Tag Archives: Secret of Mana

23 Things Secret of Mana and Tales of Symphonia Share In Common

As noticed by someone who’s played each at least half a dozen times! I’d rank Tales of Symphonia easily in my top ten games of all-time and a lot of that came from how familiar it felt. I truly wonder how much I would have enjoyed it if I hadn’t played Secret of Mana over a decade earlier.

Major spoilers for both games, obviously!

 

  1. They’re action RPGs.
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  3. They’re noted for great soundtracks.
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  5. At least three-player co-op! Now there’s an RPG rarity.
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  7. Both games have a way to break boss battles with stunlock by exploiting quirks of magic animations. In Secret of Mana you can begin casting a second attack spell before the first spell’s animation ends; in Tales of Symphonia you can cancel a casting animation to reset your combo, giving most magic users near-infinite combos. (Tip: It’s easier to get the timing down for Colette and Sheeena than for Kratos, Zelos, or Regal. Raine can technically pull it off too, but it’s much, much tougher.)
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    4 down, 19 to go. And most are infinitely more interesting than the first 4!

Spell Scalability (or, Utilitarianism in an RPG Setting)

No player wonders “Fire or Fire 2?”
Every player wonders “Flamethrower or Fire Blast?”

Of the three biggest RPG series—Pokémon, Final Fantasy, and Dragon Quest—only one has consistently delivered gameplay that brings compelling decision-making into play. Choosing to teach a Pokémon Surf or Hydro Pump reveals whether players place more value on accuracy and extra uses or power; choosing Heal or Healmore/Midheal reveals whether players know math. In Pokémon, only the earliest attacks become moot; the rest compete for one of four move slots. Each attack has its own niche advantage of power, accuracy, priority, status effects, or other quirks.

One positive to the streamlined spells of FF and DQ is the immediate clarity of progress; even if the names don’t make obvious which is superior, as in Blizzara and Blizzaga, the levels at which they’re learned will. However, most attack and healing spells eventually become wasted space that players scroll through and never use. Out with the old.

Secret of Mana is an early RPG that shows there’s nothing wrong with simplicity; in fact, maybe it needs to go one step further. These heroes bring their weapons to Watts the blacksmith to level them up through a reforging process that unlocks more of their inherent power. Spells grow stronger with usage, so they never fall out of favor; since no one would cast Freeze Lv. 1 if Freeze Lv. 4 was available, the SoM designers keep one core spell in the same menu position and progressively boost its power. Both of these techniques are straightforward upgrades that phase out weaker firepower as necessary, pushing it out of sight and mind to keep everything compact and useful.

On the other side is the Shining Force series, which keeps different levels of spells but asks the player to decide the appropriate strength depending on the situation. Magic does fixed amounts of damage depending on the spell, enemy HP is visible, MP costs are high, and the spells vary in their range and area of effect. A weakened skeleton with 4 HP can be safely dispatched with Blaze level 1 to retain an optimal amount of MP; a distant gang of adjacent gargoyles at full health should eat the brunt of Blaze level 3, which deals more damage and hits a cross-shaped area. Spread-out gargoyles call for Bolt 3, which hits the largest possible area; a boss calls for Bolt 4, which deals far more damage but only targets a single space.

The ideal no-dead-weight RPG either retains the value of every spell and ability from beginning to end or replaces the spells and abilities that lose their worth. I find that more recent RPGs than not get this right, but I’d like to be able to say that all of them do. This is an elementary concept in game design—an extremely crucial one at that, and every developer needs to consider it. It applies outside of RPGs as well. The silenced PP7 gun in GoldenEye 007 was weak and non-automatic, but it didn’t alert enemies to James Bond’s presence; in a time when first-person shooters usually followed the mold of Doom, where strongest equals best, the advantages of a handgun established that GoldenEye was no clone.

Writers know of a saying to “Murder your darlings”: a saying that implores them to kill their babies, which are their words. Game designers should hear about this principle too. If a weapon, spell, or ability doesn’t stack up to par—or a dungeon, or a level, or a race track, or a mission, or a piece of music, or a 2D sprite, or a 3D model—then cut it and cut it with no concern over how painfully and at what great length you labored to deliver it. Players don’t fall in love with game designers who give them a bronze medal effort. Cut slipshod work until everything in your game is gold—and then keep cutting. Gold is not enough. Neither is platinum. Cut until all that remains is a single flawless diamond.

RPGs: More Like Movies… or Novels?

Gamers occasionally cry foul on non-interactive cutscenes, saying that developers are emulating movies instead of synthesizing stories with the unique qualities of games. Whether a player likes non-interactivity is a matter of taste. I’m here to question a matter of fact: whether movies are the closest comparison point. I could weigh this out for most game genres—even first-person shooters borrow ideas from cinematography—but I’ll stick to RPGs because they use the same easy-to-reference measure of length that screenplays and novels do: word count.

Movies usually have to fit into two and a half hours, so they need to make the best of every minute. Dialogue stays brief; action moves quickly; camera shots linger long enough but not a moment longer. This is part of the reason that directors typically cut novel content when translating written words onto the big screen. Novels have a certain leeway for wordiness because people have varying reading speeds, but quality movies, like poems, waste no motion. With that in mind, I pasted ten RPG scripts into Microsoft Word for length comparisons and here’s what I found:

    The World Ends With You (2008): ~69,000 words (not counting Another Day but counting other optional party dialogue)

Some fairly recent RPGs double or triple the amount of spoken dialogue over the RPGs of yesteryear. The limited amount of space on Super Nintendo cartridges served the same role as run time does for movies, forcing the story to stay snappy, but discs buried that issue so that RPG stories could let it all hang out. This isn’t a guaranteed positive and can allow for the bad kind of fluff and filler to settle in, but it also allows for worlds where not every character is a quick-witted, cut-to-the-chase speaker who delivers lightning-paced lines in high tempo. Less isn’t always more.

Recent RPG stories have longer build, allowing themselves time for more scenes in which “nothing happens” in the sense that characters have subtle emotional shifts but don’t take physical actions to advance the story. Old-school RPGs use swifter action-oriented structures that don’t tolerate delays between plot points. Neither is inherently better nor worse, but the approaches remain different—and as counterintuitive as it may sound, old-school RPGs might have more in common with movies than modern RPGs do.

Just something to think about.

Ten Breeds of Memorable and Immortal 2D Sprites (part 2)

6. Beastly Screen-filling Sprites

Long before Shadow of the Colossus and Monster Hunter, 2D game developers understood the power of monsters too big to be contained in a TV. After the player grows used to smaller enemies, a large one leaves an impression.

EarthBound proves that enormous enemies don’t even need to look especially threatening:


Developers typically save this technique for late-game bosses, so I won’t ruin the surprise by directly showing some of my favorites, but other examples of capital-sized enemies include Secret of Mana, EarthBound, Chrono Trigger, and Mother 3. The Etrian Odyssey series has also taken this idea to another level, but I’ll reserve that for another day—and a post to itself!

One major series that doesn’t take full advantage is Pokémon. The third and fourth generations of games, Ruby and Sapphire and Diamond and Pearl, had a cool Pokédex feature comparing the height scale of a human with any Pokémon the player had caught to demonstrate how small a Diglett or how large a Wailord is, but during battles, size differences only show in the home console games. In the main portable games, almost every fully-evolved monster looks about the same size as any other, whether it’s the fourteen-foot-tall creator of the oceans or a dancing 4’11” Mexican pineapple duck.

We know that Kyogre doesn't like Groudon too much, forcing Rayquaza to step in and stop the two of them from destroying the world, but what happens when Kyogre swims around the ocean it created and runs into Lugia, the guardian of the seas? If Kyogre assigned that role to Lugia, maybe they hang out together. If Lugia took on that role without being commissioned, does Kyogre have a problem with it? Ever thought about that? Ludicolo is a ridiculous design if there ever was one, though that's part of why I love it. More of why I love it is for being the underdog who's destroyed most Kyogre movesets since 2002.

The appearance of a legendary Pokémon could inspire awe if drawn to scale, so this could be considered a missed opportunity. Still, the sale of 215 million games makes it obvious that players already love Pokémon and its artwork to death (and I’m one of them), so maybe leaving well enough alone is for the best. If nothing else, the absence of visible size differences helps convey that most Pokémon can contribute to a victory under the right circumstances.

The final four await!

Ten Breeds of Memorable and Immortal 2D Sprites (part 1)

1. Sprites that Reward Amazing Accomplishments

Metroid is a go-to example, but Chrono Trigger also really ran with this idea.

The Moonlight Parade dancer only performs spinners for winners! According to Lucca, Frog as a human is a 'dish.' I can't speak for the culture of Guardia Kingdom, but in most culinary schools here on Earth, Frog as a frog is more of a dish. The famed Akira Toriyama as a Chrono Trigger sprite. The famed Yuji Horii as a Chrono Trigger sprite. If you just said 'Who-ji Horii?', you're probably not a Dragon Quest fan.

The challenge involved in seeing these sprites makes them rare—and their rarity makes them memorable. The Moonlight Parade dancer only shows her face (and her footloose skills!) after beating the game. Frog in his human form is “only” one battle tougher to get on screen, but some people will never see him outside of online sprite rips because their principles won’t let them meet the requirements. On the right are game versions of Akira Toriyama and Yuji Horii, who can’t be found unless players beat Lavos with only Crono and Marle or beat the souped-up, higher-stats, not-supposed-to-be-defeated Lavos at the Undersea Palace.

For a more modern and less 2D example, check out the ending of The Legend of Zelda: Twilight Princess. The character involved would have been striking even if the game had as little story as the original Legend of Zelda, but the tease of this appearance from the beginning helps further. Delayed gratification works.

Four more breeds, all discussed at greater length than the first one!