Archives for posts with tag: Opinion


I’m a little more than a fortnight into my new Eorzean adventure, so I thought I’d post a little update on my progress.

In the time since my last post, I’ve joined a Free Company, run the first three ‘beginner’ dungeons of Sastasha Seagrot, The Tam Tara Deepcroft and the Copperbell Mines with a mix of fellow guildies and randoms – god bless the Duty Finder, which immediately put myself and a tanking friend into a couple of instances – and progressed past level 30. Having joined the Scions of the Seventh Dawn, I’m now heading towards a showdown with the Primal Ifrit, and reeeaaally looking forward to getting my chocobo soon. Because sod running about everywhere.

Upon hitting level 30, I was given a million gil and fifteen extra days of game time, which is very handy as I wouldn’t have been able to re-sub until the end of the month. And while waiting for FC members to run Sastasha, I also decided to try out some other classes; on my previous character I was a level 33 Bard, 17 Conjurer, 15 Pugilist and level 9 Weaver, so I decided to try a couple of different classes this time, just to see how they felt. So I’m now a level 31 Conjurer, 11 Thaumaturge and a level 6 Arcanist. If anything, trying these classes out has just reaffirmed that I want to continue on with my Conjurer until she’s ready to progress to White Mage.

Hanging out at Aleport, waiting for a Sastasha run

I’ve also since grabbed the Stormblood expansion, which included Heavensward, from CDKeys for just £15, so I guess I’m in for the long haul now. I’m still really enjoying my time with Final Fantasy XIV, and though I’m still a fair way away from where I was before (I was waiting to run Haukke Manor with members of my old Odin FC at the time), once I get there, I’ve got a hell of a lot of new content in front of me. Of course, it’s been a bit of a different experience anyway, seeing as I’m maining a healer this time rather than ranged DPS – I had played Conjurer to level 17 on my old character, but I don’t think I actually ran any dungeons on that class – and it certainly felt fresh, creeping through Sastasha while keeping tabs on a group’s HP (who am I kidding, I was basically the tank’s pocket healer!).

I’ve got some work to do before I can become a White Mage, however. It used to be that you needed a second class at level 15 to progress to a full job – in the case of White Mage, you needed Conjurer at 30 and Arcanist at 15 – but things have changed while I’ve been away from the game. I’m actually not sure how I progress now, but I know I have to be at least level 30 and to have completed a certain main scenario quest – I think it was a quest to do with the Sylph tribe, and all I can remember about them is endless dancing… /dance

Hopefully I can make White Mage before poor Khroma dances herself to death.

In other news, I’ve also been playing the recently-released Final Fantasy XII: The Zodiac Age, which I just couldn’t get into back on the PS2. I played for about 12 hours, made it to the Imperial Dreadnought after a meeting with Marquis Ondore, and just left it there. Whether it was the story, the characters or the gameplay, FFXII just didn’t grab me back in 2006, yet this time I’m absolutely loving it. I think the fact that it was so different from Final Fantasy X put me off a bit, and the perception that it was an ‘offline MMO’ didn’t help things much. Having actually played an MMO in the intervening years, however, they really don’t have many similarities in my opinion. If anything, FFXII‘s ‘Active Dimension Battle’ system makes me think more of realtime with pause systems seen in western RPGs. I had wondered quite how I’d manage, playing both Final Fantasys XII and XIV at the same time, but I needn’t have worried – it actually feels fantastic to be playing two expansive fantasy-based instalments with plenty of lovely Akihiko Yoshida design work informing the look and feel of both worlds.

Square Enix have done a great job with this remaster.

The Zodiac Age features a ‘speed mode’ option, which allows you to speed up the action by either two or four times, and using that to zoom through the more mundane sections of Final Fantasy XII – like dungeon combat against trash mobs – means that I made it back to the Dreadnought in around seven hours, rather than my previous 12 or so, and I’ve even been taking my time to more thoroughly explore towns and other environments this time out. It’s a fantastic quality of life improvement that has helped me to genuinely fall in love with Final Fantasy XII – something I never thought would happen, and certainly not 11 years after its initial release. I thought at best that I’d feel more favourably toward this most idiosyncratic episode in one of my favourite series, so the fact that I feel this positive about it is an absolutely wonderful thing; having played so little of XII in the past, it may as well be a new Final Fantasy game to me.

One thing that’s still a bit of a mystery to me is the Gambit system. I thought I had my head around it in the early hours, but upon arriving at Bhujerba, hoping to rescue Penelo in the Lhusu Mines, I happened to stop in a Gambit shop and dear god, the options I saw in there. There must have been hundreds of them! I’m going to have to do my homework and figure out more than just useful early-game Gambits, because that shop made my head spin at the potential intricacies of the system. My next stop is King Raithwall’s Tomb, but I think I’ll need to do a bit of housekeeping before I set out, and try to properly wrap my loaf around Gambits. It feels exciting though, rather than a chore; can I get my battle party working like a well-oiled machine without me even needing to intervene? Time will tell!

No you’re not, Vaan. Stop being a silly billy.

It feels good to be so fully immersed in the Final Fantasy series again. I was cautiously optimistic about XV in the lead-up to its release, and I did find a lot to like in the final product, but even though they’re each very distinct within the wider Final Fantasy canon, XII and XIV are giving me all kinds of nostalgic, old-school FF feelings. I’d love to see another Matsuno take on a big-budget Final Fantasy, or to see what Naoki “Yoshi-P” Yoshida could do with an offline instalment. Who knows what the future holds? With Yoshida’s MMO going from strength to strength (and with a Matsuno-penned, Ivalice-themed raid on the way!) and Final Fantasy XII finding a new audience, I’m genuinely excited for the future of Square Enix and their marquee series.


Back before Destiny launched – about three years ago now – I wrote an excitable, detailed piece about the PS4 alpha test. Clearly I was onboard. But if you were to search my blog for more on Bungie’s shared world shooter, you’d turn up a single extra article since launch – an unboxing of the game’s limited edition.

So what happened? Did I hate the game? Did I abandon it altogether? No. I played Destiny for a while, and for a while I loved it. Then I reached the end of the story, and I fell out of love.

My issues with vanilla Destiny are manifold, and I’ll get into them later (indeed, some of them still persist, to varying degrees). But as the release of Destiny 2 looms ever nearer, I find myself getting drawn back to the game I so desperately wanted to love. And so, over the last few weeks, I’ve been revisiting it, now as different an experience as it is similar, to see if I really want to buy in to the sequel.

I’m probably going to get Destiny 2.

To be clear, this isn’t the first time I’ve returned. After walking away from the original game shortly after reaching level 20, and having killed a weird, pulsating cosmic heart that no one cared to even begin to explain, the excitement around the following year’s The Taken King piqued my interest. “It’s got a story now!” people would tell me, adding “there’s a lot more for solo players to do,” and “levelling is much better explained this time!”

They weren’t wrong, to be fair. I swallowed a mouthful of bile at having to re-buy Destiny and its first two expansions to play The Taken King and again, I had a lot of fun with it. And what do you know, it did have a story! A fairly decent one too, even if it still could have done with a touch more explanation (pipe down, Stranger).

Eventually though, I stopped playing again, and it’s at this point I should probably detail what my issues with Destiny were (are?). To begin with, it’s probably worth pointing out why I was so excited for the game; as a huge Halo campaign fan, I’m used to being a bit of a lore nerd, scrounging around for clues about the mysteries of the universe, be they from snippets of obscure dialogue, hidden terminals or even extended universe novels, and I couldn’t wait to get stuck into Bungie’s next big mythic sci-fi setting. What I got was… well, a mess, quite frankly, with a campaign that almost gloried in paper thin characters sending you on inexplicable missions packed with vague objectives against inscrutable enemies. True, the Grimoire card system hinted at a deep, interesting pool of lore beyond the surface, and it’s worth pointing out that some stories are told in those cards that probably wouldn’t work in-game, but the campaign itself exposed virtually none of that storytelling to players, instead choosing to offer up a disjointed, unsatisfying attempt at a narrative that had quite clearly been chopped up and sewn back together wrong sometime prior to release – something that Kotaku’s Jason Schreier later confirmed. I don’t want to sound overly dramatic, but it genuinely saddened me that Destiny‘s story was such a shambles, and I don’t think it’d be unfair to call it a disaster.

Oryx: not a looker.

As mentioned, 2015’s big expansion The Taken King did much to fix that state of affairs, offering a simpler yet more engaging tale told by actual characters, rather than cardboard cut-outs. It also introduced the Books of Sorrow, which remains the best storytelling in the entire saga (even if, again, we see very little of its intriguing detail in the game itself).

Another big reason for my interest in Destiny was my love of roleplaying games as a genre. A Halo RPG, you say? Sounds like my dream game, sign me up! Unfortunately, another of Destiny‘s missteps was the arcane levelling system after you hit the soft level cap of 20, whereupon any further XP earned would be converted into Motes of Light which you then… You know what, I can’t even remember. I barely engaged with it. I briefly tried to wrap my head around it, and then walked away, rather than grind my face against the backside of RNGesus. Thankfully, The Taken King changed things so that every piece of armour you wear and weapon you wield adds to your overall Light level. Equip a better piece of gear and your Light will go up. Simple! Quite why it had to be so mind-bending in the base game, I don’t know. Still, even with these changes in place, I once more walked away from the game partway through The Taken King, just as I had with vanilla, because my main issue with the game still persisted. And honestly, it’s a complaint that isn’t even fair to level at the game.

Each time, what made me walk away from Destiny is the fact that you can only get so far as a solo player. After a while, you need to group up with others if you want to actually progress further and see everything the game has to offer.

Well d’uh, you’re probably saying, and yes, I know – like I said, it’s not really a fair criticism of the game, given that’s its fundamental nature. It’s just that it doesn’t really work for me, as a typically solitary player that happens to jump into a game whenever I have the time; it’s difficult to schedule a raid when you don’t know if you’re going to be free (or if you can even be arsed when the time slot rolls around). I also don’t really want my gaming time to feel like a commitment, like I have to do something, rather than want to, because that way resentment lies.

Yet even with all that said, Destiny has always been in the back of my mind, and I’ve long thought that I’d like to go back to it and see what the end-game is all about. It’d take a bit of effort on my part (and I had once made the effort to get in on a run through the Vault of Glass, the raid that shipped with the base game), but with Destiny 2 on the horizon, and the thought that I’d quite like to get in on the ground level with the new instalment, I managed to ingratiate myself with a group of friendly players and go raiding. And it’s been great! Having recently run through both Crota’s End and King’s Fall, I can finally see what all the fuss is about. Destiny‘s raids really are the game at its very best, and that’s even more evident when you have a good, patient, friendly group to talk you through the often opaque, dense mechanics. I’ve never had a group to play the game with before, which has always made it very easy to walk away from, and it’s really thanks to the guys over at Town Called Malice that I was even able to experience them. It’s also pretty much down to them that I’m almost certain to buy Destiny 2 now, whereas before I was just sort of interested. ONE OF US. Or, them, I guess.

Destiny has always offered some incredible vistas. Sorry this one’s a bit rubbish.

I’m not sure how well I’ll adapt to scheduling playtimes and such, as it’s probably going to take some kind of rewiring of my brain to get properly into Destiny full-time, but I definitely want to get deeper into it this time out. And as much as I’m fully on-board the hype train now (or, well, I at least have a ticket), there are some things that have given me pause lately. Last month, it emerged that Destiny 2 was doing away with the Grimoire system, with Bungie’s Steve Cotton telling Forbes, “we want to put the lore in the game. We want people to be able to find the lore.” On the face of it, this is a really good change; the Grimoire has long been a complaint for a couple of reasons, mainly that it keeps the lore outside of the game, and having more story exposed to players while they’re in-universe is very obviously a good thing. But as I noted above, the Grimoire also plays host to some excellent story content that simply couldn’t be done in the game – unless it was loaded with lengthy cutscenes and flashbacks, which people would also complain about. As a counterpoint to this, how fucking cool would it have been to discover bits of the Books of Sorrow in a mission on the Dreadnaught, where you slowly pieced together the history of the Hive and discovered the means to defeat Oryx? If this kind of storytelling is what Bungie is going for, then consider me all in. But if all the stuff that doesn’t play an active role in the current story, yet manages to provide flavour and context to the universe is gone? Well, that’s probably not great.

More worrying are the recent pieces of news taken from a couple of interviews with Design Director Luke Smith, where he suggests that seemingly important pieces of the Destiny puzzle may not make a return. First, responding to a question from PC Gamer about whether we’d see the mystery of the Exo Stranger cleared up in Destiny 2, Smith explained that “we have a bunch of characters who are interesting, but the Exo Stranger is one that always makes me chuckle a little bit. Because I feel that’s one character where we actually wrapped up the arc. She gave you a sweet gun and then dissolved, presumably off to do something else. So I feel like, of all of our characters we’ve introduced and exited, we actually exited her effectively.”

For those not familiar with the character, the Stranger was a female Exo that effectively led you by the nose through the original game’s campaign, directing you as much as, if not more than, any other character in the story. She never explained herself, her goal, or her reasons for aiding you, and was often heard talking to some unknown ally before abruptly disappearing. At the end of the game, she offered you her rifle, which is seemingly made of parts that shouldn’t yet exist, before telling the player, “all ends are beginnings. Our fight is far from over.” So to consider her story over is odd at best, and to think her arc was ended “effectively” is absolutely ridiculous. Imagine if Cortana just didn’t turn up in Halo 2! I suspect (hope?) that, given the character’s popularity and potential for future storytelling, that she will eventually wind her way back into a future game or expansion, but given Smith’s statement that her arc is done, I won’t hold my breath until I see it for myself.

I don’t even have time to explain why her story wasn’t “effectively” wrapped up.

A couple of days after the PC Gamer interview, Smith appeared on Kotaku’s podcast, where it was confirmed that The Darkness, the formless, ancient evil of the Destiny universe, would not be appearing in Destiny 2. This makes sense, as the Cabal are the main focal antagonist of the new game, and they aren’t really allied with the Darkness, certainly not in the way other races such as the Hive or Vex are. What was a bit worrying about this was Smith’s reaction to Jason Schreier’s question of whether the omission was because nobody actually knew what the Darkness was: “So, I think that at a point, just totally candidly? We had no idea what it was. Straight up. We had no clue.”

Hmm. Let’s go back to the earlier Kotaku story, which revealed that Destiny underwent massive rewrites a year out from release. We know that Joe Staten and his team of writers spent years building the narrative foundation of Destiny, and we know that the studio leadership didn’t like how it all hung together. Even if the Darkness wasn’t formally laid out, I find it difficult to believe that there weren’t at least deep hooks written into everything else that strongly suggested where the overarching tale was headed; 343 industries’ Frank O’Connor, himself a Bungie alum, has previously stated that much of the current direction of the Halo series arose from discussions at Bungie around what a potential continuation would be, as an example.

With Staten now back at Microsoft, I wonder how much of the comments surrounding the Stranger and the Darkness are about the current writing team wanting to throw out the last vestiges of the original outline, in an effort to more thoroughly put their stamp on Destiny. Smith’s elaboration perhaps supports this: “We didn’t know what it was, and we, for a period, we chose [that] we’re going to lump all the races [in together], and you see this in the tooltips in the game — ‘minions of the darkness.’ And we had taken all the races and said, ‘Ah, they’ll just be The Darkness.’ But that’s not what the IP deserves.”

That’s not what the IP deserves. That, to me, says the Darkness will return, but only when they’ve decided what the current team want their Darkness to be. I won’t say that’s necessarily a bad thing – it may even free them up to tell better stories – but I have to admit to some level of disappointment that we’ll likely never know how the universe of Destiny was originally meant to unfold. After the good work done on The Taken King, however, in both storytelling and gameplay terms, I’m certainly willing to give Smith and his team the benefit of the doubt, even if he does have a bit of a habit of inserting his foot firmly into his mouth and somehow managing to leave a bad taste for everyone.


This March saw the release of NieR Automata, a pseudo-sequel to a cult favourite that I came to rather late, yet absolutely adored. An average-on-the-face-of-it game that was far more than the sum of its parts, Cavia and Yoko Taro’s action RPG immediately became one of my favourite games of its generation.

So it shouldn’t come as a surprise to hear that I was incredibly excited for Automata. On paper it seemed like a dream project: here was a collaboration between Yoko Taro and Platinum Games, with Keiichi Okabe returning on soundtrack duties and Akihiko Yoshida handling the art. If I was going to assemble a team to make a new NieR game, I couldn’t hope for a better group than that. Basically, I was expecting this to be my game of the year before it was even out.

Unfortunately, I’ve been really struggling to get into it, and that genuinely makes me sad.

It’s important to note that so far I’ve only played through Route A and maybe about two-thirds of Route B, so I’ve by no means seen everything the game has to offer. Like the first, this is a game that needs to be played through a handful of times to really understand what’s going on, so it’s entirely possible that by the time I’m done I’ll adore it like I do the first. So far though, I’m not really feeling it. I’ll explain why, and while I’ll do my best to keep this as spoiler-free as possible, bear in mind some mild plot and character discussion (for both games!) follows.

The first time you play through NieR Automata, you’ll experience the story from the perspective of 2B, the wonderfully designed gothic Lolita android warrior. It’s a good thing that she looks so fantastic (thanks Yoshida!), because she comes across as a little dull in her own campaign, as does boyish sidekick 9S (I’M NEVER GOING TO CALL YOU NINES, GET OVER IT); there’s just no one here that has the impact of Kaine or Weiss, two characters that quickly became two of my favourite jRPG party members. That would be fairly forgivable if the story grabbed me but, the first time through, NieR Automata just feels like a disconnected series of events: you’ll go to a new region, something seemingly quite important will happen, and you’ll have no opportunity to process the event or what it might mean for the world and its characters. You’re simply told to go somewhere else where another apparently-important thing happens. Without any proper reflection on these events I felt like there was no cohesive thread pulling me through the story, almost as if I was playing through a succession of side-quests that didn’t feed back into the core narrative. Why should I care about all this if I’m not given a reason to?

If he’s Nines, does that make her Toobz?

Ok, fair enough, as I said above we’re supposed to play these games a handful of times to get the full picture. The first game was the same, right? Well, yes and no. In NieR‘s Route A, we had no idea what had happened to the world, or why people from 1,300 years ago were seemingly alive in the present with no memory of the past. We had no idea what our enemies, the Shades, were, we knew nothing of the Black Scrawl or the grimoires or the Shadowlord. What we did know, however, was that the protagonist’s daughter was sick and he’d do anything in the world to save her. The mysteries of the world worked because we had that personal bond to focus on, that quest to save Yonah that pulled us through the story. There is no such thing in Automata‘s Route A. There’s just stuff happening. And it’s happening to people you don’t really care about.

So I forced myself through Route A, reminding myself of how transformative the original game’s second playthrough was, and hoping – expecting – for something equally as revelatory here. So far I’ve been disappointed. The second time through, you play as 9S, who has a few extra tricks up his impeccably-tailored sleeves, like the ability to hack enemies to weaken or outright destroy them. Interestingly, this can also be used outside of combat to quite literally peak into the minds of others and find out what makes them tick. Unfortunately, this seems to be used mainly in side-quests while the story of Route B is mostly a re-tread of Route A. This is unsurprising given how much of the game 9S and 2B spend together, and I am looking forward to a later part of the story where they become separated for a time. But, while there are little insights peppered throughout such as learning the motivations of a couple of bosses (think Beepy and Kalil, but nowhere near as awesome/harrowing), it doesn’t have anywhere near the impact that Route B in the first game did, where your entire understanding of the world, your enemies and even your allies was completely turned on its head.

So far, Automata has displayed precious little of what made the original game so special; there’s none of the heart and emotion that made the first game and its characters so magnetic. That’s probably to be expected in a world inhabited solely by androids and machines of course, but it does make it a little difficult to care about. Don’t get me wrong though, I do enjoy the act of playing the game – basic combat is far more enjoyable here, thanks to Platinum’s involvement, and it’s wonderfully animated. I love the balletic movements of the characters in battle, and the perfect dodge is a thing of absolute beauty, reminiscent of Bayonetta at her acrobatic best. And then there’s the bullet hell sections, which manage to feel more distinct than they did in the original thanks to the introduction of flight units that transform the game into an actual, honest-to-god shmup for a few minutes at a time.

However, these segments also drive home how comparatively lacking Automata is in gameplay variety. Whereas the first game delighted in switching things up constantly, feeling like a Zelda clone one moment, taking inspiration from classic Resident Evil the next, and even heading into text adventure territory in a couple of places, NieR Automata is an action RPG with occasional shooter segments. It’s all good stuff, but it does leave the game feeling a touch less inventive than its predecessor. Then there’s the bosses, which are almost all impressively-screen-filling monstrosities, yet end up feeling a bit less imaginative than the original’s bizarre, otherworldy beasts like Hook or Wendy, and the pod program special attacks that just aren’t as cool as Weiss’ sealed verses.

These are all relatively minor issues, to be fair – the main source of my disappointment is with the story, world and characters, and I want to reiterate that I am genuinely saddened by this. I really don’t want to come across as if I’m trying to convince people not to like NieR Automata – I’m absolutely thrilled that more people are discovering Yoko Taro’s work, and I hope this gets him more exposure and the chance to make more weird, heartrending games that crawl under your skin and refuse to leave. Automata has been very well received, so I’m more than prepared to admit that I’m the odd one out here, and I really just want to love it as much as everyone else does.

There seems to be a general consensus that Route C is where it really starts to make an impact, and I’ve been advised by some to just rush through to that. That feels like it’s missing the point somewhat though – I’m disappointed that I’ve spent, so far, around 25 hours with the game and found none of what I loved about the first NieR. But hey, I’m still plugging away, and I’m hopeful that, once I’ve got that far, I’ll love Automata as much as I do the original. I’ll be sure to revisit this and write up some more thoughts once I properly finish the game, at which point I hope NieR Automata sits comfortably alongside the original as one of the most memorable games I’ve ever experienced.

A few days ago, I posted about a YouTube channel I’d started with a couple of friends, called A Game with Chums. Up until now, we’ve focused on random one-off Quick Looks, but as of yesterday we’ve embarked upon our first ever full Let’s Play. I’d like to invite you to join us as we play through DONTNOD’s critical hit Life is Strange.

I mentioned before that we upload videos every Monday and Thursday, so we’ve decided to make Monday our Let’s Play day. This Thursday, we’ll have something else for you in our Quick Look series, and then we’ll be getting back to Life is Strange again next Monday.

Also, I know we’re a bit quiet in this first part. Sorry about that, it took us a while to set up and then settle into it. We’ll be back in full force for Part 2! I hope you’ll enjoy the video and join us for the rest of the adventure, and if you do, please consider throwing us a like and hitting that sub button. Thanks!

You might have noticed that I’ve been a bit absent for a while. There are a few reasons for that, the most important of which is that I’ve been working to set up a new YouTube channel with a couple of friends. Dubbed ‘A Game with Chums‘ (yes, we shamelessly ripped off A Game of Thrones because we have no imagination), our channel focuses on video game quick looks with the occasional bit of drunken banter. We aim to get new videos up every Monday and Thursday, and so far have 12 ready to watch, with today’s Catherine quick look being our newest (and possibly most drunken).

So far, we’ve just made 20-30 minute videos of random games (including plenty of OG Xbox!), but we do plan on getting some let’s plays recorded before long – it’s a bit difficult to schedule at the moment, as we all live separately and can’t meet up as often as we’d like, but we’ll make it happen.

A Game with Chums is pretty low-tech – it’s just the gameplay footage and our commentary, no fancy webcam view or picture-in-picture windows or anything. This is partly because we’re a bit poor, and so have to make do, partly because we’re still learning, and partly because we’d like the gameplay to take centre stage. We’ll get better as we go along, and I hope you’ll take a chance to check our channel out, and maybe even subscribe and follow us on social media if you enjoy what you see. We’d also welcome game suggestions on our various accounts, which I’ll link below.

Facebook
Twitter
Instagram

None of this means I won’t be writing anymore, though. I appreciate that my blog has appeared to be dead for a fair while, but I do intend to get back to writing before long – that’s my main passion, after all. I hope you’ll check back soon to see what’s new, and I also hope you’ll check out our YouTube channel and like what you see.

Stay tuned for more, and thanks!

Switch console
I’m pretty excited about the Switch. I have to admit, I like the idea of a hybrid console quite a bit; while I love my home console blockbusters as much as the next person, I have a lot of admiration for my handhelds, because they offer games that either don’t see release on home console, or that just make sense to play on a smaller screen wherever you are. Games like Danganronpa, Steins;Gate and Bravely Default, and others like Rhythm Thief, Yomawari and Etrian Odyssey make systems like the Vita and 3DS worth owning, so the prospect of a machine that gives me both my handheld fix and Nintendo’s evergreen home console titles certainly excites.

Before the unveil, when rumours of a hybrid console were still just that, Nintendo moved to consolidate its handheld and home console teams, leading many to believe that their new machine would give gamers the best of both worlds in one box, offering a steady stream of typically home console-style titles and more traditional handheld fare, all in one place. Post-reveal however, the waters were muddied somewhat when Reggie Fils-Aimé, President of Nintendo of America, stated that the Switch would not serve as a replacement for the company’s current handheld, the 3DS. This statement was further strengthened when, during a Nintendo Direct stream for the Fire Emblem series, a new handheld-only title was announced.

Of course, it’s a good thing that Nintendo are continuing to support their 65 million-strong 3DS userbase, but the only thing I could think in the aftermath of that announcement was, “why couldn’t they put that on the Switch as well?”

Fire Emblem Echoes: Shadows of Valentia, a ground-up remake of the Japan-only 1992 Famicon game Fire Emblem Gaiden, lands on the 3DS in May, just two months after the Switch itself hits store shelves supported by a pretty meagre launch line-up. Of course, by May, new Switch owners will also be able to get hold of Mario Kart 8 Deluxe, a Game of the Year-style port of the Wii U kart racer, as well as, presumably, a handful of other games, such as Disgaea 5 and Puyo Puyo Tetris. And while there was also an announcement for a new, Switch-only Fire Emblem at that Direct presentation, it won’t see release until sometime next year. So it strikes me as a bit odd that Nintendo didn’t think to put Echoes out on both systems, giving gamers the choice of where (and how!) they want to play the game, while also bolstering the Switch line-up at the same time.

It seems to me that Nintendo have an opportunity here to both beef up their new console’s catalogue and transition gamers over from the 3DS, by releasing those handheld games – and I’m making the assumption here that Echoes won’t be the last ever game made for the 3DS – on the Switch too. One problem here could be price, as gamers aren’t likely to pay significantly more money for a game that they could just get on their existing 3DS, and pre-order pricing for Switch games is currently a bit out-there (Super Bomberman R for fifty quid, anyone?). What I’d like to see Nintendo do is to make the games available on the same day and, crucially, at the same price for both systems. I’d be perfectly happy to pay, say, £30 to play a Fire Emblem Echoes or a Link Between Worlds-style Zelda adventure on my Switch, filling the gaps between the likes of Splatoon 2 and Super Mario Odyssey.

Project Octopath Traveler, from the Bravely Default team, suggests we will see smaller-scale, traditionally handheld-style games on the system.

Project Octopath Traveler, from the Bravely Default team, suggests we will see smaller-scale, traditionally handheld-style games on the system.

This is a new concept for a games machine, one that can be used as either a handheld or a home console, so lets see it take advantage of that unique selling point and bring as many games into our hands as possible. Handhelds like the 3DS and Vita are overflowing with tons of little Japanese curios, visual novels, old-school jRPGs and rhythm-action games, and sadly, eventually those systems are going to be put out to pasture. I want the Switch to pick up that slack, to continue that legacy, while pushing up the minimum target spec, allowing for more technically-impressive handheld games while also bringing Nintendo’s stellar home console output right into my lap, all at the same time. I want to see Nintendo really embracing the handheld aspect of the Switch; I want to see it become a super-powered successor to the Vita and 3DS as much as it is a sequel to the Wii U, even if they do keep insisting its primarily a home console.

Because if they mean to support the Switch and the 3DS separately, we have to wonder why they ever bothered to merge their handheld and home console teams in the first place.

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Western Hatsune Miku fans would surely be celebrating this week, if only they could tear themselves away from the newest rhythm game in the Project DIVA series.

Released in Japan last June, those of us outside the Land of the Rising Sun never thought we’d see the game released in our territories. Thankfully Sega surprised us all late last year, announcing that Hatsune Miku: Project DIVA Future Tone would be dancing its way westward in the new year. Earlier this week, it finally arrived on PS4.

If you’re familiar with the Project DIVA rhythm games that have previously graced the PlayStation 3, 4 and Vita (and prior to that, in Japan only, the PSP and arcades), then you’ll feel right at home here, as you hit notes in time while Miku and her Vocaloid pals sing and dance their digital hearts out. Future Tone itself is a port of 2013’s Japanese arcade release Hatsune Miku: Project DIVA Arcade Future Tone, and can be found on the PlayStation Store as a free, base-game download with two songs, as well as two paid add-on packs – Colourful Tone and Future Sound – which each contain over a hundred songs. The packs are £24.99 a pop, or you can grab a bundle containing everything for a more than reasonable £44.99. That will net you 220 songs, as well as hundreds of modules (outfits) and accessories for all six Vocaloids.

While Future Tone is definitely a Project DIVA game, its mechanics do differ a little from the console series. First off, the positives: scratch notes are no more! I was never a fan of these, as I thought they just served to make stretches of a song a bit boring and lacking in challenge. Here, they’re replaced by directional slide notes, which would be activated via a touch panel on the arcade machine. On PS4, you can play these either via L1/R1 or tilting either stick in the displayed direction. These feel more interactive than scratch notes ever did, and come in a couple of different types – short slides that basically only require a press of a shoulder button or a flick of an analogue stick, or lengthier slides that require a hold. I prefer to use the stick for these, as they feel more tactile.

Slide notes

Hold notes are also different. In Future Tone, they have no tail to denote their length, and there’s actually no requirement to hold them at all; if you want, you can just tap them like a normal note marker and move on without fear of damaging your combo, but holding will add to your score quite substantially, especially if you can get a multi-note hold going.

Speaking of multi-note inputs, these are also different, and it’s here where Future Tone provides most of its challenge, at least to me. These new linked notes task you with tapping or holding two different inputs at once; think the arrow notes from the Project DIVA series, except in Future Tone you’ll often need to hit two different buttons – rather than, say, up and triangle, you might have to hit X and O. Sometimes you’ll have to hit three or four buttons at the same time, and these really do take some getting used to as there’s nothing like them in the previous games. You can of course (indeed, should) use d-pad inputs as well as the face buttons, but still, these are always the bits where my runs fall apart as I try to make sense of what I’m seeing on the screen in the split-second I have to respond, panic, and subsequently flub a whole section. Go me!

While the most recent title, Project DIVA X, was a bit of a letdown, Future Tone represents a massive improvement simply by pruning the fluff of past games. The Project DIVA series has long offered some light simulation/relationship elements, such as building friendships with the Vocaloids and buying gifts for them to display in their rooms, but Future Tone sweeps all of this aside in favour of simply presenting the player with over 200 songs to play, all unlocked from the start. It’s just a pure rhythm game with tons and tons of content, and it’s exactly what I wanted the next game in the series to be. If I have any complaints, it’s that while you can create custom playlists, you can’t actually play through them – the game only allows you to watch them as music videos, which is nice (and any snapshots you take here will also show up during the game’s brief loading screens), but seems oddly restrictive – and there’s no Matryoshka, though as there’s no GUMI in Future Tone, it’s an understandable omission.

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If you’ve ever been curious about these games but never jumped in, now is the perfect time. Quite honestly, Project DIVA Future Tone is the ultimate Miku game. It may not have every song, but you’ll be hard pressed to feel let down by the song list. The only question is where does the series go from here? It’d be a little disappointing to go back to smaller releases after this hefty offering, so my hope is that this game will serve as an evolving platform going forward, with Sega adding songs new and old to the game over time. And maybe even GUMI, too.

It’s also another sign that Sega might be starting to wake up to their fans outside of Japan. Releasing the best Miku game ever is a hell of a strong start to the year, a year in which we’re also going to be seeing Yakuzas 0 and Kiwami, Valkyria Revolution, a couple of new Sonic titles and more. It’s also coming hot on the heels of the news that Sega has registered websites related to HD remasters of Shenmue, so it seems there are reasons for fans to be cheerful after all.