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Xenoblade Chronicles 3 (Switch): COMPLETED!

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I’ve been playing a lot of Huge RPGs in the last year or so, and Xenoblade Chronicles 3 might be the longest one yet. I’ve completed it, but of course There’s Still More To Do, so it’s not over yet. Just 85 or so hours in.

It’s hard to talk about everything in the game without spoilers. Normally, a spoiler in an RPG like this would just spoil the ending of this game, but in the case of Xenoblade 3 it would actually spoil enjoyment of the previous two games in the series too.

What I can say, hopefully ruining nothing for you, is that the whole existence of the world of Aionios, the setting for the game, is directly related to Xenoblade 1 and 2. This becomes clearer as you play, especially if you remember locations from those games as places you visit in Xenoblade 3 are somewhat familiar, either in look or in name (or both). There are a few “wait, what?” revelations related to it too, but I won’t go into them.

Hung on the front of this is the “day to day” story of the game. Two factions, Keves and Agnus, are locked in perpetual war. Soldiers, when defeated in battle, release some sort of life essence which is used to sustain the Flame Clock of their enemy, and this clock is essential to the existence of that army. For centuries, this life force has bounced back and forth, with no overall victor – intentionally, as it turns out. To add to this, soldiers are “born” as children and only live for 10 years – assuming they’ve not KIA.

You start out as a small group of Keves soldiers, and because of $event, you end up fighting alongside some Agnus soldiers rather than (or perhaps, as well as) against them. This starts off a chain of events which ultimately reveals that this entire war is orchestrated by a higher, malevolent, power and surprise – you have to team up permanently and Become Greater Together and other tropes in order to prevent (or cause?) the end of the world. This mostly involves going round all the colonies, from both sides of the war, and destroying their flame clocks to release them from the endless fighting.

I’m amazed that the three games in the series can be so similar, but somehow still have completely different worlds and events and still be linked in ways that I couldn’t ever have imagined. It’s really clever.

But, that’s the plot. How is the gameplay? Well, it’s similar to what came before, really. You still have a party of heroes, you still have “arts” and other special moves and attacks, and it’s still real-time-ish battles as before. There’s no “foresight” power like in Xenoblade 1, and you don’t have “blades” as such like Xenoblade 2, and there whole upgrading and buffing your party and stats has been streamlined and polished, but it’s still played and controlled in essentially the same way. Battles feel quicker than they did in 2, which was one of my only negative points on that game.

Voice acting is, again, excellent. It took a while for the new characters to grow on me, but I can’t complain about how good their actors are. As before, it’s mostly regional accents – Welsh cat ladies, Australian rebels, etc. – which really adds something. There’s a big variety of characters, loads of heroes you can add to your party (only one at a time, though) each with their own missions and stories too.

And that’s it. There’s a lot more I could say, but spoilers, right? Is it better than 1 and 2? No. But the thing is, I’m seeing all three games as one massive game now, and it’s certainly not a disappointment or a dip in quality. Now, if only Xenoblade Chronicles X was also linked in to the series properly!

Grand Theft Auto Vice City: completed!

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It turns out that pootling around finishing up side missions was actually the right thing to do. I started by finishing up the taxi and ice cream van missions, unlocking the regular payments from them, then I headed for the golf club to see if there was anything more to do there. It turns out that there wasn’t, but I jumped in a boat and found myself on Prawn Island where there was a film studio in need of some tender care. Tender care through the production of tender movies, apparently, but fortunately Tommy Vercetti isn’t the sort of man to be directly involved in those – there’s no hot coffee here – and the missions associated with the film studio were altogether more entertaining and varied.

Two in particular stood out. First, I had to pilot a plane around the city, dropping leaflets advertising the new film along set routes. Second, I had to take a motorbike up in a lift and jump out an office block window in order to land on another building’s roof, and then follow a path of jumps and ramps around until I finally got to a spotlight – which I could again use to advertise. Why I couldn’t just fly there in a helicopter, I’ll never know, particularly because a later mission at the studio had me using one to follow someone to take blackmail photos.

I raised a lot of money through these side missions, so I went to buy the Malibu Club, and completed the missions there as well. Finishing those, and unlocking the earning potential of the venue, suddenly gave me a new marker on the map, next to the Vercetti mansion. So, naturally, I didn’t go there.

It’s always fun to set cars on fire, and then set the fire engine on fire when it comes to help. Fire.

I went and did some other stuff instead. I searched around for hidden packages, to limited success. I delivered pizzas, I robbed some stores, I managed to complete a course over the rooftops using a dirtbike, I went to the shooting range. And then I decided to try to finish the game.

It took me many attempts. The last mission sees you being betrayed by a good friend and meeting the city’s main crime lord, with many enemies attacking and trying to ambush you. The shotgun came in very useful as I chased Lance up the corridors to the roof. The mafia were trying to steal cash from the safe every time I left it, so my foray up to the roof was kept as brief as possible, although I had to progress slowly to avoid being shot by a seemingly endless supply of enemies. At last I killed Lance, after sniping him from a higher platform, and then returned to meet Sonny and kill him as well. Mr Extravagant Lawyer found me sitting on the stairs, and we walked out the front door to the sounds of the 80s.

On to San Andreas next? Maybe. I’ve never played it; I own it for Xbox and PS2 and Xbox 360 and Xbox One and PS4 and PC, but the setting has always put me off a bit. I like the mafia setting of III, and I like the 80s Miami setting of Vice City, but 90s rap culture has never captured my imagination. Maybe I’ll try it in a few months.

Prince of Prussia: completed!

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No, I’ve not got to the end of Prince of Persia as yet – I know what I have to do to complete level 9, but I keep making stupid mistakes right at the end – but this is a small puzzle-type platformer which riffs on Prince of Persia but adds in Nazi guards and a shiv. The movement, graphical background, and obstacles are derived from the original Persia game, although there are no buttons or moving gates; instead the puzzle is working out where to move, how to get from place to place, and where the guards are.

The level starts in darkness with only the area immediately around you visible. Over time you fill in the level structure, although explored areas are shown only in blue (without guards and obstacles included). You can move left or right, and jump left or right or up, and when you’re at the edge of a platform you can climb down. This is a crucial ability to prevent you from falling to your death. All simple enough, although with the limited movement options it can take a little convolution to get to the right place at times, and you’re only ever one wrong keypress away from death.

What makes it more difficult is that the guards will shoot you on sight. Jump or walk onto a platform in front of them and you will be deadened immediately. Unfortunately they are frequently just where you want to go. How to get around this? Approach them from behind. Do so, and the prince makes use of the sharp metal he found at the start of the game, and the guard becomes a bloody mess on the floor.

And that’s basically the game. Kill all the Nazis, make your way to the switch to open the exit and then the exit itself while avoiding spikes and long drops. It took me a while to realise that you can’t jump over two blocks of spikes together but instead you have to climb down onto them and walk across. Otherwise it was a fun diversion where I managed to kill all but one of the guards, and finally found and killed their boss.

You can play it at https://adamatomic.itch.io/prince and I suggest you do.

Batty Zabella (Evercade): COMPLETED!

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A short point and click adventure game in the style of something like Shadowgate, but themed like Elvira, Batty Zabella is a sometimes infuriating experience. The puzzles aren’t hard, but the lack of being able to tell where some room exits are (I didn’t even know there was a shed for ages!), fiddly combat (it’s a Game Boy game but really feels like these bits need a light gun or mouse pointer) and a weapon which needs recharging but you never seem to know when so you die a lot, all add up to frustration.

I did enjoy it, however, despite those issues and the slightly odd (I assume it’s translated) dialogue and overly smutty references.

Mars After Midnight (Playdate): COMPLETED!

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Lucas Pope, the developer of this game, has a reputation for making weird experimental games. But they’re also good. I’ll admit, however, that apart from some time on Papers, Please (I lost my save I think, following a reinstall or something) and the demo of Return of the Obra Dinn (which I fully intended to get the full version of but for some reason never did), I’ve not really experienced them. Until now!

Hyped as a possible killer-app for the silly little cranking handheld, Mars After Midnight sets you up as an alien guidance counsellor on Mars, who, along with their robot sidekick/slave/helper runs night classes for various other aliens with issues. Issues such as, they have cracked skulls, or are cyclopseses with anger issues, or they flinch or something. All Serious Issues.

So you organise these sessions, by advertising in the right areas of town, and make them successful by providing the best refreshments. Then, aliens turn up at the door and you have to screen them to ensure they’re suitable for the session you have running. For example, you can use an x-ray machine to see if they have a cracked skull, or can surprise them to see if they flinch. If they match, in they come, help themselves to food or drink (which you then usually have to tidy up because aliens are messy, it seems), and if you’ve done everything right, they’ll leave you a tip.

Eventually, you need use this money to buy a ticket to leave Mars, but you also need to spend it on equipment (like the x-ray machine) and refreshments, so it’s a long process.

It isn’t especially hard, and although it is superficially similar to Papers, Please it has a very different vibe. The crank controls are mostly just for opening and closing the door hatch and cleaning the food table, so nothing too tricky. There’s a surprising variety in the different counselling sessions and “detection” requirements, with one of my favourites being the one where you have to translate what the aliens are saying using a phrasebook.

Definitely worth a play, and was worth dusting off my sadly neglected Playdate for.