You know, they took the time to write out a long post detailing their opinions, they put effort into it, on the other hand your post adds absolutely nothing.
You know, they took the time to write out a long post detailing their opinions, they put effort into it, on the other hand your post adds absolutely nothing.
Star Ocean came one year later and has over forty (or something close to that?) possible endings, with a lot of permutations purely from what you talk and do with your party members without relating to the main plot. Star Ocean 2 has double that number, IIRC.Op messed up by having a lot of good subjective points but then needing to project their feelings onto the "legacy," influence and reception of the game, which is totally wrong, lol. What jrpg had multiple endings like that then or since?
Back then, they were all RPGs (even Fire Emblem). Strategy were the super boring Koei's 3 Kingdoms / Nobunaga games boring people played.Ah, fair. But personally, I would not compare it to FM or the Ogre games, since I see strategy as its own thing. For the love of me I can't like or see the greatness (outside of visuals and music) from the SaGa franchise, and while I absolutely love Seiken 3, besides the graphical quality and the branching storyline I would not put it close to CT.
Can't comment on Rudra since I never played it!
In the west, FF6.
I suppose "everyone" means "everyone in the US". Then the reason is probably because SMT was not released in the US.Ok, an extremely niche series did something first...but what is the reason everyone knows about CT's multiple endings but not smt?
To me videogames are different from books and film though. The written word as a platform changes incredibly slowly. Film special effects move faster, but human acting is another platform that really has been around forever. Videogames take tremendous leaps in what's possible about every 5 years if you're looking at consoles. It's not like criticising a 50 year old actors performance. It's like criticising a 67 mustang for not having seat warmers.
I feel like you are looking at it with today's eyes. In 1995, what other non linear games we had? Sure, CT is no Fallout or Vampire: Bloodlines, but it was a SNES RPG in 1995.The non-linearity didn't seem that appealing. I understand using it in the context of time travel, but the actions made inside there were not significant enough than a complex way of making fetch quests happen. Take World of Ruin, the non-linearity offered a way to offer additional stories much beyond what many JRPGs of the time offered in terms of character development, and it was interesting. It also allowed for new things to be done, like the psychedelic dreamscape of Cyan. I didn't see that ambition int he time travel. It could have been much more, but I feel like it only really mattered in the context of Robo's loyalty and frienship. The two dimensions of Cross also felt more interesting, you saw two sides that could be radically different out of one single action, there were definite consequences that I felt were interesting in the context of exploring dimensions/travelign through time.
Of course it's all in the context of someone doing everything, which is most people here. Optional still means I won't get to see the conclusion o fa side quest if I don't do them.
I do think CT is a ten on how to represent narrative and themes through mechanics and playable scenarios, but sure, it's a 3 on new mechanics itself. It had skills being learnt separately from levelling, party skills, some minor combat stuff with the AoEs and nothing much.Back then, they were all RPGs (even Fire Emblem). Strategy were the super boring Koei's 3 Kingdoms / Nobunaga games boring people played.
Genres were much less defined at the time.
We could create a new scale.
On the continuum of innovation and new idea in RPG were SaGa would be a 10 and DQ a 0, Chrono is a...2? 3 at best?
Not everyone wants to come out of their comfort zone (hence why DQ always sold far too much), so, yeah, Chrono Trigger is definitely not a game for people who wanted new things.
Because western gamers have limited access to JRPGs hence they are not the best judge to the subject?Ok, an extremely niche series did something first...but what is the reason everyone knows about CT's multiple endings but not smt?
The same reason people still talk about and even criticize old films, books, plays, etc.
Criticism is not about constructing the definitive "best of/worst of" list and leaving it at that, it's about enagaging with the work and understanding it in different contexts, and more importantly it's about contributing to the greater dialogue of what makes something great or not. In this case what makes a game, or more specifically a JRPG, great?
I think FFIV already has option hidden side quests, FFVI even has optional party members. Those old games are quite linear in today's standard, yes. But there were still games like Metal Max that brought open world to the table.I feel like you are looking at it with today's eyes. In 1995, what other non linear games we had? Sure, CT is no Fallout or Vampire: Bloodlines, but it was a SNES RPG in 1995.
But his is also not what cristim is. Lookijng at old works is less "I think thing is not as good as others, here list of reasons." and more "Here is an interesting way look at this work and give us another way to understand it place in history or the themes its dealing with." To be honest OP's approach is the cinema sin approach to criticism.
I don't think either FFs come close to the scale CT does it, and even if you disagree, that is an incredible small amount of games doing it anyway that furthers the point if you read the following paragraphs on my post.I think FFIV already has option hidden side quests, FFVI even has optional party members. Those old games are quite linear in today's standard, yes. But there were still games like Metal Max that brought open world to the table.
Really?I don't think either FFs come close to the scale CT does it, and even if you disagree, that is an incredible small amount of games doing it anyway that furthers the point if you read the following paragraphs on my post.
Are you kidding me ? I literally took the time to compare it among its contemporaries. I didn't compare it to Final Fantasy XV, it wouldn't even make sense.
There is nothing about the medium in 1995 that justifies my grievances with the game. I don't dislike some of its elements because of the time, but precisely because it was released in 1995 and it could have been much more than it was at that time.
I'm not saying "haha i don't like silent protagonist *ding*" or making roundabout ways of making fun of the game because of this and that. I'm explaining why there were some things that I felt didn't work as well as it should have been, which is the polar opposite of cinemasins. In no way I am making fun of the game.
Honestly, so many reactions is like "it was like this at the time !" and it's simply untrue.
I am referring to the scale in which it uses optional content to tell stories and how it affects its design. Lemme grab a couple quotes from Reverse Design:Really?
I feel like the scale in FF4 and 6 is way bigger than in CT.
I like CT more than those games (and I really, really love those games, especially FF6) but CT just feels so tight and complete in a way few rpgs or honestly even most games ever do.
A decade before anyone was writing about "ludonarrative dissonance" the designers of Chrono Trigger had confronted the problem, worked it through, and deliberately used it as a resource. Because they expected players to simply overlook the (seemingly) inevitable disconnect between story and gameplay, the Chrono Trigger team decided they could manipulate the player through this expectation. Right up until the jaws of tragic defeat snap shut on the main character, the player expects something different. But then, as players are handed the sad answer that fate is inescapable, they get a second answer: that the tragedies of history can be averted, after all. The gameplay becomes harmonious with the plot, and we have a comedy that follows and undoes the tragedy before it. That's the real genius of Chrono Trigger: it can offer us two different answers to its central thematic question--it can show us two different but equally persuasive worlds, and that it can do it both through story and through gameplay. The reason that Chrono Trigger can do all of this is because Chrono Trigger is really two different games.
Those two games are what we'll refer to as the Tragedy of the Entity, and the Comedy of the Sages.
The first game, the Tragedy of the Entity, is a guided tour of the tragic history of the planet and its many eradicated inhabitants; it takes place across the first 13--very linear--quests. This game is tragic in the colloquial sense of the term; it's a sad and affecting story. It's also tragic in the classical sense of the term; the hero of the story is propelled by a tragic flaw towards his inevitable doom. What makes Chrono Trigger interesting, in this regard, is that the Crono's tragic flaw--and really his only characteristic at all--is that he's the hero, and player avatar, in a videogame where the objective is defeating an overpowering evil. Really, he has no choice; it is his destiny to face the monster, whether he can defeat it or not. The only real difference is that in the case where he cannot defeat said monster, instead of a game over screen and a reset button, the stakes of his loss (specifically, at the Ocean Palace in quest 12) are carried out in the story of the game; that is the reason Crono dies. Of course, we'll dig deeper into this as we go.
The problem with this kind of tragic inevitability is that while readers, viewers and listeners are accustomed to the feeling of powerlessness that a tragedy instills, gamers and players are most certainly not. In order to keep players engaged without compromising their vision of a tragic story, Chrono Trigger's designers set about continually deceiving and surprising the player using various methods. If the players are always a little bit off-balance, they won't realize the oncoming tragedy until they're already hooked. The moment of triumph for the designers is when the tragedy seems at once surprising and inevitable. This takes more than just good writing, however; it also takes very clever use of the aspect that makes videogames unique: gameplay. [...]
The great trick of the Tragedy of the Entity is that in one language it tells players that they are victorious: they win battles, collect items, level up, jump through time. But in another language it tells them--subtly--that everything they're doing is actually meaningless (to say nothing of entirely linear). At almost every turn the party's efforts to change the past are blown away by Lavos, who warps history to suit himself instead. The player really ought to have realized that the inevitable showdown with Lavos might not go so well for them. But the player doesn't realize this, because the game keeps him off balance, using a variety of gameplay and story techniques. By the time the player figures it out, it's already too late. The feeling that the party's defeat was inevitable breaks on the player as a grim and surprising realization.
The second game that makes up the content of Chrono Trigger is the Comedy of the Sages, which begins at Death Peak. This is a comedy in the classical sense of the word, a dramatic work with a (reasonably) happy ending. Specifically, the Comedy of the Sages is a comedy of intervention, a kind of comedy with a long historical tradition. In a comedy of intervention, the dramatic action comes close to tragedy, but the characters are saved by a concerned outsider. Everything from Euripides' Alcestis to Shakespeare's Much Ado about Nothing are comedies of intervention. Part of the deceptive nature of Chrono Trigger is that the comedy of intervention begins only after the tragedy is complete. That's the beauty of time travel, after all. (And it bears a lot of comparisons to another irregular, time-travelling comedy of intervention, Back to the Future.)
The remarkable thing about Chrono Trigger's game design is that the intervention--by the three Gurus of Zeal--not only changes the tone of the story but also changes the style of the gameplay. During the Tragedy of the Entity, the game was almost entirely linear. The party moved from point to point and era to era with hardly any alternatives at all. During the Comedy of the Sages, thanks to Balthasar's time machine and Gaspar's vision of the various helpful quests, it's possible to move freely through time, tackling the quests in any order that the player wishes. Moreover, the style of the quests changes. Previously, all quests were, more or less, a direct attempt to find and defeat Lavos or his alleged creator, Magus. Those quests were mostly map-town-dungeon-portal, map-town-dungeon-portal, and so on. The results of those quests were historically insignificant; the player changed nothing from one era to the next. In the second game, the quests are not about destroying Lavos but about helping more minor bystanders, usually people who are connected to a party member somehow. The quests break the earlier cycle, and can often be short and involve lots of time travel puzzles. And the best part is that those quests have real, tangible historical impact.
* *The battle system is too simple*
How complex do you need a battle system for the kind of JRPG it is in the era it came out? Even today, CT's battle system is more complex than a Dragon's Quest game. I think the issue here is that it is a rather easy game.
* *The lack of random encounters isn't really fixing the issue*
This was rather big at the time actually. Random battles were a big detriment those not as versed with the genre. It made CT very accessible. Once you're overpowered, why even fight? What's the incentive?
* *Backtracking is fierce*
Not really backtracking here since these are optional quests. And backtracking is part of the the time travel mechanic. It doesn't feel like backtracking really. You feel like you're affecting time itself. A key conceit of the game.
* *It kinda falters half-way through*
Some of the most wide open areas are mid game and above. You lose your main character, gain a new ally, if you want to, and tons of rather fun quests open up, including some rather heart warming ones, like Lucca and Robo.
* *The story hardly has any nuance*
Really? Magus's redemption. Lucca's story with her mother. Marle's attachment to Chrono. Robo disavowing his creator for the greater good.
* *It's not the revolution of the genre*
I would say the whole new game plus thing is a huge one. I don't remember time travel being done in a JRPG this well along how the endings were handled. You needed NG+. Heck NG+ became a thing after CT in many genres. I mean, God of War 2018 has it.
But CT is not going to be everyone. It's a lauded game for sure and I enjoyed reading your OP.
It still dull surface level observations that are meaningless. "I don't like this thing, but see other game had thing I DO like" is not meaningful criticism. Meaningful criticism is digging deep. What is the overall impact of the simple combat? Does it shift focus to other elements? How does it set up the difference in normal fights vs boss fights? How does the combat inform charterer? How does it not do any of that? Quick test for if you have something even approaching meaningful critical discourse, do you have a thesis statement? (and no a thing is not as good as others say is not a thesis statement)
So much of nerds trying to do critical discourse is them trying to reverse engineering it from reviews, and that does not work.
I dunno if a more generic title would have stopped people from driving by with shitposts. The entire first page avalanche of people racing to make crappy threadwhining one-liners makes me never want to return to gaming side.If I'd have seen this thread earlier I would have updated the title then to avoid all the drive by comments on the first page.
I dunno if a more generic title would have stopped people from driving by with shitposts. The entire first page avalanche of people racing to make crappy threadwhining one-liners makes me never want to return to gaming side.
Cross was good, but it had the problem of being a sequel to Chrono Cross without the same visionaries at the helm. No Toriyama art, no Horii, and so on. So it was doomed from then. Game was highly rated at the time as well, however.
I judge it as a standalone game. The callbacks to CT were done incredibly dumb from a story perspective. It kills the whimsy and wonder of that cast.
Didn't work out thematically, though. It's very jarring. Chrono Trigger is a very much a good versus evil plot with time travel and vignettes. Cross is a much serious affair and vibe.Agree to disagree.
Loved the tie ins and call backs.
To each his own
Comparing your post to cinema sins was ridiculous.Are you kidding me ? I literally took the time to compare it among its contemporaries.
It sounds like you think Kato was held back.and I think Masato Kato really built something very strong that seems to have never developed because Horii/Sakaguchi must have felt that it should remain simple and easy to follow.
Didn't work out thematically, though. It's very jarring. Chrono Trigger is a very much a good versus evil plot with time travel and vignettes. Cross is a much serious affair and vibe.
So what do you think about the complete tonal shift? I think Cross is great btw. But when I first played you had all these callbacks to the earlier story and characters, such as the ghosts, and such, but it never felt quite right.Youll never convonce me as such. ¯\_(ツ)_/¯
But i respect the opinion.
Xenogears, for all its development-related flaws, is a better game than Chrono Trigger. It's linear as hell, but it has a fun battle system and an engaging story.That's disappointing to hear. I've been trying to play some older JRPGs and some of the ones I've played, which seemed to be looked on pretty fondly, were a bit... Simple. I guess that's to expect but some games (Xenogears for example) has interesting stories to hold my attention. I'll still give a try someday though.
I wouldn't be surprised if we eventually see a port but from what I hear the PC version is quite good now.Do you think we'll ever see a switch port or am I better off just seeking out the DS version?
It's waaaaaay overrated.
Tried my best to like it many times specially I'm a big Square fan and in love with JRPG games.... last time was back in summer finished it and never again touching it.
Yep. I played it with no nostalgia to influence me, and it's my favorite game of all time.