Can I skip to the dessert?

The culprit: Neverwinter Nights (PC, Mac)

Boob attack!Neverwinter Nights, released in 2002, was BioWare’s follow-up to the hugely popular Baldur’s Gate series, and the question was whether they could replicate their success. While the game is also based on Dungeons & Dragons rules – 3rdEdition this time – the focus is very different, emphasising the multiplayer aspect, as well as encouraging players to create their own content via the Aurora toolset (shipped with the game). The latter was probably a result of all the mods that flourished for BG, ensuring a robust following for the game over the years and a lot of fan-made content. Three official expansion packs were released, of which only the first two – Shadows of Undrentide and Hordes of the Underdark (2003) – constitute a whole with the original game. The third one, Kingmaker (2004), consists of three standalone stories, or premium modules, that BioWare released as a way to milk more cash get more mileage out of the game.

So what’s the verdict? Well, despite its popularity, NWN was a disappointment for me, partly because I’m not interested in multiplayer, but mostly because I just found it boring. It was the first WRPG I tried, but it didn’t spark my interest in the genre. Good thing I gave Mass Effect and Dragon Age a try a few years later, or I might have missed out on WRPGs completely. NWN is unique in two ways in my eyes: it’s the only game I know where the original campaign (OC) and the expansions deliberately star two distinct protagonists, and the only one where the expansions are more interesting than the OC. In fact, I have a hard time remembering the OC’s storyline or characters, who cut a poor figure by comparison with BG (with a small handful of exceptions).

There are several other significant steps back from BG, such as a dramatically reduced party size, minimal control over companions or a clunky inventory system. Moreover, She really likes swordsdespite the effort to up the ante on graphics, I would much rather have kept the tiny character models from BG than the deformed bunches of polygons on display here. Voice acting is generally poor, and both protagonists are even more of a blank slate than in BG. And then there’s Aribeth, who, while not being a step back per se, is just incredibly annoying. Clearly a pet character designed by one of the developers–complete with over-sexualised armour and lascivious poses–, she’s presented as such a big deal that it becomes aggravating. Everybody loves her and pities her when trouble comes calling. She even monopolises the game’s promotional artwork.

So why should you play NWN? Well, perhaps you value combat or multiplayer above storyline and character development, in which case you will likely enjoy it a lot more than I did. Or maybe you’re curious about player-created content. Or perhaps you’ll genuinely like Aribeth and sympathise with her issues. More importantly, the game just gets better in the expansions: while SoU is a bit pedestrian, it does introduce chattier companions, including the lovable dork known as Deekin. HotU finishes things off with a bang, as you finally get the ability to form an actual party and proper interaction with interesting characters (Valen and Nathyrra), including romances that amount to more than just “I like you, but we’ve got more important stuff to sort out right now”. You also get interesting options for dealing with the final boss. All in all, think of it as a dinner with a lacklustre main course, a tolerable cheese platter and a tasty dessert. This isn’t BioWare’s strongest effort, and it shows, but it does have some redeeming qualities.

A remake entitled Neverwinter Nights: Enhanced Edition was released by Beamdog in 2018. It includes both expansions, as well as all of the premium modules released over the years, as well as the usual bug fixes and graphical improvements. It also makes multiplayer easier, as the old servers have now been shut down. So if you’re interested in the multiplayer aspects of the game and want as much content as possible, this is the version to go for.

Detailed review available! Read more here.

“Who wants to live forever?”

The culprit: Lost Odyssey (Xbox 360)

Ah, Lost Odyssey. The game that made me buy an Xbox 360. It just so happened that I once saw someone playing a part of the game that included Jansen. The next thing I did was to go hunt for a used console and a copy of the game. And the rest, as they say, is history. The game was one of the first major titles to be available for the Xbox 360, which is the main reason why it caught the limelight; had that not been the case, I’m not sure it would have made a massive splash. I’m also pretty sure that not many people remember it nowadays, so it hasn’t really developed a lasting legacy. Nevertheless, I don’t regret my decision one bit and would heartily recommend the game to any oldschool JRPG aficionado.

DeathlessPart of Lost Odyssey’s appeal is its association with the Final Fantasy series. It was written in part by Hironobu Sakaguchi, who directed Final Fantasies I to V and produced the rest up until FFX-2, and the music was composed by Nobuo Uematsu, who worked on every game in the series apart from Tactics, FFXIII and its sequels, and FFXV. This should spark curiosity, at the very least, in most FF fans. There’s also the fact that combat is of the traditional turn-based kind, and that one of the characters is an airship pilot whose name sounds suspiciously like Cid.

Yet the traditional turn-based combat is probably also one of the game’s main drawbacks and has definitely proved more trouble than it was worth for more than one player. It can be very frustrating to be forced to select your entire party’s actions before you see what the enemies do, then sometimes having to cancel their actions partway through and queue up something completely different. Especially after years and years of “active” turn-based RPGs where you had a lot more flexibility in that department. The game does try to make proceedings more dynamic with the addition of the ring system, but combat was definitely the game’s big minus for me.

Another issue is the game’s storyline. It starts out on an original note, notwithstanding the painfully clichéd main villain. However, towards the very end, I got the feeling that the screenwriters either lost their script and had to hurriedly scribble down bullet points from memory, or just never bothered writing out the final stretches in detail to begin with. Either way, plot elements came out of nowhere and left me scratching my head in confusion.

Back to the positives, though. The game features some very strong characterisation, considering its unusual premise. Most JRPGs feature a band of idealistic youngsters with one or two kids and an older and/or wiser guy thrown in the mix. In terms of appearances, the Lost Odyssey team is no different. However, it’s a twist on the trope, as four of the “youngsters” have been alive for a thousand years, and have the perspective and mentality to match. Despite not being the most personable guy around, Kaim is given painstaking development through his dream sequences, which sometimes strike deep emotional chords. Jansen is a treasure of comic relief, and I cannot praise his English voice actor enough for his work. Sed is a crusty sea-dog and a mama’s boy rolled into one, and Seth is an inexhaustible source of optimism and energy. The game’s aesthetic also has an engaging steampunk-y edge to it, which does a good job of integrating magic into an otherwise heavily industrial environment. The character design emphasises chiselled, elongated features reminiscent of Gothic statues, which has its own charm and elegance.

All in all, I had a great time with this game, despite its flaws, and would encourage curious players to give it a go. Even though it never was an unmitigated success, it deserves to be revisited for the things it does get right.

Detailed review available! Read more here.

How to make friends and stop alienating people

The culprit: Final Fantasy VIII (PlayStation, PlayStation Network, PC)

Flamin' swordIt’s difficult to follow up on the heels of a massive hit, even if you’re not producing a direct sequel. Disregarding Final Fantasy Tactics, which was set in a very different environment and wasn’t part of the numbered series, Final Fantasy VIII had the difficult task of being the de facto successor to FFVII. Therefore, it was bound to draw three things: close scrutiny, inevitable comparison and (unreasonably?) high expectations. And when the latter were not met–or, rather, when the developers tried to do something different–polarisation ensued. It’s difficult to find a middle ground in terms of opinions concerning FFVIII: fans of the series tend to either love it or hate it.

Most of the criticism focuses on the two main protagonists and the overemphasis on their relationship, the lack of development of the main villain(s) and the combat system. I will readily concede the two latter points: combat can get tedious, and both Edea and Ultimecia were criminally underused. But I don’t fully agree with the former point. Yes, the central relationship takes on a life of its own to the detriment of other stuff towards the end of the game, and that’s unfortunate, but I can’t agree with all the vitriol that both Squall and Rinoa receive, especially by comparison with their counterparts from FFVII. Case in point: Squall manages to grow and mature over the course of one game, whereas Cloud is still wallowing in misery two years after the end of his (c.f. Advent Children); Rinoa feels like a real human being, flaws, pettiness and all, while Aeris/Aerith gradually becomes some kind of motherly archetype who can do no wrong.

FFVIII isn’t perfect; so much more could’ve been done with it given more time or perhaps fewer plot points. Other character relationships could’ve been fleshed out more, motivations explained, chocobos might not have been rendered useless And yet it still ranks among my top five games in the FF series. The main reason is characterisation: the game has a very believable teenage protagonist in Squall, whose deep-seated fears I used to relate to, back in my teenage days, and whose evolution over the course of the game is heart-warming. What’s more, he’s backed up by an almost shockingly likeable cast (coming as it does after FFVII, where I had severe issues with most of the cast), among whom Laguna shines bright as one of the most endearing goofs with a heart of gold I’ve ever encountered in a game.

Dance with meThe second reason is world building. The game does a great job at integrating its more esoteric elements (notably Guardian Forces, who are given an unprecedented amount of attention) within a more realistic world, including such seemingly mundane details as educational systems or salaries. The third reason would be the ending, which invariably makes me tear up every time I see it. There’s also the quality of the cinematics, which have dramatically improved since FFVII, especially as far as facial expressions–and thus, emotional depth–are concerned. The now-famous ballroom scene and the ending both illustrate this perfectly, but the opening scene is also a stunner.

Bottom line: if you’ve never played this game before, but are aware of its negative reputation, don’t let it deter you. You might actually surprise yourself and enjoy it, much as I did.

Detailed review available! Read more here.

We’re not in Kansas anymore

The culprit: Baldur’s Gate II (PC, Mac)

Empty heartReleased in 2000, two years after its predecessor wowed the gaming community, Baldur’s Gate II faced the difficult task of being a direct sequel to a massive hit. And while some of the choices it makes are questionable (notably in terms of reducing exploration and a weaker villain), the end result is still largely successful, and the game has, nowadays, become more popular than Baldur’s Gate. The basics still apply: the setting is the same, the mechanics are the same, and the storyline picks up right where the first game ended, albeit on a significantly darker note. The game is still vast and involved, and contains extensive dialogue that may make modern-day players hesitate. However, the interface has been updated and the class system refined, with three new additions and kits for every other existing class. Combat has been made more strategic and more difficult. Moreover, the cast has been streamlined, even though some characters make a comeback from the first game. This is, however, a case of favouring quality over quantity, as the existing characters have a lot more interaction with each other and are more fleshed out. What’s more, this is the first BioWare game to introduce romances, which add more depth to interaction and have become one of the company’s trademarks. Although, I’d say that the most charismatic members of the cast are still returning characters from BG.

Other than that, the game has both a grander scope and a tighter focus: instead of roaming about countless outdoor areas with little to differentiate them and next to no motivation to do so besides curiosity–although this may be the very definition of adventure for some–, the action is now set in several large locations and seldom wanders outside of them. The plot also involves greater stakes, since the protagonist has been revealed as none other than an offspring of the defunct God of Murder, Bhaal, and must now deal with said heritage and those who would prey on it. An expansion titled Throne of Bhaal was released a year later, in 2001, in order to conclusively address the question of the protagonist’s divine ambitions or lack thereof.

Due to its greater overall popularity, the game has also spawned a LOT of mods–in other words, player-created content–thus allowing you to customise your gaming experience even more. Just as with the first game, some of the available stuff is either indispensable from a technical point of view (bug fixing, ease-of-use) or, when it’s additional content, extremely well written, to the extent that I couldn’t imagine playing without it. All this content is still actively supported by an enthusiastic and committed player community, which, for a 15-year old game, is damn impressive and a testimony to its quality. Of course, it’s not perfect and has its share of annoyances and aggravations, even after being modded, and, to a modern-day player, it may feel dated and somewhat clunky. But don’t let superficial concerns keep you from one the best WRPGs ever created, especially if you enjoyed the first one. This is BioWare in top form, and it shows.

"Hey, y'all, this is a great game!"

A remake called Baldur’s Gate II: Enhanced Edition was released in 2013 by Beamdog studios, incorporating both Shadows of Amn and Throne of Bhaal. It includes many of the fixes and tweaks that previously required mods, but also brings back the three new characters that were added by the Enhanced Edition of BG, as well as adding three more. The main problem is that not all the mods it hasn’t rendered obsolete are compatible with it. However, the modding community has been hard at work, and that problem has been almost entirely addressed. Emphasis on the “almost”, but it’s only a matter of time.

Detailed review available! Read more here.

Against all odds

The culprit: Final Fantasy Tactics (PS, PSP)

As its name indicates, Final Fantasy Tactics marked a foray into a new direction for the FF series: the SRPG. Released a year after the enormous hit that was FFVII, it took a radically new approach to combat and produced what was probably the darkest story in the series at that point (perhaps even still to this day). Nevertheless–and possibly precisely for these reasons–it was a critical success upon release, and has become a cult classic since, with several subsequent games revisiting the world of Ivalice that serves as its setting.

So it beginsBoth of FFT’s defining characteristics–its storyline and its combat–are remarkably well executed, and, coming from someone who is usually indifferent to combat in an RPG, this is saying a lot. I have never simply enjoyed getting into a random encounter in a game before and rarely since. Sure, there are quite a lot of factors to take into account, and it may seem frustrating at first, while you’re learning the ropes, but once you get the hang of it, it’s a lot of fun. Alongside this, you have a deliciously complicated political storyline, replete with betrayals, machinations, power struggles, tragedy, war and just plain ol’ murder, with a bucketful of unholy intervention to boot. The cast also features Agrias, one of the strongest, toughest female characters in the series and the most kickass incarnation of Cid, bar none. The in-game graphics are nothing to write home about, but the game does have its own specific, charming visual style due to the fact that the concept art was drawn by Akihiko Yoshida, rather than Yoshitaka Amano.

FFT didn’t make it to European shores when it was first released, meaning that an emulator or an NTSC console were the only means to experience the game on our side of the Atlantic for quite a long time. That is, until the game was remade in 2007, with the secondary title of The War of the Lions. The main attraction of this remake is the retranslation work. The original localisation was rather shoddy in places (and I’m being generous…some of the battle cries made no sense whatsoever), and the new version remedied that and then some, giving the game a properly medieval feel. The remake’s other merit is the introduction of beautiful cel-shaded cinematics, which respect the game’s original art. And if only for these reasons, I would recommend it over the original, even if it also boasts some gameplay rebalancing and a lot of additional content.

Detailed review available! Read more here.

What can change the nature of a man?

The culprit: Planescape: Torment (PC)

IfIn pain you speak to a veteran PC gamer, chances are that they’ll eventually mention Planescape: Torment with stars in their eyes. There’s a good reason for that. Coming out hot on the heels of Baldur’s Gate, this offering by Black Isle Studios (BG’s publisher) didn’t make much of a splash commercially at first, but went on to gain cult classic status. Console gamers of the younger generation will probably never have heard of it, and that’s a shame, because if there’s one game that puts the “RP” back into RPG, this is it, and you may hear it hailed as, quite simply, the best RPG ever. This is, of course, an exaggeration, as such claims usually are, and it all boils down to a matter of personal taste in the end, but the fact remains that what this game does well, it does extremely well, and I’ve never played anything quite like it, either before or since.

This isn’t to say that the game is perfect. Far from it, actually, especially by modern standards. The graphics are dated, and the interface is rather clunky; if you’ve played BG before, it’s the same isometric view, movement scheme and dialogue system. There are also quite a few bugs and quite a lot of content that either got cut or wasn’t fleshed out entirely, making the game feel somewhat unpolished in places. Moreover, if you’re a fan of combat, I shall warn you to keep your distance straight away. Not only is it really not the focus of the game (i.e. there’s very little of it), but saying that it’s not streamlined would be an understatement. It’s based on the same AD&D rules as BG, but the implementation is rather slapdash. There are mods available, as with any PC game, which focus on squishing bugs, restoring cut content and making the interface more pleasing to the eye, but nothing that really improves the combat.

Motley crewStill, don’t let this detract you from PST’s real strengths, which are characterization, plot and, most importantly, dialogue. The latter is detailed, varied, abundant and steeped in witticisms. It’s also strongly dependent on the protagonist’s attributes. The characters are probably the craziest bunch of misfits you’ve ever encountered; they certainly were to me. As for the plot, it revolves around such notions as responsibility, redemption, justice and human nature; the seminal quote from the game is, in fact, “what can change the nature of a man?” To sum things up, this is for people who enjoy immersive, engrossing, thought-provoking storytelling, and if you fit that bill, this game may just become the latest entry on your ‘all-time greats’ list.

As a final point of interest, a spiritual successor to Planescape: Torment, named Torment: Tides of Numenera, is currently being developed, after having broken all funding records on Kickstarter.

Detailed review available! Read more here.

Something like a phenomenon

The culprit: Final Fantasy VII (PlayStation, PlayStation Network, PC)

Reviewing Final Fantasy VII is somewhat daunting, because of the enormous hype that surrounds this monolith of videogaming culture. The first Final Fantasy game to hit the PS, introducing cinematics and 3D, it’s unquestionably the most popular episode in the series and has achieved cult status, since it was many people’s first FF. If you want an indication of the scope of the phenomenon, try browsing an RPG-related forum, and you’re likely to encounter several screenname variations on either Cloud or Sephiroth. The other measure of the game’s popularity is the number of spinoffs it has generated: an OVA (Last Order), an animated film sequel (Advent Children), two prequels (Crisis Core and Before Crisis) and a spinoff sequel featuring what was originally an optional character (Dirge of Cerberus). I’m not even sure that the naming of these spinoffs was accidental (AC, BC, CC and DC? Come on…).

Claim to fameI won’t deny that the game has its merits: the characters are memorable (whether in a good or bad way), the villain has style and flair, the story is compelling and has little in common with preceding games in the series. Where FFVI only dabbled in steampunk, this one dabbles, dips and takes a belly-flop into it, transporting the series into a completely futuristic setting, with the heroes facing a radically different set of problems than in the previous opuses. There are still super-deformed sprites–which, incidentally, look like Legos, with their blocky hands and lack of noses–, but the characters also get the luxury of normally-sized incarnations during cinematic sequences and battles, thus taking expressiveness to a new level. Summoning sequences are also one of the big graphical highlights. Granted, by modern-day standards, the quality is very dated, but you can imagine just how awesome it must have seemed back when the game first came out.

That being said, I’m one of those people that have always felt that FFVII was absurdly overrated. Yes, it’s a very good game; yes, I would gladly replay it anytime, but it’s been blown out of all proportion. Some fans would have you believe that it’s the ultimate masterpiece of videogaming: well…it isn’t. I don’t even number it among my top five games in the series. And even objectively speaking, there have since been better, more innovative and interesting games in general, whether in terms of storyline, characterisation or atmosphere (I won’t say graphics, because that’s not a fair criterion). First of all, the ending is seriously underwhelming. This may be one of the driving reasons behind the spinoffs (besides the desire to milk fans for cash capitalise on the game’s popularity), but you may be left wondering “was that really it?” Secondly, a sizeable chunk of the cast consists of characters I strongly dislike, which makes it a little difficult for me to empathise with them. Thirdly, the driving idea behind the storyline may be a good one, but the execution is somewhat…lacking in places, and the tone of the game is sometimes almost jarringly goofy. Mind you, I’m judging this by juxtaposition with the hype FFVII has generated: had we simply been talking about a ‘normal’ game, I wouldn’t be that bothered by it. And last, but not least, the translation is not up to scratch in some places. There are mistakes, inconsistencies, and let me insist how lucky you are if you’ve only played this in English. My first copy of the game was in French, and boy, was that ten times worse.

FFVII has never been remade, much to the dismay of fanboys and fangirls the world over. However, if you own a PS or a PC, the original game is freely accessible–although PS copies are probably rather expensive now–, and there are plenty of good reasons why you should give it a go if you haven’t already, even if it’s just to see what all the fuss is about. Just don’t expect a life-altering experience, that’s all I’m saying.

 Detailed review available! Read more here.

The soul collector

The culprit: Valkyrie Profile (PlayStation, PlayStation Portable)

To this day, Valkyrie Profile remains one of the most original RPGs in existence, created by tri-Ace, a developing company formed by three game industry veterans. With its mix of real-time and turn-based combat, platforming-based exploration, its gloomy, harsh atmosphere and complex combat system, it stands in stark contrast with other famous JRPG series, such as Final Fantasy or Tales. This is precisely why fans of the series love it, but it also means that it’s likely to alienate more casual players. As a result the series remains relatively obscure, which I find to be a shame. Sure, the games are not perfect (although that criticism is more applicable to VP2), but they take a creative and refreshing approach to the well-worn JRPG format, and the first opus in the series is the best example of that.

First, as you may deduce from the title, the game is heavily influenced by Norse mythology. The “Profile” part refers not only to the fact that the game–and its logo–presents the portrait, or profile, of a Valkyrie (at least, this is true for the first two games), but also to the 2D exploration perspective, in which all characters appear in profile. The Norse mythology part may not sound all that groundbreaking: many games have been there before. However, Valkyrie Profile is the only series I know which sticks so closely to the actual myths, all the while mixing them with some distinctly Asian It's a form of recyclingelements, with the decidedly unusual result of Valkyries cohabiting with Samurai and such. The game’s world is supported by the World Tree, Yggdrasil, which sustains three realms: Asgard, the realm of the gods (the Aesir and the Vanir, who are in perpetual conflict); Midgard, the war-torn, poverty-ridden world of humans; and Niflheim, the underworld, realm of demons and undead. Odin rules Asgard from his palace of Valhalla alongside Freya and a host of other deities, and commands three Valkyries (although, if you want to be entirely accurate, they’re actually more like the Norns), who are sisters. Hrist is the eldest and most obedient, Silmeria is the youngest and most rebellious, while Lenneth is the middle one and the most powerful, and also the heroine of this game. Her goal is to collect worthy souls, train them as Einherjar and send them to Valhalla, where they will fight for the Aesir. This is an urgent mission, as, by the time the game starts, Ragnarok, the final confrontation between the Aesir and the Vanir, has broken out.

This is where the complexity kicks in. Each Einherjar has their own (sometimes heart-wrenching) story and their own abilities. Who you obtain and when is determined by your difficulty setting and a randomisation factor. Once trained, these Einherjar can be sent up to Valhalla, as long as they meet requirements outlined by Freya. What’s more, there are three different endings, even though only one of them is considered canon. The problem–and this is probably the single biggest issue with the game–is that there is next to no indication as to how to obtain that particular ending. I have no idea how you’re supposed to figure it out without a guide, and even once you know how, there’s very little room for error. This also applies to exploration, which is circumscribed by a time mechanic, requiring you to plan out your course of action. And of course, there’s the combat system, which takes a little while to wrap your head around.

The second strongest criticism I have is the voice acting, which, frankly, is sometimes appalling. The translation is also a bit shoddy in patches, and the typically Asian, elliptical storytelling style, doesn’t help. Still, even accounting for all these kinks, Valkyrie Profile is a genuinely engrossing, unique game and a welcome change of pace from the tried-and-true ‘youngsters with improbable haircuts save the world’ JRPG scenario. If you’re an RPG aficionado, I’d encourage you to give it a spin, if only for the novelty of the experience.

Detailed review available! Read more here.

A hard nut to crack

The culprit: Baldur’s Gate + Tales of the Sword Coast (PC, Mac)

Under a blood-red skyIf you’re a fan of RPGs in general, and WRPGs in particular, you will have heard of Baldur’s Gate. Even more than a decade after its release, this game is still considered a milestone for the genre, despite the dated graphics, the perfunctory voice acting and the staggeringly complex combat system. There’s even an Enhanced Edition currently in the works. Baldur’s Gate was also responsible for propelling its developer, the Canadian studio BioWare, to fame, establishing it as one of the most successful WRPG creators for years to come. And while they’ve recently suffered a massive decline in quality, this game was made back in their glory days.I won’t lie: it takes some getting used to. It has quite a few flaws and kinks, some very annoying, some only mildly aggravating, and a modern-day player, used to shiny graphics, fully-voiced dialogue, speed and streamlined combat mechanics, might find it difficult to like. Still, if you can get past its shortcomings, there’s also a lot of great stuff, particularly if you consider the saga as a whole. Kind of like a nut: you have to crack the shell first to get to the good part, but that good part is what you remember afterwards. The game is vast, detailed, involved and Verbosenot afraid to take its time (sometimes excessively). It features extensive dialogue, a very large cast of characters which includes some truly memorable individuals (something BioWare is renowned for and still does well) and a compelling storyline. It’s biased towards male players, as all games used to be back in the day, but that’s hardly a shocker and doesn’t really prevent it from being enjoyable.

The main difference between JRPGs and WRPGs is the latter’s emphasis on choice, which is abundantly present here. The protagonist is essentially a blank slate for you, All hail Tolkienthe player, to customise to your heart’s content, and, for someone used to JRPGs as I was, this kind of freedom is genuinely a breath of fresh air. Baldur’s Gate is as typical as WRPGs get, being based on a pre-existing high fantasy setting (i.e. a medieval environment, abundant borrowing from Tolkien–elves, dwarves, halflings, the whole nine yards–, and a pantheon of deities who actively influence the lives of their worshippers), the Forgotten Realms, which had previously been featured in tabletop Dungeons & Dragons games and several books. While it creates some continuity issues with the latter, they are not necessary to understand the game’s premise, and you can perfectly well head into it without ever having heard of the Realms before. The one big hurdle to leap is understanding the combat system, but you don’t necessarily need to master all its intricacies to have a working grasp on things.

PC games have this advantage over their console counterparts that they are much more open to player involvement. By that, I mean modding: various and sundry additions, written and implemented by players themselves. This can range from bug fixing, to restoring cut content, tweaking the combat system, adding customised weapons and armour, or even creating entirely new quests and characters. As luck would have it, the Baldur’s Gate modding community is still very active, even after all this time, and the game is thus blessed with an extensive array of goodies to pick from to improve your experience. Some of them–specifically, the ones that fix bugs and rebalance the game–are pretty much indispensable. Others are so well-written that I couldn’t imagine playing the game without them. This isn’t to disparage the original developers’ efforts–which, after all, have resulted in a game that people still want to play after more than ten years–, but many dedicated modders have produced amazing things. In the end, this makes Baldur’s Gate an impressive collaborative venture: a game which is only further enriched by its audience. And that is an undeniable quality.

Detailed review available! Read more here.

This is why people are afraid of clowns

The culprit: Final Fantasy VI (Super Nintendo, PlayStation, GameBoy Advance)

Final Fantasy VI was the first Final Fantasy game I played, and, as such, it holds a good deal of sentimental value. To this day, it remains one of my favourite games of the series. It’s also still one of the most popular ones. The last FF of the The will to fight SNES generation, it was unleashed upon the Western world as FFIII back in the day, due to the numerical confusion caused by the non-release of FFII and the real FFIII. Epic, exciting, engrossing, full of drama, humour and emotion, this game brought a new sense of scope to the FF saga. Gone are the elemental crystals and four orphans copypasted from the first FF. The game develops a distinctly steampunk vibe and not only introduces the first–and, for a long time, only–female lead in the series, but also its first truly memorable and unique villain. Couple that with one of the largest and most lovable character casts, not to forget a wonderful soundtrack, and you’ve got yourself a recipe for success.

Graphically, in comparison to the two FFs which preceded it on the SNES, the game is a good few miles ahead. 2D it may be, but it’s beautiful 2D. The environments are quaint and detailed, just like illustrations to a fairytale. The only background that I can outright criticise is the chocobo riding screen, which just ends up hurting your brain after a while. The sprites are large and very expressive, broadening the palette of the characters’ visible emotions even further than FFV. There is also no longer any difference in size between the sprites on the world map and the sprites on the battlefield.

Just as all its predecessors, FFVI has been remade a couple of times, and now exists on the SNES, PS and GBA. Like FFV, the PS version comes with lovely introductory and concluding FMVs. But, unlike FFV, I wouldn’t really be able to give a definite recommendation as to which version to play. I’ve not tried the PS one, although I hear it has a serious issue with loading times, but between the SNES and GBA versions, it’s really a toss-up. The game remains largely identical, with only two optional dungeons and four new Espers added to the mix (and, considering the huge amount of Espers already available in the original game, they feel like overkill). The major bugs have been squished, and the script has been partially retranslated, but considering the iconic status that Ted Woolsey’s original SNES text has acquired, this wasn’t exactly necessary or expected. However, none of these changes harm the game either, so it’s just a matter of picking the easiest version to find. But, by all means, if you love RPGs and have never played this game before, do yourself a favour and remedy that ASAP.

Detailed review available! Read more here.