I'm currently out of game reviews to post at the moment. As I've stated I won't write or post a review until I've played/re-played and I'm kind of stalled out on games at the moment so I'll give this thread a rest until something crops up. In the mean time I'll start a new thread for other reviews - books, other music, etc.

I haven't been playing many games recently - well I've actually started several but stalled out on them. I did manage to write something new but it's a little different than usual. As one will see this isn't a review but a top ten list. I'd post it on Gamefaqs but it really doesn't fit with their guidelines.

The Top 10 franchises that defined the PS1 (to me)

When it comes to the various consoles that have seen the light of day over the years, it doesn’t take my mind long to think of all the great games that came out for them. Going though the backlog of games that call my room home, I have to admit that the Super Nintendo was a pretty mean machine. Yet when I’m honest with myself there’s only one machine that tops them all: the original PlayStation. This may seem only natural when one considers how large its library is, but with that many titles their bound to be some undesirable material.

Good games, bad games - I’m sure we all could go on about which games deserve their place in gaming history and our hearts and which ones don’t. Still, this list *attempts* to look beyond games as single entities and looks at which franchises defined my time with the PlayStation. At the same time I am only human so if a game in a series deserves to be looked upon with more distain than the others I’m not going to hesitate to berate it.

Again, this list isn’t based on sales figures or general popularity although I might mention that. I don’t expect everyone to agree with the selections either - in all honesty, I expect some of the selections to cause a few sparks – so without further ado here are the ten franchises that defined the PS1 (to me).

10. Twisted Metal

Defining Game(s): Twisted Metal 2 (SingleTrac era), Twisted Metal 4 (989 Era)

First Look:
As would be expected, it only seems fitting to start off a PlayStation-based Top 10 list with a series exclusive to the console line. It’s also befitting that the wreck loose carnage of Twisted Metal fits keenly into the image and perception the PlayStation touted over one of its later competitors – a strategy that was more than effective on me. Still, the original Twisted Metal and its immediate successor are notable for another reason, one of the most important being that they were as fun as hell despite being ugly as sin. While graphics are not a primary concern of mine in an overall gaming experience, there is something to be said about a game that shows the early pains developers had when working with the third dimension. The first two games are practically a testament to this, but it’s how they overcame such problems that makes Twisted Metal’s story what it is.

Behind the Ranking:
The reason Twisted Metal ranks so low on this listing is rather obvious: Twisted Metal has a divided history. Actually, make that a VERY divided history that was widened even further by series fans themselves. As most know, the first two games were developed by SingleTrac before Sony handed the series to 989 Studios. Between this “hand off” the code for the game’s engine was “lost” (sure, we’ll say it was “lost”) and 989 had to build the third game from the ground up. 989’s Twisted Metal III would achieve a high enough of a sales plateau to eventually acquire the “Greatest Hits” label but the damage had been done; the game was slammed in the gaming press (boring and insipid level design was a common complaint as was the loopy physics engine) and it was panned by many who enjoyed the first two entries. Despite such failings, 989 Studios was able to make some amends (in my opinion) with the arguably better Twisted Metal 4 despite its terrible cast of characters and cars.

9. Resident Evil

Defining Game(s): Resident Evil (for being a point of origin), Resident Evil 2 (for doing what good sequels should)

First Look:
The original Resident Evil is often celebrated as the game that spearheaded the survival horror genre. This is true to a certain extent - it may have made people take notice of genre more than it truly invented it - but then I’m not really here to ignite such debate or split such hairs. (Too late on that one, right?) Anyway, the game is important for other reasons as well. Unlike the previously mentioned Twisted Metal, the original Resident Evil was multi-platform and also appeared on the Sega Saturn. Additionally, despite the claim I’m going to make I’ll willingly admit the first time I ever played Resident Evil was on the aforementioned Saturn. (Please note this kind of admission will be made with another game shortly.) Okay, so with that out of the way, am I the only one that saw Resident Evil as a PlayStation exclusive despite the fact it was on both consoles? Okay… that might be a weak argument considering I knew a whole two people with a Sega Saturn growing up, but someone out there has got to relate to what I’m saying, right? Regardless, such a feeling would only be reinforced when the Saturn version of the second game was eventually scraped from development.

Behind the Ranking:
Resident Evil on the PS1 is a classic case of a series taking an extremely solid foot forward with it’s first sequel only to have it’s past come back and (somewhat inadvertently) subtract the very same step. In other words, as impressive of a job as Resident Evil 2 does in streamlining the experience that was founded by the original, it makes the original seem a little stunted and archaic which hurts the games when looked upon as a group. Blunt as that may seem, this isn’t a call to abandon it from one’s collection or to discard and relegate it to a historical footnote. No. This is mainly a plea to see the game for what it is and to accept its successes and failures. Looking at it in such a manner makes it no less important in the scheme of things.

8. Breath of Fire

Defining Game: Breath of Fire III

First Look:
As cliché as it may sound, Breath of Fire is either one of two things to people: a painful, by-the-numbers role playing affair (outside Dragon Quarter) or a delightful, by-the-numbers role playing affair (also outside Dragon Quarter.) As close as those definitions are from a written standpoint, they are about as opposite as you can get from an argumentative one. Yet as a fan (outside Dragon Quarter… are you sick of this yet?) I can honestly see the other side of the argument. Take away the first rate Capcom art, the in-house Capcom soundtracks (minus Dragon Quarter… I swear, last time!) and you have nothing special. In fact, as much as I love the game and its narrative I have to admit that Breath of Fire II is in many ways a mess. But for some reason it’s a lovable mess I want smother with a great big hug.

Behind the Ranking:
The reason Breath of Fire comes in eighth has pretty much already been alluded to: none of the games (except for Dragon… no, I won’t say it!) have never really broken down any barriers or changed up the genre. Beyond that however, the two entries that appeared on the PS1 were solid pieces of software, one of which (Breath of Fire III) introduced some well thought-out mechanics like the Dragon Gene Splicing system. Generally I hate using the phrase “well crafted” because it’s usually a euphemism for something that “works” but is “extremely stale” (see Wild Arms 3) but it’s probably the best way to describe Breath of Fire titles. The only real hitch with such an explanation is that part IV comes dangerously close to being monotonous with it’s slow pace and washed-out color palette, something that gives the third installment the slight edge in the end.

7. Mega Man X

Defining Game: Mega Man X4 (seriously, it’s not even a contest)

First Look:
I know a lot of people are going to ask “really?” when it comes to this trio of games defining the PlayStation when a) nothing of real note has changed with the gameplay in years, b) the story isn’t one for the ages and c) one’s great, one’s mediocre and one’s flat out terrible, but I’ll just state the obvious and say I’m a true blue “sucker” and Capcom’s damn lucky that’s the case despite how many times they’ve dropped the ball with this one. The disastrous failings inside however, at least one of these games (X4) continues to make a name for 2D platforming on the PS1 and screams it from the rooftops. Yet the ironic part of the story is how Mega Man X4 (and by extension Mega Man 8) were originally headed towards a Saturn-only release before Sony decided “they wanted it too” and that side scrollers had a place on their precious console. X4 would go on to be on both consoles although (like this is surprising) the Saturn version (which had some minor improvements like a looping soundtrack) would more-or-less become a relic of a forgotten time while the PlayStation edition would sell well enough for the Greatest Hits designation.

Behind the Ranking:
This one needs no explanation: one great game cannot make up for the mediocre X5 or the fact that X6 was slapped together in six months behind Keiji Inafune’s back and shot out of localization process in a mere week to make it out in time for Christmas to “squeeze” the last cent out of the remaining PS1 crowd. Speaking of Keiji Inafune, he is the only member (or rather “former” member) of Capcom that has actually gone on record and apologized for that which is Mega Man X6. Unfortunately, X6 would not be the last X themed train wreck to come out of Capcom… fans would have to suffer through a highly questionable 3D excursion on the PlayStation 2 (with an insane amount of loading screens) before X8 would try and fail to deliver a worthy ending to the series – something X5 did much better. If one can take solace in anything related to this it’s that Capcom can’t do anymore damage now that Mega Man’s retried.

6. Final Fantasy

Defining Game(s): Final Fantasy VII (if we’re talking sheer "importance"); Final Fantasy IX (if we’re talking affection towards)

First Look:
Oh geez… I look forward to reading the hate mail on this one. Yeah, I did it. I placed the Final Fantasy sixth. And just as a bit of warning, you’re probably going to be even more peeved the further you get in this list when you see what was placed above it. Anyway, what can be said about Final Fantasy VII’s bizzare resurrection and massive following that hasn’t already been said? Okay, I get it – it was and therefore still is an important title. Sure, I wouldn’t have gotten into role-playing games without it and the buzz that surrounded it. All of that is true enough, yet when taking it in it’s still just another game I’ve spent more than enough time playing and it, and Final Fantasy in general, fails to be the reason I stuck with genre as long as I did. Personally, I’d credit other games with that honor – games that have received far less acclaim.

Behind the Ranking:
One of the reasons Final Fantasy is so far back in the list is because the “heyday” of the J-RPG is long past. It doesn’t take much of a glance at the PlayStation’s library to see what genre was popular at the time and as one can clearly see that time is no longer upon us despite the fact Square (now Square Enix, ugh) still tries to pull out the big guns. Sure, there are still role-playing games being made today but no longer in the same quantity – I mean heck, even Wild Arms is gone and it stuck around five games too long. Regardless, opinions change and the massive body of RPGs that came out during the PlayStation’s reign isn’t quite “goldmine” I once viewed it as, nor is the genre itself. Like the endless flow of first person shooters on shelves today (yeash…I get the point already! Shooting things is “fun”) there will eventually be a price to pay for such proliferation. Needless as it is to say RPGs are still paying the price for that.

5. Tomb Raider

Defining Game: Tomb Raider (none of the sequels come close)

First Look:
Again, I can already imagine people being upset that Tomb Raider beat out Final Fantasy, but then action games are always in style. Anyway, along with the aforementioned Final Fantasy VII (which doesn’t need any more accolades) Tomb Raider was the other game responsible for making me ditch the Nintendo 64 launch in favor of the Sony PlayStation. Yet as much as I will tout Tomb Raider’s success as the PlayStation’s success this is another game I originally played on the Saturn. However, the more you think about it, Tomb Raider did become pretty synonymous with the PlayStation brand considering it landed the mass of sequels that followed the original thanks to Sony’s massive payment to Eidos for the exclusive “console” launch of Tomb Raider II. The games that followed the original also ended up on the PC as well but then the lines between PC gamers and console gamers were pretty much drawn like they are today.

Behind the Ranking:
The reasoning behind Tomb Raider’s spot at number five is somewhat akin to Mega Man X’s spot at number seven. The initial game was amazing and still blows my mind to this day but the sequels have more than enough ammo (e.g. problems) to take the series down a few notches. Common complaints among players are the first few sequels take Lara “out of the tombs” and ignore that fact that lightning clearly struck with that combination. A more comical complaint is that Tomb Raider II and III essentially turned Miss Croft into a mass murderer with their endless waves of human enemies. I’m sure a jury would buy the “I was just treasure hunting” or “it was self-defense” excuse if presented with a hill of corpses. Still, perhaps the biggest blow Tomb Raider encountered was twofold: overexposure and the oversexing of its protagonist. The oversexing may have been played to great comical effect in the second game’s ending but with a new entry coming out each year it wasn’t long before both became problems.

4. SaGa Frontier

Defining Game: SaGa Frontier

First Look:
This entry makes me very happy because I know that 99.99% of readers are just asking what the hell this series is doing here. The same readers are probably asking how I could possibly place this above Final Fantasy. Well, I did and as odd as it may sound the decision came quite naturally. See, I’m in that small niche of players that actually liked SaGa Frontier for what it was: a small little smorgasbord. I’ll concede that in following a release like Final Fantasy VII SaGa Frontier had absolutely no prayer in the marketplace (at least here in America) and that it’s gameplay was as ill-explained as you could get. Really, have you ever read the manual for this thing? They really leave it up to the player to discover how the majority of the game’s gameplay systems work. I doubt that a more concise explanation would have saved SaGa, but then fans (especially those on GameFAQs) have been more than eager to fill in the holes over the years. What’s even more astounding is that new things are still being discovered about this title – even fifteen years later.

Behind the Ranking:
Those paying especially close attention may have noticed I made no mention of SaGa Frontier II in the previous section. Rest assured that’s no mistake as I’ll freely admit I “cheated” and used its existence to shoehorn this game onto the list. So what’s wrong with SaGa Frontier II? Well, I’m not a very big fan of the “generation” system it uses (losing characters because they “grow too old” is not something I want to deal with) along with a host of other issues like weapon breakage. Anyway, no game (except for Diablo II and Final Fantasy VII) has sucked away my gaming hours quicker than SaGa Frontier and given the current level of time I spend gaming now (rather low - especially when it comes to new games) I don’t see anything challenging it’s crown in that respect anytime soon. With that said, I promise I won’t use Castlevania: Chronicles to squeeze Symphony of the Night onto this list (not really the same “kind” of Castlevania when you get down to it) or use VR Missions to justify Metal Gear Solid.

3. Mega Man Legends

Defining Game(s): Mega Man Legends (actual), Mega Man Legends 3 (because of the cancellation controversy)

First Look:
First of all, if you’re one of those people that are in the “the Mega Man Legends games aren’t true Mega Man games” crowd I recommend skipping this entry because it’s only going to be filled with love for this series. I don’t really care what your argument against them is (really, what other 3D Mega Man game can you put these up against? X7?) but I fell in love with them from the first minute I played them. Okay, I’ll admit they aren’t perfect, that there are easily exploitable ways to kill every boss (just circle strife around them) and there are hitches here and there but Legends does so many things right, things that Mega Man fans claim they want but turn a blind eye to when they get it. If you haven’t figured out what I’m talking about yet it’s narrative. People always complain Mega Man “has no real story” but this is far from the truth when it comes to Mega Man Legends.

Reason for Ranking:
Mega Man Legends scores so high (and higher than the X series) because the original game is an excellent stand alone experience. Additionally, while it not quite perfect, the sequel does a ton of things that Mega Man sequels fail to do time and time again. What does Mega Man Legends 2 do? Well, it ups the ante with its level of difficulty a fair and respectful notch and *gasp* it actually answers questions from the first game in a satisfying fashion! Seriously, I’d like to see the X or original series do that. Finally, it seems impossible to end a discussion on Mega Man Legends without tackling the controversial cancellation of Mega Man Legends 3. As a fan I wanted nothing more to see Mega Man get off the <MOON> after an entire decade, but if the whole thing (and the downward spiral of the X series) has taught me anything it just wasn’t meant to be. Furthermore, I wasn’t too interested in Mega Man sharing the spotlight with a new character and I’m sure I’m not the only one that held that opinion.

2. Wild Arms

Defining Game(s): Wild Arms, Wild Arms 2 (toss-up)

First Look:
Being the second RPG Sony green lighted for release on the PS1 (the first being somewhat bland and uninspired Beyond the Beyond), Wild Arms only had a mere three/four months to make it’s mark before Final Fantasy VII arrived on store shelves. Thankfully, that was enough time for the series (or rather the first game) to carve out a niche for itself. Still, while a lot a people saw Wild Arms as a “filler” to tide them over till the next big release, I saw something more. This is especially important because I played Wild Arms after I had completed Final Fantasy VII (my first RPG) and still thought it was the better game. I’m sure some see this kind of romance as window dressing, but Wild Arms’ place in my heart was cemented when the second game came out to little to no fanfare in an even more competitive market place. Still, even as a fan it’s not hard to see how Wild Arms 2 got buried, the game not exactly doing itself any favors with its dated battle graphics that were pretty much unchanged from the original.

Reason for Ranking:
The reason Wild Arms and Wild Arms 2 rank so high on the list is due to the fact the following games (four of which are on the PlayStation 2) are extreme disappointments. Wild Arms 3, 4 and 5 can’t even begin to match the games on the PS1 and the remake of the original adventure (Alter code:F) is one of the biggest video game busts I can recall considering how long to took for Agetech to localize it. With that laid bare perhaps the biggest failing of Wild Arms beyond it beginnings on the PS1 is the lack of memorable villains. Each subsequent game tired and failed to offer an antagonist as cool as the Metal Demons and Odessa. Unfortunately (or perhaps fortunately) role-playing fans know how this story ended, the company’s flagship series coming to a quick and uncelebrated end on the PSP which a last-ditch change in genre. After a failed Wizard of Oz based role-playing game Media Vision would pretty much bow out of genre and concentrate on licensed IP games.

1. Syphon Filter

Defining Game(s): Syphon Filter (as its point of origin), Syphon Filter 3 (for it’s method of storytelling)

First Look:
I’m sure there are those that are wondering “what the hell?” Why on earth why would I pick Syphon Filter out of all the games/series on the PS1? Well, it’s not very easy to explain, but I couldn’t even begin to imagine how this series would pull me in when I received the first game though a very haphazard trade with an old friend. Still, for better or worse, it happened and it’s usually the first thing I think of when it comes to the original PlayStation. Of course, the first thing that people are going to ask (or rather tout) in this situation is Metal Gear Solid’s “vast superiority.” I’d defuse that ticking time bomb (or rather ignite it) by saying that while Metal Gear Solid is a game that any PlayStation owner should own and play, can we be a bit more objective when it comes to that game? Despite it’s pedigree it hasn’t exactly aged as well as some people would have you believe. Okay, now that I’ve ticked off another group of people, I should probably get to why people should play the Syphon Filter trilogy. Well, prepare to be disappointed because I don’t really have a good argument! As weak-kneed that seems and unlike most of the other games on this list Syphon Filter is probably a case of “you had to be there.” Really, as bad as that sounds you just had to be there.

Reason for Ranking:
Syphon Filter gets top billing because more than any other series listed it literally screams PlayStation. The first trilogy was self contained on the PlayStation and appeared on no other console (excluding the more recent PSN releases) and represented all the advancements and limitations that come with the console and a franchise in one fell swoop. When it comes to strong and weak points, the series definitely started and ended on a better note than it continued with the overreaching and overeager efforts of Syphon Filter 2, but these faults were easily combed over by the time the third installment filled in some of the smaller plot holes with its fulfilling method of story telling. The last thing that makes Syphon Filter a true counterpart to the original PlayStation is the fact that it (much like Wild Arms) more-or-less “died” with the console (okay, that’s actually my opinion) despite the fact there would be enough demand for games to be made for the PS2 and PSP. I would try and follow Syphon Filter into the future but it just wasn’t meant to be…. it’s time was over and done but it has yet to be forgotten.

Concluding Thoughts:

In the end most of the products on this list aren’t perfect, and in the case of SaGa Frontier far from it, but they were more than enough to define the PlayStation’s place at the top of the heap to this gamer. Still, as much as one can tout the success of Sony’s hardware, everyone knows a console is nothing without games, and when it comes to the PS1 this is only the tip of the iceberg. Indeed, this is especially true considering this list focused solely on franchises with multiple releases. Here’s a short list (and some notes) to combine with the above to get you started in case you missed any of them the first time out – know I did.

Brave Fencer Musashi - a solid action adventure that was never intended to be a quote unquote “Zelda Killer”
Castlevania: Symphony of the Night - I doubt this needs any introduction
Chrono Cross – would be a top tier game if it wasn’t for it’s “story” and mass of pointless characters
Doom – easily the best 90’s port of the game available, PlayStation exclusive levels are excellent
Einhander – I missed this one the first time out; amazing but I’m simply terrible at it
Final Doom – stretches the PlayStation a little thin but has a few perks over the PC version of the Master Levels
Final Fantasy Origins – faithful (perhaps too faithful) enhanced ports that pretty much replace the originals
Final Fantasy Tactics – you have to give this a nod despite the amount of time it takes to complete
Final Fantasy VIII – would have been mentioned above if not for “Squall,” “Rinoa” and “love story”
Legend of Legaia – a must for RPG lovers despite all its flaws
Mega Man 8: Anniversary Collector’s Edition – how on EARTH did this outsell Mega Man X4?
Metal Gear Solid – there are few games that can match the cinematic quality of Metal Gear Solid; everything else?
Rival Schools – a solid fighter that heaps on the extras to an absurd level
Silent Hill – missed this one the first time out as well, the game can certainly set a mood
Soul Blade – perhaps the premiere weapons-based fighter on the PlayStation; Toshinden kryptonite
Star Gladiator – off-beat three-dimensional fighter that along with Soul Blade laid Toshinden to rest
Tony Hawk’s Pro Skater 2 – Tony finest gaming moment; manuals add an insane amount to gameplay
Xenogears – far from perfect; interesting and notable for what it tries to accomplish than what it does

For me, the playstation was my 'renaissance' of gaming. I chose Genesis right before SNES came out, so I sorta missed that boat a little (though i got an SNES later), but I got a playstation at the launch and I consider the playstation to be more or less equal to the SNES in terms of revolutionizing gaming. For me the canon is: Resident evil, tomb raider, ff7, metal gear solid, tekken 3, castlevania: sotn... can't think of anything else.

But there are boatloads of honorable mentions due to playstation's huge third party support. I loved all the offbeat titles: Parappa, Artdink titles like carnage heart and tail of the sun, ridge racer series, wipeout, poypoy, tenchu, time crisis, tobal, street fighter ex+alpha etc. etc.

One thing I wanted to mention along the lines of gaming reviews was Gamefan magazine- they had a big influence in my gaming purchases and got me hyped over things nobody else ever would. One of the main reasons was that they seemed really into what they were talking about. They would rant about how Japanese got better art on their game boxes (true) and better instruction manuals, things most people would disregard entirely, but they had a heartfelt approach to it. I ended up getting an import of Romancing Saga 3 which had glorious game box art and a fabulous instruction manual, only I couldn't play it because it was in Japanese! But they also emphasized lush 2d art along the lines of Secret of Mana, Castlevania: sotn and FF6(3), which admittedly is superficial, but they brought such passion for these things that they influenced my gaming experience in a big way. Because of gamefan I checked out such esoteric titles as Star Gladiator which you already mentioned, but also Tail of the Sun. I just bring this up because you are doing gaming reviews and I wondered if maybe you had a similar experience, or maybe some other publication or writing influenced you.

Growing up I believe I only ever read one issue of Gamefan. I it covered a few games I eventually got (like the lackluster Toshinden 3) and other ones that didn't even come out in the US (the 32-bit versions of Mega Man X3, some of which [3DO!] didn't even some out).

Still, I did have a subscription to GamePro for two or three years when the PlayStation and games like FFVII and Symphony of the Night where coming out. To say that those magazines and reviews didn't influence my purchases would be quite the lie. Really, what magazine didn't make Symphony of the Night look cool? That said, I did end up getting a lot of the PSX titles (especially the ones in the "Fighters Edge" section as I was into fighters) they did features on at one point or another. Still, I think the lower price point on PSX games ($40, $20 for a GH) was a real factor in how many games I got for the system.

I don't know why I quit getting GamePro but the issues are so small today comapred to how large some of them were in late 90's. I'm sure it's completely different now than it was back then.

Game: Final Fantasy: The 4 Heroes of Light (NDS)

“An odd little game that tries to be something special”

Odd. It’s a word that almost describes itself. In this world there is no shortage of things that come off as odd, whether it’s the creatures that inhabit it or the creations of mankind it’s safe to say that odd is here to stay. Really, can anyone explain to me why bread is square and bologna is round? Regardless of what kind of spin one puts on it to satisfy their curiosity, we often poke fun at things that are strange because we often lack the words to define them. They’re just “odd” and that’s all there is to it.

Still, when it comes to video games – a boundless arena where one’s imagination is pretty much allowed to roam free completely uninhibited – one can’t play more than five minutes without encountering a few oddities. Some of these are self-created, like my indecisive feelings towards Final Fantasy IV. I’d love to know the reasons why this game feels so alien to me when I play it but the answers just escape me. I can’t understand my immunity towards a game that easily deserves the acclaim it has received over the years. Even crazier still is how I can embrace a flawed piece of work like Final Fantasy II. One would think that the game that was actually deemed strong enough to be localized the first time around would go down a lot smoother than one that was brought over in a late-era PS1 remake a decade later. Perplexing as the whole situation is in reality, I know the problem lies more with me than it does with either game.

Fortunately there are times where the exact opposite holds true, times where things are more attractive because they are odd. I’m sure anybody who is familiar with gaming could easily come with half a dozen with very little thought. That said, considering the point being discussed here there is only one title that fills the bill: Harmony of Dissonance. Why Castlevania: Harmony of Dissonance? Well, like Final Fantasy above the answer is far from simple but much easier to postulate. Blunt as it may seem, map design is something Castlevania has struggled with to various degrees since Symphony of the Night, the original “Castleroid.” There was something about the layout of Dracula’s Castle in that game that was brimming with intelligence, something the eventual follow-ups couldn’t tap into. While Harmony of Dissonance did little to fight this feeling, it had its own intangible x-factor, a constant sensation that something was off. This (and its strange color palette) ultimately made the game more memorable than it would have been otherwise.

So what does all of this have to do with Final Fantasy: The 4 Heroes of Light? Well, a lot because The 4 Heroes of Light is also weird game. How weird? Weird enough to make one question the fact that “Final Fantasy” is present in the title. Does Matrix’s stab at a Final Fantasy benefit from being “odd” or does it only add to the bottomless list of products that use the moniker to attract consumer attention? That’s a good a question as any….

Sights and Sounds

As odd as it may seem, the first element of Final Fantasy: The 4 Heroes of Light that made its impression on me was the music. In being a huge fan of video game music, it may have only been natural for me to focus on this aspect of the game, but in no sense is it an automatic response when taking in video-based entertainment. That said, a few hours in I was dying to know who the lead composer was. Why? Crazy as it sounds I was curious as to who could write something so fitting yet so underwhelming. It couldn’t have been Nobuo Uematsu, who even in the twilight of his career could compose circles around something this bland and serviceable. Anyway, a bit of research later I came up with the name Naoshi Mizuta, something that wasn’t too surprising given how far this game is from being a legitimate part of the series numbered continuity.

So why would I start this review by critiquing Mizuta’s work, a body of work that fails to make a name for itself? Because it exemplifies how the vast majority of elements that make up The 4 Heroes of Light work but are ultimately conflicted. Agreeable as the score is to the world it represents it has the uncanny “gift” of getting into trouble here and there. One of the best illustrations is when the music shifts in battle when one of the player’s characters is in critical condition. Considering how many RPG’s have gotten by without the employment of such a technique it’s as harsh and unnecessary as it sounds. A similar event occurs in boss fights when a boss’ hit points get low. Generally that’s a bit more useful even though it still falls into the realm of superfluous. Other issues, like the games over dependence on key tracks during the second half of the game, also take their toll and, perhaps most telling of all, is how flaccid the Dragon Harp jingle is.

The above situation applies to the game’s art direction as well. While I can’t imagine saying that character designer Akihiko Yoshida’s work is bad (it did have somewhat of a unique charm to in Final Fantasy III) it certainly leaves a lot to be desired here. For the lack of a better phrase it feels second rate and at the end of day I’d have a real hard time calling anything in The 4 Heroes of Light beautiful – drawn or rendered. If anything, it looks like a mishmash ambitions (similar and otherwise) that I’ve seen elsewhere. However, I will admit I’ve always had odd relationships with games that employ a dull color palette. Breath of Fire IV on the original PlayStation is great example; it’s washed out colors clashing with the bright colors Capcom used throughout the first three games. I can’t say the darker tones make the game less attractive when it comes to my personal hierarchy (of which Breath of Fire games are my favorite) yet the possibility exists.  Another game that immediately comes to mind when presented with art of The 4 Heroes of Light is 1999’s Legend of Mana. Despite the fact that the bright and bold world presented in Legend of Mana is the exact opposite of what’s presented here, both games are obviously geared towards creating a mystical fairytale feel. Unfortunately for this game, Mana’s color palette makes it much more attractive even though it too is a conflicted creation.

Character Conundrum

The 4 Heroes of Light also runs into some trouble with its story and characterization. Most of the time the game is good at letting you know what your characters are thinking (something that’s achieved by having your characters split up when visiting towns much like a private action in Star Ocean) but there are times where the dialog seems to skip over or botch emotional extremes. For the sake of all that’s good and holy I expect a much more believable expression of grief after a plague has befallen Horne than “what the hell, at least we’re fine, screw it, let’s just leave.” Yet ironically, it’s this exact same “harshness” that fuels the characters personalities for the first half of the game and makes them a lot more interesting than they’d be otherwise. Brandt, Jusqua, Yunita and Aire are not exactly the most likeable people in world when the game opens and, oddly enough, the character introductions are very honest about that. I found something strangely genuine about that. What I enjoyed even more than that was how certain characters (especially Jusqua and Arie) bickered with one another. As silly as it sounds such interaction added a level of realism that most role-playing games tend to gleam over in favor of overall focus.

Unfortunately, like all good things this comes to an end. There’s a moment near the halfway point where the scenario takes on that typical, super-sappy “we’ve grown so much since we were last together” thing that tends to invade all role-playing games. I understand the importance of these characters putting their problems with one another behind them to focus on the tasks at hand but do they have to literally tell me that in a block of text? Having them tell me that they’ve grown – instead of showing me – only cheapens the experience and destroys the relevance of such epiphanies. Weak-kneed at this moment truly is (in all honesty it’s terrible and hard to swallow) the game does a surprisingly good job at burying it in the back of the player’s mind with some of the later revelations. Still, entertaining as some of twists end up being one will find the plot is in league with older Final Fantasies and lacks the complexity to compete with that of a full-fledged console-based title. In a certain sense I guess I’m “prettying up” what the story has to offer because in reality it doesn’t ask a whole lot of the player but then I can’t real consider it a real flaw as most handheld titles tend to be shorter and self-contained.

Fight or Flight

Whereas previous sections have focused on areas where The 4 Heroes of Light falls in line with the status quo, combat presents the player with the one area where the game manages to mix things up. Combat is a turned based affair that throws out the concept of MP in exchange for a similar yet different ability point based system. Each command or spell consumes a set amount of AP with one point being refreshed at the start of each round. Also of vast importance are battle messages, snippets of information presented on the bottom screen that gives the player the most recent data on which effects (buffs) have been activated and which ones need to be recast. Another departure is the implementation of auto targeting. Physical attacks automatically target the front row of the enemy party while spells automatically target the back.

Of all these changes the one that is most likely to strike doubt in the heart of potential players is the auto targeting. I was skeptical at first but the game handles it pretty well. I’ll admit there where times where I would have liked to have more control over what ally was resurrected or which character had their status abnormality cured but these sacrifices are ultimately necessary in making the enemy encounters in the 4 Heroes of Light as brief as possible. Why does combat need to as brief as possible? As simple and quick as combat seems at the start of the game it is quickly bogged down by commands you’ll constantly back with buffs. These “buffs” lengthen battles considerably and make combat a rather formulaic endeavor despite the vast number of choices the class system provides. There are only so many classes that can get away without self-buffing (these generally tend to be physical-oriented classes who rely on other characters and classes to do that for them) so there is no real way to depart from this style of gameplay; you’ll constantly be buffing, attacking and boosting (defending to restore AP) to fuel your offense/defense.   

Another aspect affecting the game’s combat is the handoff between the first and second “worlds.” Enemies in the first world have set levels and statistics and can only be as powerful as they start out; the opposite holds true for enemies in the second world where your adversaries level up and scale with the level of the party. This means after a certain point it is senseless to try and overpower a boss solely by gaining levels. Different as this approach is, it really flies in the face of common sense, making one question why a game (and a development team) would employ such a dramatic shift in an experience system midway through a game. Why not just implement it from the beginning? Like combat itself I’ll concede it manages to work to a point, but the switch eventually plays havoc with the accuracy of certain classes, creating a slight mess that seems to come and go as it pleases. Regardless, there are moments where both systems show their inadequacies.

Still, perhaps the most problematic aspect of battles is the over reliance on elementals. Most role-playing fans are familiar with the concepts that make ice creatures weak towards fire spells and make machines susceptible to lightning. These general “rules” may change a little between games but the general science usually holds true. Anyway, after the switch above takes place the practice of elementals takes on a whole new importance in The 4 Heroes of Light. Before this point it’s nice to have the correct elemental shield to block a given boss’ biggest spells but it literally becomes mandatory in the second half as is attacking with the correct element to adjust for the increased boss hit point totals. What makes this such a chore is that prior to fighting a boss (unless you’ve beaten the game before) you’re not going to know what element to protect against/attack with. So this means a lot of trial and error since a) you can’t change equipment during battle b) you can only carry so much equipment to begin with and c) most enemies have physical attacks are infused with unseen elemental aspects.

The literal abuse of elemental combat above (and the broken yet lifesaving application of the Elementalist class) also tries back into something learned in Matrix’s reworking of Final Fantasy III: if you know what’s good for you do NOT ignore the magic defense statistic. Really, you don’t want to see what happens when a character lacking in this department is tagged by a spell. Also adding the vast list of idiosyncrasies seen in combat is the reality that attacks don’t do a static amount of damage. Damage for the same attack can vary wildly from turn to turn for no real reason - even if you hit an enemy’s weak spot.

Delightful Dungeons?

Despite the title of this section (I only named it that so I could employ some sweet alliteration) exploring dungeons is actually another thing The 4 Heroes of Light does right. Unfortunately, as if it’s any surprise, it’s complicated by the problems above – especially the elemental problem which may have you leaving a dungeon here or there for the correct gear. Regardless, the developers took note of the limited on-hand inventory space and avoided loading the dungeons to the brim with treasure. You may have to make a decision on what to keep every once in a while (especially when combined with enemy drops) but you won’t be stressing over what and what not to keep or leaving a dungeon over and over to store items at the storage shop. The bite-sized dungeons go well with the inventory system and shows one an area where designer forethought coincides with the current reality.

That being said, dungeons really don’t bring the goods graphically or intellectually. Considering how The 4 Heroes of Light tries to emulate older games more than newer ones (again, it’s no accident that the game shares several similarities to Final Fantasy III) this may be another area where being hypercritical may be ill-advised. Still, there are times where the dungeon concepts wreak of desperation. In fact, one dungeon is more-or-less ripped straight out of Breath of Fire II. I know Capcom doesn’t have complete jurisdiction over that specific “kind” of dungeon but it’s so close in spirit it’s not even funny.

Working Class Warfare

Given how Matrix worked on the DS remake of Final Fantasy III, it should come as no surprise that The 4 Heroes of Light employs a similar yet slightly different job system. Rest assured the classes everyone has grown up with are accounted for, but some of them are a bit redefined and repackaged to make things a bit more intriguing. However, the real change occurs in how the player expands upon their powers. Rather than relying on an age-old concept like a numerical level that’s based on accumulating a set number of experience points or performing so many actions, The 4 Heroes of Light takes a cue from Final Fantasy X’s sphere grid. Abilities (or commands) are unlocked by placing “gems” into “crowns.” Crowns are basically fancy sets of headgear that grant your characters their classes or jobs. It’s actually pretty satisfying to place your gems into these crowns but the appeal is ultimately limited by the number of gems you have on hand. Enemies have a set percentage at which they drop certain gems but there never seems to be enough to go around, something that prohibits any real, unbridled exploration of the classes available.

While there is little doubt you’ll be grinding for gems at one point or another, gems also come in handy when it comes to upgrading equipment. Upgrading the attack and defense parameters on weapons and armor is the only way to get ahead of the curve in the second half of the game proves to be essential when tackling the bonus content. Still, if I were to cry fowl about any one aspect of The 4 Heroes of Light it would be how one is expected to make money. One doesn’t receive money from winning battles but by selling off their extra goods. From a straightforward point of view this is a clever approach, but from the view of your typical completionist it is an utter nightmare. For those wanting to complete the game with one of every item (there is actually a reward for this to boot) enemy drops take on a whole new level of importance.

Yea or Nay?

After all this talk you’re probably wondering what my final take on Final Fantasy: The 4 Heroes of Light is. Well, there’s good news and bad news. The good news is despite all the problems contained within I actually had a pretty good time and I look forward to replaying it at some point down the road. The bad news? As much as I enjoyed it I find I have to be honest and be a bit harsh while judging it. Still, while some will see the resulting six out of ten as a sign of failure nothing could be further from the truth. Sometimes ratings are just that – ratings. Ratings are not always an accurate way to calculate the intangibles that occasionally work their way into the equation. Oddly enough this is one of those times.

Overall Score: 6/10