Connect with us

Games

The Leading Ladies of Horror Games: or the Neglected, Orphaned, Girls of Insane Asylums

Published

on

Editor’s note: This article was originally published on March 11, 2018. 

Have you ever taken a cold, hard look at the childhoods of female protagonists in horror games? Many of them have been orphaned or abandoned, put into a mental asylum or orphanage, or some combination of those. There is nothing wrong with creating a character with this kind of background, but it’s a commonly used trope to what I can only assume is to add a more “authentic” layer of complexity to female characters in horror games.

Do these women need to have traumatic pasts that “break” them to some extent? Can we not validate their existence in whatever hell-on-earth scenario their hero’s journey has in store for them otherwise? Or is it that game writers have been too lazy to come up with something more creative? Take Amanda Ripley from Alien: Isolation. She is a 25-year-old engineer for Weyland-Yutani—smart, talented, yet unfortunately experienced losing both her parents early in life. Her father abandoned her and her mother when she was three, and her mother disappeared when she was ten.

To compare to a well-known survival horror male protagonist, Amanda Ripley is a character who is similar to Isaac Clarke of Dead Space in terms of their career paths, but Isaac was put into an asylum in his adult life, and he wasn’t orphaned or abandoned by his parents in childhood. His dad was mostly absent, but he was away on a mission, and his mother was a constant presence throughout his life. Both are examples of using trauma to add complexity to their characters, but Amanda’s trauma started in childhood and was more severe.

There are two ways this trope is executed. The first is like Amanda Ripley: the character’s past doesn’t have any influence on the story. The second is that the character’s past carries over into the major events of the story. Here are a few of those examples:

Rayne, BloodRayne (2002)

She is a dhampir: a half-human, and half-vampire. Her father, a vampire, raped Rayne’s mother, eventually killing her some time after Rayne’s birth, and then abandoned Rayne, which led to her spending most of her teenage years tracking down her father to kill him with the unbridled fury that only revenge can bring. Joining the Brimstone Society was just icing on the cake.

Fran, Fran Bow (2015)

At ten years old, she witnesses her parents’ gruesome death; they were dismembered. Fran rushes into the woods with her best feline friend, where she goes into shock and blacks out. When she wakes up, she finds herself in a mental asylum known for its cruel mistreatment of children. While there, she suffers through reoccurring, violent images of her parents’ death. She hatches a plan to escape and find her cat—her aunt, too. While Fran Bow does fall into the stereotypical trappings of traumatized young girls, the plot contains autobiographical elements from developer Natalia Figueroa’s life, and she has been quoted as saying the process of creating the game was therapeutic. The real horrors of Figueroa’s life should not be understated. At the very least, Fran Bow is a reminder that the orphaned/insane asylum trope should never be taken lightly and used with care.

Jennifer Simpson, Clock Tower (1995)

Inspired by Dario Argento’s film, Phenomena, Clock Tower is yet another game that centers on an orphaned female protagonist. Jennifer finds herself alone in an old mansion after the woman who brought her there disappears, along with a few other girls from the orphanage. Her stalker for the entire game is psychotic and physically deformed 9-year-old Bobby Barrows, aka The Scissorman.

Alice Liddell, American McGee’s Alice/Alice: Madness Returns (2000/2011)

Orphaned and traumatized from the death of her parents and her sister, Alice lived in a mental hospital for some time before being discharged to an orphanage specifically for mentally traumatized children. She believes she is responsible for a fire that caused her parents’ death, and received hypnotherapy to help her forget what happened. However, this inadvertently leads to hallucinations of Wonderland, which serves both as an escape and a means to discover the truth about what happened on the night of the fire.

Renée, Town of Light (2016)

Set in Italy during the 1940s, Renée is a teenage girl who is placed into a mental asylum by her family due to her promiscuity, depression, and a volatile relationship with her mother. There isn’t a clear mention of her father, so we can assume that Renee was fatherless in some regard. While Renée unfortunately experiences abuse at the hands of the orderlies in the asylum, it’s ultimately her mother’s abandonment that worsens the quality of her life.

Clementine, The Walking Dead (2012)

During a zombie apocalypse, it’s kind of expected that many kids will lose one or both of their parents to the brain-eating undead. Clementine is no exception. Even though she’s not the protagonist of the series, she is a playable character in the second series.

Heather Mason, Silent Hill 3 (2003)

Her adoptive father, Harry Mason, was initially unsure of raising Heather. He wanted to abandon her at first, since she is the reincarnation of Cheryl Mason and Alessa Gillespie, and that was too creepy for his liking. But he did the right thing and raised her, though without a mother figure in Heather’s life.

Claire Redfield, Resident Evil 2 (1998)

Both she and her brother, Chris, were orphaned as children when their parents died in a car accident. Presumably, Chris raised Claire by himself.

Ellie, The Last of Us (2013)

As announced in 2016, Ellie will be the playable protagonist in the sequel, which means she makes it on this list by sheer technicality, but she’s an important character to include nevertheless. Ellie is a 14-year-old orphan who was raised in a boarding school run by the military. Again,  an orphaned child is fitting for the trope of growing up during the zombie apocalypse and makes sense on a fictional level, but it’s an easy trope to execute given the subject matter.

Jennifer, Rule of Rose (2006)

While not much is known about Jennifer at the start of the game, what is revealed as the game progresses is her connection to the Rose Garden Orphanage—and remembering, processing, understanding and accepting the suffering she experienced as a child. The entire game is about Jennifer coming to terms with events that happened before the start of the game.

When focusing on games in which the leading protagonist is female and is the only playable character, there seems to be a greater focus on the leading lady’s upbringing and her relationship with her parents than that of male protagonists of the same genre. I’m all for horror games that give female protagonists traumatic childhoods, but when creating the backstory for a character, it’s not as creative to fall into the ol’ “daddy issues” trope if done for the sake of making the female character edgy because “that’s what should be done in a horror game.” That is not to say there aren’t games that buck this trope, or that these female protagonists aren’t smart and capable characters, or even that we can’t love these characters—but it’s a trope that shows up more often than it should. Female characters in horror don’t need to have traumatic childhoods to match the dark, demented, and often demonic themes of horror games.

Here are a few of those games that should be recognized:

Cassie, Perception (2017)

The only thing traumatic about Cassie’s life are her nightmares of a mysterious mansion. There’s nothing traumatic about her childhood that has her searching for her missing mother, seeking revenge on her father, or finding a way to escape an insane asylum. She’s a young woman on a mission to solve the meaning behind her nightmares. Also, Cassie is blind and relies heavily on echolocation to find her way around the mansion.

Utsuki, Sakuya, and Abe no Seimei (female version), Kuon (2004)

The game is unique in that it has three separate playable female protagonists. Utsuki and her sister are on a mission to find their father, exorcist Doman Ashiya, who has gone missing; Sakuya is a female exorcist and one of Doman’s disciples, and Abe no Seimei is a master exorcist. If it’s not obvious, Kuon deals with demons and forbidden rituals that are similar to necromancy.

Allura, Trapt (2005)

The princess of Fronenberg, Allura was the only daughter and child of King Olaf and Queen Evelyn. Unfortunately, her mother passed away at some point in her childhood, leaving both Allura and King Olaf incredibly distraught, but Olaf eventually remarried to a woman named Catalina, whom Allura hated. What makes Allura’s journey as a protagonist unique in this game is that she was framed for her father’s murder and was forced to flee the kingdom.

Alex, Oxenfree (2016)

While teenage Alex is still coping with a familial death when we first meet her, it’s not that of a parent—it’s her older brother. Her brother’s death had a large part in her parent’s divorce, but her mother remarried. Not only did Alex have to adjust to living with a new father-figure in her home, but she also had to adjust to her step-brother taking over her brother’s room. When the game starts, Alex has just met her step-brother, but decides to bring him along for her and her friends’ overnight ghost adventure anyway. It’s only later on in the game that we find out exactly how heartbreaking it was for Alex to lose her brother.


When writing horror and creating the protagonists, I’ll refer to something Tim Waggoner said at my recent trip to StokerCon: when something is no longer unknown, it’s no longer scary. Abusive orderlies at orphanages and asylums, dead parents, dead-beat dads—they’re horrific, and it’s no wonder they are well-used tropes in horror games, but not every female protagonist needs to have a traumatic past, and giving them one does not automatically make them an interesting character. So, take that trope and reverse it, or do something else with it. Female protagonists don’t need to be “broken” to experience horror in their lives.

Joanna Nelius is a Southern California native who was raised on age-inappropriate games, yet somehow turned out alright. She has been an editor and contributor for several small gaming publications, as well as speculative fiction and academic magazines, for the last few years. When she has some free time, she usually spends it exploring abandoned buildings or watching Unsolved Mysteries—and finding good homes for her twisted horror and sci-fi stories.

Click to comment

Leave a Reply

Your email address will not be published. Required fields are marked *

Games

PAX Online: ‘Inkulinati’ and ‘Pumpkin Jack’

The PAX Online celebrations continue with the strategy game, Inkulinati, and spooky Halloween themed Pumpkin Jack.

Published

on

Inkulinati and Pumpkin Jack

The PAX Online celebrations continue with a strategy game whose tales are writ in ink and a game sure to put you in an early Halloween mood.

Inkulinati

Inkulinati

Platforms: Switch and Steam
Release: 2021

Preview in new tab(opens in a new tab)

Competitive strategy games stress me out. Chess? Stresses me out. Checkers? Stresses me out. Star Craft? Stresses me out. Managing that stress as a form of stimulation is what makes the best strategy games shine, though, and Inkulinati is so far demonstrating all the facets of such a game.

The titular Inkulinati are masters of a craft that brings their inked creatures to life on parchment, including a caricature of themselves. The two Inkulinati do written battle with each other until only one is left standing. The battles are carried out in a charming medieval art style that looks like it was taken straight out of a manuscript you’d find carefully stored in a library. These aren’t the masterpieces of Da Vinci or Van Gogh, but the kinds of scribbles you’d find the layman making on the edges of pages either out of boredom or mischievousness. The playful art makes for a playful tone and jolly times.

The core thrust of the gameplay is that each Inkulinati utilizes ink points to conjure units, or “creatures”, onto the parchment in a turn-based manner and sends them into the fray. There were a fair amount of creatures available in the demo — ranging from a simple swordsdog with well-rounded stats to a donkey capable of stunning foes with its trusty butt trumpet. Many many more creature types are promised in the full game, but I found even with the limited selection of the demo the gameplay was still able to be showcased well.

Your primary Inkulinati also has some tricks up its depending on the type you’ve chosen to take into battle. Instant damage to or healing a unit were the two shown off in the demo, as well as being able to shove units. Shoving is particularly useful as you can push enemies into the hellfires that encroach the battlefield as the battle wages on, instantly defeating them.

Doing battle with an opponent it all well and good, but what’s the point if it’s not immortalized for generations to experience down the line? Inkulimati understands this need and will record every single action of the battlefield in written word. It’s infinitely charming, and the amount of variations in how to say what amounts to just “X unit attacked Y enemy” is astonishing. How can you not chuckle at, “Powerful Morpheus killed the enemy and may those who failed to witness this live in constant pain and regret”?

Pumpkin Jack

Pumpkin Jack

Platforms: PS4, Xbox One, Switch, and Steam
Release: Q4 2020

Halloween may be a little over a month away but that didn’t stop the 3D action platformer Pumpkin Jack getting me in the spookyween mood. The human realm is suffering from the Devil’s curse and have elected the aid of a wizarding champion to save them from it. Not to be outdone, the Devil also chooses his own champion to stop the wizard, choosing the despicable spirit Jack. With the tasty reward of being able to pass on from hell, Jack dons his pumpkin head and a wooden & straw body on his quest to keep the world ruined. The premise sounds slightly grim but make no mistake that this is a goofy game through and through, a fact only emphasized by a brilliant opening narration dripping with sarcasm and morbid glee.

The demo took us through Pumpkin Jack‘s first stage, a dilapidated farmland full of ambient lanterns abandoned storehouses. The visuals are compliments by a wonderfully corny soundtrack full of all the tubas, xylophones, and ghost whistles one would expect a title that is eternally in the Halloween mood.

We got the basics of traversal, like dodge rolling and double jumps, before coming upon a terrified murder of crows. Turns out their favorite field has been occupied by a dastardly living scarecrow and they want Jack to take care of it. One crow joins Jack on his quest, taking the form of a projectile attack that he can sic on enemies. Jack also obtains a shovel he can use to whack on the animated skeletons with a simple three-hit combo. There’s nothing particularly standout about the combat, but it doesn’t necessarily need to be this early on. More weapons such as a rifle and scythe are promised in the full game and should go a way towards developing the combat along with more enemy variety.

Pumpkin Jack

Collectible crow skulls also dot the map and seem to be cleverly hidden as even when I felt like I was carefully searching the whole stage I had only found 12 out of 20 by the end. Their purpose is unknown in the demo, so here’s hopping they amount to something making me want to find those last eight in the full version.

After accidentally lighting a barn ablaze and escaping in a dramatic sequence we came across the scarecrow in question. Defeating it was a rather simple affair that was just a matter of shooting it out of the air with the crow then wailing on it with Jack’s shovel. We were awarded a new glaive-type weapon as a reward but unable to give it a whirl in the demo, unfortunately. All-in-all, Pumpkin Jack shows promise as a follow-up to action 3D platformers of yore like Jak & Daxter, so here’s hoping to a solid haunting when it releases later this year.

Continue Reading

Games

‘Oracle of Seasons’: A Game Boy Color Classic

Published

on

Oracle of Seasons

“It is an endless cycle of life… the changing seasons!”

The Legend of Zelda: Oracle of Ages & Oracle of Seasons are very much two halves of the same grand adventure, but they’re both worth examining on their own merits. Seasons in particular brings with it quite an interesting history. The game that would eventually become Oracle of Seasons began life as a remake of the original Legend of Zelda. This remake would be accompanied by five other games– a remake of Zelda II: The Adventure of Link and four original titles– all developed for the Game Boy Color. These games would not be developed by Nintendo themselves, but by Flagship– a subsidiary of Capcom that was also funded in part by Nintendo and Sega.

These six games would eventually be trimmed into a trilogy slated to release in the summer, autumn, & winter of 2000, before settling as a duology that would launch simultaneously in 2001. Where Oracle of Ages was the sole survivor of the four original games, Oracle of Seasons was a brand new game morphed out of the Zelda 1 remake. Considering director Hidemaro Fujibayashi’s own reflection on Flagship’s Zelda proposal, much of what would define Seasons was always present;

 “The core of the game was pretty much decided. That is to say, the fact that it would be on the Game Boy Color, the use of the four seasons, and the decision to retain the feel of the 2D Zelda games. It was also decided that it would be a series.”

Not only was this remake never intended to be a standalone entry, it would kick start its own sub-series while featuring seasons at the forefront of the gameplay. Series creator Shigeru Miyamoto likewise asked Fujibayashi to pen a new story for the original Legend of Zelda, suggesting a fairly comprehensive remake as the end goal. With so many inherent changes, however, The Hyrule Fantasy ended up leaving the region altogether. 

“I believe the Zelda series really only started to have scenarios after the hardware specifications improved. The original Zelda was a pure action-RPG and didn’t have much of a story to begin with. I wanted to combine both those aspects (action-RPG and an actual scenario) this time around. At first, we’d only planned on creating a game one-tenth the size of the final version. But it just kept growing as development progressed and gradually turned into an original game.” 
– Hidemaro Fujibayashi, Director/Planner/Scenario Writer

Oracle of Seasons takes after Link’s Awakening and Majora’s Mask by setting itself away from Hyrule– the kingdom only ever shown during the opening cinematic. Holodrum has one of the densest worlds in a 2D Zelda game, if not the densest after A Link to the Past & A Link Between Worlds. A kingdom geographically similar to Hyrule as seen in the original Legend of Zelda, Holodrum has its own northern mountainside, a final dungeon in the northwest corner, and dozens of old men hidden amongst the land. This all makes sense since Seasons is rooted in a remake of the first game, but it isn’t as if Holodrum is without its novelties. 

Holodrum is distinct from Hyrule where it counts. The kingdom itself is quite large, sprawling when compared directly to Koholint Island. Progression often feels like a puzzle, especially when working around roadblocks early on. Holodrum’s four seasons are out of order, with the weather changing on the fly between regions. Link has to work around snow banks, overgrown trees, flooded fields, and petrified flora to overcome Holodrum’s chaos. As easy as it is to get side tracked in the vast kingdom, it’s only because there always tends to be something around the corner. Getting lost isn’t a problem when the overworld is so secret heavy. 

Old men are frequently found hiding under trees, actually giving players a reason to burn them on sight now, but new systems are in place to make exploration even more rewarding. Link will come across patches of soft soil throughout Holodrum where he can plant Gasha Seeds. Owing their name to gashapon– Japanese capsule toys not too dissimilar to blind bag toys– Gasha Seeds grow into Gasha Trees which bear Gasha Nuts after Link has defeated 40 enemies. Gasha Nut contents are randomized, but they incentivize players to return to previously explored areas. 

Not everything a Gasha Nut drops is worth the effort of chopping down 40 enemies– the worst being five regular hearts and a sole fairy– but the best rewards make it all worthwhile. While the Heart Piece tied to the Nut is probably the best overall get, Gasha Seeds naturally feed into the Ring system. Rings add an inherent RPG layer to the Oracle duology’s gameplay, offering the earliest instance of genuine player customization in the Zelda franchise. Rings, like Gasha Nuts, are completely random. Link will find many in his travels, but he needs to appraise them at Vasu’s ring shop in Horon Village before they can be used. Except in a few rare instances, Vasu’s appraisals are randomized.

There are 64 rings altogether between Seasons and Ages, all with varying effects. Which rings Link obtains can influence how players go about their game. RNG also ensures that each new playthrough is unique from the last. While this poses an obvious frustration for any completionists, it’s a fantastic way of adding another layer of replay value to an already fairly replayable experience. The Expert’s Ring allows Link to punch enemies if he unequips his weapons, the Charge Ring speeds up the Spin Attack, and the Protection Ring makes it so Link always takes one Heart of damage when attacked.

With so many rings to choose from, the gameplay is kept in balance by Link’s Ring Box. Once appraised, Link can equip his rings into his box. While he can only equip one initially, players can find a Box upgrade on Goron Mountain. With RNG already influencing which rings Link has access to, it’s unlikely two players will have the exact same experience in Oracle of Seasons– rings offering more personalization than is still usual for Zelda. Besides Gasha Nuts, Rings can be found in the overworld and dropped by Maple, a young witch who makes further use of RNG. 

Maple is Syrup’s apprentice, the recurring witch who runs the potion shop in A Link to the Past and Link’s Awakening. Riding in on her broomstick, Maple will appear after Link has killed 30 enemies. Should players bump into her, both Link & Maple will drop their treasures, prompting Maple to race the player for them. It’s almost always worthwhile to focus on what Maple’s dropped rather than what Link lost. Not only does Maple drop her own unique set of rings, she’s a convenient way of getting potions early on and will eventually drop a Heart Piece. Maple also gets progressively faster, upgrading her flying broomstick to a vacuum after enough altercations.

So much RNG can be off-putting, but Holodrum is such an extensive overworld that randomness isn’t much of an issue. Gasha Seeds drive exploration and Maple’s appearances reward it. These systems also encourage players to fight enemies head-on rather than avoid them when it’s convenient. If gameplay ever feels more involved in Oracle of Seasons than the average Zelda game, that’s because it is. This goes double when taking the very seasons into account. 

The four seasons influence overworld progression significantly and most non-dungeon puzzles center on Link using the Rod of Seasons to restore seasonal order to whatever region he’s in. Most of these puzzles solve themselves since seasons can only be changed on stumps, but concessions need to be made when an overworld features four unique versions of every region. Incredible use of the Game Boy Color’s hardware helps in this regard as well. The handheld was designed with making in-game colors pop and Oracle of Seasons– as an extremely late-life GBC game– stands out as one of the most vibrant titles in the system’s library. 

Each season has its own defining color palette– blue for winter, red for summer, green for spring, yellow for autumn– but there is always a wide range of colors on-screen. Winter matches its light blue with shades of white & gray; spring features an almost pastel color tone where gold & pink flowers bloom against soft shades of green; summer deepens most colors for a bolder effect; and autumn offsets its yellow with orange, red, and in some instances purple. Oracle of Seasons might very well have the best atmosphere on the Game Boy Color, each season stylized & recognizable with their own distinct tones. It’s a phenomenal presentation that outdoes OoS’ contemporaries. Seasons outright has better art direction than most early GBA games. 

The fact Oracle of Seasons commits to its premise in such a large overworld as strictly as it does is praiseworthy, but it’s even more impressive that there’s another world lurking underneath Holodrum. Subrosia is a bizarre underworld, easily the most eclectic setting in the franchise other than Termina (and in many respects more so.) Subrosians are culturally impolite, bathe in lava, and deal in Ore instead of Rupees. The Subrosian Market undersells a Heart Piece, volcanic eruptions are a welcome norm, and Link will be moving between Holodrum & Subrosia multiple times over the course of his journey. Players can even go on a date with a Subrosian girl, Rosa, that’s a clear play on his date with Marin from Link’s Awakening. Subrosia is so alien that it’s hard not to love every moment beneath Holodrum.

Beyond the four seasons and the dichotomy between Holodrum & Subrosia, what differentiates Oracle of Seasons most from Oracle of Ages is its focus on action. Seasons is a puzzle heavy game, but it lets combat drive the gameplay more often than not with a very action-centric tool kit. The Slingshot makes its 2D debut, replacing the Bow in the process, but its 250 seed capacity outdoes any of Link’s quivers. Its upgraded version, the Hyper Slingshot, even fires in three directions at once. The Roc’s Feather returns from Link’s Awakening to once again make jumping an important part of Link’s mobility. Not only is platforming far more frequent this time around– with the Ancient Ruins featuring quite a bit of jumping for a 2D dungeon– it upgrades into the Roc’s Cape which allows Link to glide.

The Boomerang now upgrades into a guided Magical Boomerang which players can control themselves; the Magnetic Gloves are ostensibly a better version of the Hookshot which can pull Link to & from magnetic sources, along with magnetizing certain baddies; and most enemies are designed with a combination of the sword & shield in mind. Oracle of Ages has its fair share of action as well, but not with quite the same focus as Oracle of Seasons.

In general, Seasons is a focused video game in the best ways possible. OoS always gives players a general direction to go in, but otherwise leaves Link to his own devices. There are little to no interruptions, and the gameplay loop emphasizes freedom in spite of the game’s linearity. There’s always something to do and you’re always making progress, whether that be narratively or checking in on some Gasha Nuts. The pace is perfectly suited for handheld gaming and quick burst play sessions. Only have a few minutes to play? Kill some enemies to trigger Maple. Got some time? Scope out the next dungeon and work towards saving Holodrum. 

There are also a number of side quests to round off gameplay. The main trading sequence ends with Link finding the Noble Sword in Holodrum’s Lost Woods; players can forge an Iron Shield in Subrosia by smelting red and blue ore together & bringing the refined ore to the Subrosian smithy; and Golden Beasts roam Holodrum, each appearing during a different season & in a set region. Once all four are defeated, Link can find an old man north of Horon Village who will give him the Red Ring– a ring which doubles the Sword’s attack at no expense to the player. 

All these side quests are worthwhile, especially since Oracle of Seasons is a bit on the tougher side when it comes to difficulty. Dungeons are very fast-paced, full of puzzles that are often deceptively simple. Dungeon items are used in increasingly clever ways, from traversing over bottomless pits with strategic use of the Magnetic Gloves to using the Hyper Slingshot to activate three statues at once. Notably, most bosses in Seasons are actually remixes of boss fights from the first Legend of Zelda

Aquamentus, Dodongo, Gohma, Digdogger, Manhandla, and Gleeok all return with a vengeance. Gleeok in particular puts up a serious fight, forcing Link on the offensive. Not only do players need to be quick enough to slice off Gleeok’s two heads before they can attack themselves back on, the dragon will persist as a skeleton for round 2. Explorer’s Crypt is a difficult enough dungeon where getting to the boss room with full health isn’t a guarantee, so Gleeok offers a surprising but welcome challenge as a result. 

Oracle of Seasons deserves a bit of credit for having one of the harder final bosses in the series, as well. Onox doesn’t have much in the way of personality, but he’s a tough boss to put down. His second form requires Link to use the Spin Attack to deal damage while making sure he doesn’t hit Din in the process, and Onox’s dragon form is a gauntlet of dodging, jumping, & surviving long enough to finally kill the General of Darkness. Players are bound to die once or twice, but the final dungeon is short enough where getting back to Onox takes no time at all. 

If Oracle of Seasons has one glaring flaw, however, it’s the story. The script reads like a massive step back coming off the heels of Link’s Awakening, Ocarina of Time, and especially Majora’s Mask. Link is summoned to aid the Oracle Din, already a seasoned hero and implied to be the same Link from A Link to the Past, but very little time is spent fleshing out Din as a character & giving players a reason to care about her. Her role is more akin to Zelda in A Link to the Past than Marin in Link’s Awakening. Similarly, Onox is an undercooked villain who shows up to kidnap Din and does nothing for the rest of the story. Of course, this light story stems from Seasons’ origin as a remake of The Legend of Zelda

Early press of the game– when it was still going by the name Acorn of the Tree of Mystery– indicates that the story was originally set in Hyrule and the seasons went out of order when Ganon kidnapped Princess Zelda, the guardian of both the Triforce of Power & the four seasons. Hyrule was changed to Holodrum, Ganon became Onox, Zelda turned to Din, and the eight fragments of the Triforce presumably became the eight Essences of Nature. While underwhelming, the plot’s structure if nothing else makes sense. 

It’s worth pointing out that Oracle of Seasons seems to recognize that story is its weakness and lets the gameplay drive the experience. Unlike Oracle of Ages which takes its plot seriously and has a clear thematic arc, Seasons really is just a remix of Zelda 1’s plot. Which is perfect for the kind of game OoS ultimately is: a fast-paced, action-packed adventure through an ever-changing world. When played as a precursor to Ages instead of its ending, Seasons’ story comes off comparatively better. The stakes aren’t that high or defined, but that’s more than okay for the first half of an adventure that spans two full-length games. 

In a departure for the franchise, Oracle of Seasons actually features a proper post-game, marking the first time any Zelda acknowledges that the main threat is over. NPCs will comment on how they haven’t seen Link in a while, the weather has stabilized as spring has set in Holodrum, and you’re free to wrap up any side quests left unfinished. This is especially noteworthy because players can link their progress from Seasons over into Ages and transfer any rings they have on hand. 

An epilogue makes for a charming send-off to one of the most charming games on the Game Boy Color. Oracle of Seasons underwent a strange development, intended to be little more than a suped-up remake of the original Legend of Zelda. Instead, Flagship ended up developing one of the finest games on the GBC– a vibrant adventure filled with personality and some of the best action on the handheld. Oracle of Seasons isn’t just one half of a greater game; it’s a classic Zelda in its own right.

Continue Reading

Games

PAX Online: ’30XX’ and ‘Cris Tales’

Our coverage of PAX Online continues with a Mega Man-inspired roguelike and a charming, time-hopping RPG adventure.

Published

on

30XX and Cris Tales

Our coverage of PAX Online continues with a Mega Man-inspired roguelike and a charming, time-hopping RPG adventure.

30XX

30XX

Platforms: PS4, Xbox One, Switch, and Steam
Release: TBA

I’ve already given some of my thoughts on 30XX back when I took it for a spin at PAX East. To catch those who didn’t see that report up to speed, 30XX is a 2D side-scrolling roguelike with a hi-bit art style and gameplay reminiscent of many Mega Man games. It’s generally more forgiving than Mega Man in the sense that there’s a distinct lack of instant-death spikes and pits, but the tradeoff is that when you do die that’s the end and you have to start the whole game over from the start. Classic roguelike rules for ya.

This PAX Online demo was very similar to the one I played at East. I chose between the blaster Nina or swordsman Ace then I went on my merry way throughout the two levels. One key difference is that I did not start out with any specials this time around and my maximum health was much lower. This is probably in-line with what it would be like to start a new game completely fresh as opposed to some upgrades as the East demo had. As a result, I actually failed my first attempt at this demo.

That’s where the first additional aspect of this build came into play, though, in the form of global character progression. Beating bosses in 30XX not only grants you a new weapon ability but also a currency called Memoria. Memoria can be spent at a shop in-between playthroughs to obtain permanent upgrades for Nina and Ace for every subsequent attempt. The pickings were rather slim for the demo, such as increased health and energy, but a wider variety is promised for the full release, and if anything it’s exceptionally clear how useful they’ll be to fully clear the game’s ten planned stages in one go. I also await the inevitable “no upgrade” runs that will assuredly come out of this, though.

30XX

The other neat addition to this demo is Entropy conditions, which are essentially modifiers. You can make it to where shop items cost more Nut currency to purchase per run, impose a time limit, and/or increase the amount of HP enemies have. Enabling these options also increases rewards gained from runs, adding a nice risk vs. reward factor that will probably keep things engaging even after you master the game’s earlier stages. More Entropy conditions are promised to be added into the full game that will allow you to fine-tune your experience even further.

The one concern I have for 30XX at this point is the number of dead ends I encountered with no reward to show for it. This is probably a result of the procedurally generated nature of the game, but the number of times I thought I was so clever for platforming up to a hard-to-reach area only to be greeted by a wall was more than I cared for. This is the “30XX Very Pre-Alpha Demo”, though, so it’s a flaw that can still be fixed in future development and with everything else that is being done right so far — the tight platforming, varied progression, and delightful aesthetics — it’s not hard to be hopeful for 30XX‘s future.

Cris Tales

Cris Tales

Platforms: PS4, Xbox One, Switch, Steam, and Stadia
Release: Nov 17th, 2020

I went into the Cris Tales demo after hearing nothing but its name in passing here and there. After finishing the demo, I’d recommend you do the same. If you’re a fan of turn-based RPG’s just download the demo and see it for yourself.

Cris Tales managed to constantly surprise and delight me throughout the entirety of its 45-minute long demo, firstly being the visuals. Playing through the game is like watching stained-glass art come to life with its hyper-stylized character designs that emphasize general shapes rather than specific details and environments chock-full of geometrical sharp edges. I was in awe from the word “Go”.

The story follows Crisbell, a chipper young orphan girl who spends her time happily doing chores for the orphanage and her dearest Mother Superior. After chasing a dapper young frog to a church, Crisbell inadvertently awakens the powers of Time Crystals hosed there and gains the power to see both the past and future at the same time. This manifests as the screen fractures into thirds with the left side showing the past, the middle the present, and the right the future at all times.

It was a trick that took a minute or two to register with me, but once it did I immediately set about traipsing all about the town I had just chased the frog through in order to see how it has and will change. It was a positively fascinating experience that put a big stupid grin on my face the entire time.

Crisbell can use this knowledge of that past and future to make decisions in the present such as locating a missing potion label or creating a concoction that will prevent wood from rotting and leading to dilapidated houses. Choosing which house to restore is also an irreversible choice that will lead to different outcomes depending.

Cris Tales

Time manipulation also plays a major part in Cris Tales‘ turn-based combat in extremely novel and creative ways. Enemies attack Crisbell and co from both the left and the right, and you can attack them with your standard RPG basic attacks and skills. Enemies on the left side, however, can be forcibly sent to the past while enemies on the right to the future by expending Crystal Points. This means reverting a big brawny goblin into a harmless little child or aging it into an elder that can barely move.

That’s not all, though. Douse an armored enemy in water then send them to the future to cause it to rust and shatter their defense. Poison an enemy that has already been sent to the past then brings them back to the present to force them to take all that poison damage at once. Plant a damaging mandragora that would normally take a few turns to sprout then send it to the future to cause it to sprout instantly. These are the examples demonstrated in the demo but it’s abundantly clear that this is only the tip of the creative iceberg. It’s genuinely thrilling to imagine all the possibilities such a system is capable of. The best part is that we won’t have to wait long to find out as Cris Tales launches on all major platforms in just two months.

Continue Reading

We update daily. Support our site by simply following us on Twitter and Facebook

Facebook

Trending