where To Start With Super Robot Wars

rodneylives

On Romhack Thursdays, we bring you interesting finds from the world of game modifications.

The early days of JRPGs contain many games that are kind of difficult to play today. The genre was just getting formulated, and while there was a lot of ingenuity and interesting ideas being played with, there were also many games where difficulty, and grind, were the entire point. When a game as simple as Dragon Quest, known first in the US by its localized title Dragon Warrior, had to justify its sale price, it had to present players with an experience that would be as long as a challenging NES platformer, or longer, within its limited memory space, and it did so with grind, asking players to accept fighting hundreds of monsters one-on-one in a basic menu-based combat simulation as fun enough to make up for most of the game.

At the time, in Japan, it worked, but it’s telling that Dragon Quest II has much deeper combat, and many more kinds of monsters, than its predecessor had. Dragon Warrior had a tough time breaking into the US market because of its simple gameplay, enough so that eventually Nintendo, who published the game in North America, resorted to giving away copies as a subscription premium for Nintendo Power.

What was a tough sell to Western players even then is much more difficult to enjoy now. Compare it to the much deeper, not to mention longer and better animated, titles made later in the series. It’s mostly enjoyable only for nostalgia factor and historical interest.

I’m not going to claim it fixes everything the game, but this hack improves its play a lot by decreasing gold prices and experience requirements ten-fold. It decreases costs: changing the earn rate of these quantities would very quickly hit Dragon Warrior’s fairly low variable caps, since the game stores both in 16-bit values. You can take the 120 gold you get from the King’s chest, buy an 18 gold Copper Sword in Brecconary, then run to the north-west to Garinham and buy the sturdy Half Plate armor for 100! With these items, even at low levels, you should be able to vanquish all of the enemies in this section of the map, except perhaps Magicians, whose Hurt spells bypass armor. But it only takes defeating one Slime to reach Level 2, two more for Level 3, and two more than that for Level 4. Slimes won’t suffice for long, but by that point you can munch on much stronger foes. This greatly reduces the number of fights a player must win to complete the game, and makes it possible to finish in less than two hours.

Preserving some modest amount of challenge, the gold costs of Inns are left the same, making them effectively ten times more expensive. Inns were never very expensive in the unmodified game, so this makes staying the night to restore your HP and MP more of a strategic choice. A tip: remember there’s a guy in Tantegel Castle who will restore all your MP for free!

If even a two-hour Dragon Warrior is too much effort for you, you could watch this playthrough of the hack on Youtube, which is about an hour and a half in length:

romhacking.net: Dragon Warrior – 10x Experience and 10x Gold

rodneylives

Portopia is the biggest missing piece, to many US enthusiasts, of the history of Japanese gaming. It led to the creation of Dragon Quest, but it had a huge influence all on its own, which can be felt in a wide variety of other Famicom titles, including some that did make it to the US. Why do The Goonies II and Dr. Chaos have those weird room-based adventure sections? It’s because of Portopia, trying to mix its kind of menu-based first-person gameplay with the pre-existing side-scrolling platforming game style popularized by Super Mario Bros. It seemed random to Western players at the time, but Japanese players would have known exactly what those games were trying to do.

We’ve mentioned Jeremy Parish and his various Works projects before, and they’re always interesting and informative, a great antidote to the strident style of many popular Youtubers, and this one is especially important to anyone seeking to understand how the Japanese game industry grew and evolved in the Famicom era.

Portopia Renzoku Satsujin Jiken retrospective: Beefing in Kobe | NES Works Gaiden (17 minutes)

rodneylives

Live A Live is currently the toast of the Switch, with over 500,000 in sales since it was released. Not bad at all for a remake of a Super Famicom game from Square’s classic era that had never made it out of Japan until now.

AustinSV on Youtube presents a video that goes into some detail about what was changed between the versions. If you’ve played the original (I’ve played a fair bit of it through the popular fan translation from Aeon Genesis), you’ll know a few things were definitely tweaked. I remember the Prehistory, by far the funniest chapter, being rather more risque in its humor, although the fart jokes and poop flinging were left mostly intact. Some of the changes are really interesting; they translated the whole Middle Ages chapter in iambic pentameter!

Which Version of Live A Live Should You Play? The Original + Switch Remake Reviewed & Compared (Youtube, 16 minutes)

rodneylives

Some RPGs, instead of coding area transitions all as a sequence of doors and destinations, instead use a form of stack to record where the player was when they entered the door. “Stack” here is a term from computer science, a data structure consisting of a region of memory and a pointed within it. Data can be “pushed” onto the stack, which means putting some number of bytes onto it and advancing the stack pointed by that number. Stacks can “grow” either up or down, meaning when the pointer advances, it’ll go in that direction. When the data is needed again, it’s read off the top of the stack, then the pointer is pulled back to its original position.

So how the door stack works is, when a player enters a location, say enters a town from the overworld, their location before entering is “pushed” onto the stack and they are then moved into the town’s entrance. When they exit the town, their old location is “pulled” from the stack, leaving it empty. (Actually, the data is still there, but because the stack pointer has been decremented, it’ll be overwritten the next time the player enters an area.)

Why use a stack? Well mostly it’s a convenience thing for the programmers. A door’s location can either be “into” an area, or “out of” it. “In” doors have to know where they’re going, but “out” doors just have to know they’re going outside. But it helps in one particular instance; if a game has a spell or item like “Exit,” “Outside,” or “Warp,” it can work simply by pulling every location off the stack until it gets to the last one. This means the programmers don’t have to have every location “know” where a given area is on the World Map. Just rewind the door stack until you get to the last location on it, that must be it.

Well there’s a subtle bug in some locations in Final Fantasy IV where some transitions that push when they should pull. One such transition is the one to the pub in the Dwarven Castle. When you enter the pub, the way in is pushed onto the stack; when you exit, instead of pulling that location off, the way out is pushed onto the stack.

There’s only so much memory reserved in a stack, which for old games is usually implemented as a single page (256 bytes) of memory. The pointer into it is thus one byte long, and so if the stack fills up, it wraps around. If you find such a door, and go through it enough times, you can cause it to overflow on purpose, with unexpected results.

This can be taken advantage of in Final Fantasy IV by overflowing the stack, then going through a pull-door, which causes the game state to be read from unexpected memory. Speedrunners (you just knew they’d be involved) use this to flip rapidly to the end of the game. Most players will never notice this very subtle bug, since when you return to the world map the game knows enough to completely clear the stack.

Something I’ve noticed about the 8- and 16-bit Final Fantasy games is, if there is a potential for an obscure bug somewhere, there is almost certainly going to be an example of that bug somewhere in that code. A lot of these bugs are only visible to a player with obsessive observation or repetition. This results in spells with unexpected effects, stats with no function, features that don’t operate, and item duplication bugs. Truly, it was an age before unit testing.

Final Fantasy Wiki: 64 Door Hierarchy Glitch

rodneylives

“We scour the Earth web for indie, retro, and niche gaming news so you don’t have to, drebnar!” – your faithful reporter

Found on Nintendo Everything and reported by Brian, the Wii shop channel is back online after an absence of months. It had been down for “maintenance.” Mind you, it’s still impossible to buy software that hadn’t been purchased before 2019. It’s still just a way to reacquire things you had already bought. Sigh.

Ed Smith at PCGamesN notes a speedrunner at this year’s SGDQ has admitted to faking parts of his run, passing off a played-back video instead of performing it in real time, and has been banned from future events. While SGDQ was held in person this year, a few of their runs were still done remotely, and the faked run was one of those. The player in question is Mekarazium, and the run was for Metal Gear Rising (focusing eyes on paper) “Revengeance.”

At NintendoLife, Alana Hauges reviews Square Enix’s remake of the classic Japan-only JRPG anthology Live-A-Live, which I’m given to understand is pronounced like “Lighve Alive,” with long-I sounds. It’s been given the Octopath Traveler treatment, with pixel art akin to the original game placed in a 3D environment. It’s structured like a collection of short stories, all greatly different from the others. I have experience with the original game, and it contains several extremely interesting sections, including a space mystery, a Wild West puzzle segment, and a hugely complex and interesting ninja infiltration scenario where the player has to make many choices that each affect the outcome. While in the end all of the stories are linked together, on their own each is a small complete game in its own right. It’s long been a shame that the game as been unknown outside of Japan, and I’m excited to see it getting a chance elsewhere.

CBR’s Zachary Pilon rhetorically asks, why are roguelikes so popular? WHY INDEED IT IS AN MYSTERY. (Note: rodneylives spent like four years writing about them back at GameSetWatch.)

At The Verge, Andrew Webster states that the Playdate’s launch was a unique opportunity for small dev. People who bought the device have access to a number of games released periodically in a “season,” but software can also be loaded onto the system separately, and itch.io has an active community of these developers.

rodneylives

Franken has made the internet rounds the past few days, being praised by Derek Yu and Video Game Dunkey. I was pointed to it by our own Kent Drebnar, the one-celled gaming organism who does news posts for us. It’s a free and short and free JRPG styled thing up on itch.io. It’s inspired by Final Fantasy VI, For The Frog The Bell Tolls, Moon, and Grow RPG! It’s made with OHRRPGCE, itself a fun, quirky and free RPG creation program.

It’s not really so much as game as a humor delivery mechanism and strongly-guided system of battles. There’s only one choice for actions throughout all the fights, but it’s more of a silly and good-hearted story that you experience through a Dragon Quest play system. It reminds me a lot of another JRPG homage for 3DS and Switch, Fairune, although without its sometimes maddening secret-finding, and with lots of quirky characters, which feel like they were imported from Undertale.

It’s only about an hour long, and did I mention it’s free, so I figure it’s well worth your time and money!

rodneylives

Kimimi the Game-Eating She Monster (great handle!) has a knack for finding awesome Japanese games that Western shores missed 0ut on, and one such game is Bounty Sword, a Super Famicom JRPG with real-time combat, muted colors, and let’s not forget a fairy playing the role of player cursor. It’s worth your time to read, and maybe to contribute to her Ko-Fi!

Since I wrote that, she’s posted a review of another extremely interesting Squaresoft game, for the WonderSwan, Wild Card!

rodneylives