Anodyne’s dream world is perfect for wondering and wandering

Over the weekend, I beat Anodyne, and I still remain conflicted over how I feel about the game overall. I liked a lot of moments and puzzles and found others beyond frustrating; I had to look up several walkthroughs online just to keep going and figure out what I needed to do next, and that is something I desperately try to avoid doing when playing anything for the first time. I don’t know. It’s a strange game, set in an even stranger world, where characters say the strangest things to our leading lad Young, and it’s up to you to determine if what they say matters or not. I don’t think they did.

First, what is Anodyne? It’s an action-adventure game clearly inspired by the original The Legend of Zelda, or even The Legend of Zelda: Link’s Awakening, developed by Analgesic Productions, the same team that brought us Even the Ocean and All Our Asias. It was released on PC some years ago, but just came to consoles recently, which was a pleasant surprise. The game begins with little explanation as Young jumps into a dream-like world via a main hub area…for some purpose. Once there, a somewhat terse and shrouded Sage sets him off on a mysterious journey to open gates, defeat evil monsters, and collect a good number of cards. All right then.

Whereas the general tone of things like The Legend of Zelda: Link’s Awakening and The Legend of the Skyfish are colorful and positive, upbeat, all about adventuring forward and seeing new sights, Anodyne is the opposite. The vibe I constantly felt as I put in over six hours into this dark adventure was one of unease. There’s an unsettling cloud that hangs over every screen, every word that these oddball NPCs spew out at Young, words that seemingly have no purpose other than to take up time or make you wonder. I always felt like I was intruding, disturbing the environment in some way, even on the screens that were complete dead ends. There are tormented characters, and I honestly don’t even know what Briar, the final boss, was all about, but he was certainly disturbed, along with a pain to fight.

Something I love is that Young wields a broom, not a sword. The broom can still be used to attack enemies, but it is also used for puzzle solving, picking up puffs of dust to use to navigate waterways. There are a bunch of upgrades you can get for the broom too to change how it functions, the last one being a real post-game changer. In terms of puzzles, you are usually looking for a key or a way to hit a switch or, even trickier, get an enemy to hit a switch for you. They are never too hard to solve, and I found the jumping parts in the acrobat dungeon to be the hardest to time and nail perfectly. Some frustration comes from the map and seeing rooms with exits you can’t seemingly reach.

The game’s retro look and subtle soundtrack works well for Anodyne‘s vibe. The 16-bit graphics–and, at times, 8-bit–will never blow your face off, but there’s a comforting feel to many of the screens, hearkening back to the good ol’ SNES days with games like Secret of Mana and Final Fantasy III. It makes exploring every nook and cranny worth it, even if all you get is a dead-end screen, and the sound effects of hitting a slime with your broom are satisfying. I did notice some weird flickering on the menu screen, especially when viewing the cards you collected. Other than that, Anodyne plays exactly like it looks like it should play.

I popped all but two Achievements, and I’m okay with that. One is for finding a bunch more cards, which is something you can only do post-game, but I’m not feeling the desire to look around this world more. The other is for beating the game in under three hours–no thanks. Still, in the end, I’m glad I played Anodyne, even if I might not ever truly know how I feel about the experience. That said, I most certainly will be playing whatever comes out of Analgesic Productions next.

All Our Asias surreally explores Yuito’s dying father’s mind

Even the Ocean was one of my favorite games in 2016. Analgesic Productions crafted a game of platforming and exploring, with just the right amount of challenge to not make it feel like a cakewalk, while also weaving a tale of friendship and loss and impending doom that, to this day, still sits inside me, gnawing at my stomach. Aliph’s quest to fix a bunch of power plants to stop the foretold invasion of flood-bringing monsters is not a straightforward affair, nor a happy one, but it’s something she does because…someone has to take charge. More power to her, if you ask moi.

Similarly, Yuito’s mission in All Our Asias is also on a bit of a time-crunch. This is a completely free to play, surreal as surreal gets 3D adventure, about Asian-America, identity, race, and nationality. It comes from Sean Han Tani, one part of Analgesic Productions and the co-creator of Anodyne, which, alas, I’ve still not gotten to play. In this one, you play as Yuito, a Japanese-American hedge fund analyst in his early thirties. His estranged father is dying, and it’s too late for Yuito to communicate with him; however, thanks to advances in technology, despite his father being on life support, he can enter his father’s Memory World, which is a supernatural landscape full of the man’s experiences and secrets. The technology is nascent, and the process is risky, but Yuito has questions and wants answers.

Gameplay is twofold–walking and talking. To explore this Memory World, Yuito glides around inside a tiny tank-like vehicle, something that instantly made me think of that bright red tank from the PlayStation 1 Ghost in the Shell game (I briefly experienced it via one of those demo discs). You’ll find people to chat with, who will often guide you to the next area or offer a tidbit of info about this strange, hypnagogic realm. He’s trying to learn more about his father, but not everyone is forthcoming with information; in fact, there’s an entire sidequest about restaurants and instituting new tax policies that I didn’t entirely understand or see how it was connected to the big picture, though it does tackle issues about race and shared sympathy and other sensitive topics generally not explored by this medium. Movement is slow, most likely deliberate, which gives you time to observe the environment and eat up the soundtrack. You can do a short-hover jump to help with ledges and staircases, but this is by no means a puzzle platformer, and beating the game gives you a cool upgrade to help speed exploring up…though I didn’t feel compelled to keep playing.

I genuinely love the look of All Our Asias. Sure, my first gaming console was the Super NES, but when I eventually did that terrible thing of trading in a ton of my games to get credit to buy a PlayStation 1 from Toys”R”Us, rest in forthcoming peace, I was taking a big step, one that would forever impact my history with gaming. Here was a console I was getting myself, not as a birthday or Christmas gift, but through the sacrifice of others, and boy was I going to get the most out of this system. I played the heck out of Final Fantasy VII, Metal Gear Solid, Bushido Blade, Silent Hill, The Granstream Saga, Chrono Cross, Resident Evil, and so on. I become one with low resolutions and polygons, with fog designed to purposely mask load times or pop-in, with in-game character models with next to no details beside shapes and some color. Exploring All Our Asias forces your imagination to see things bigger and better, to look past its flat textures and chunky models; it’s a blend of walking simulator-esque gameplay and emotionally complex storytelling, drenched in 32-bit visuals, and I love it.

Sound-wise, All Our Asias is a dream. Again, I’m never not lost on the difficulty of describing music via words, but please, take a listen. It’s soft, it’s mesmerizing, it’s soothing. You’ll at once feel like you are floating above a city skyline on a gorgeous September morning while also zipping through the innards of a dying man’s mind where thoughts and memories race against each other, fighting for attention, scrambling for security. Somehow, the soundtrack never overtakes the story, but provides ambiance and a haunting sense of dread, and I can’t get over how pretty of a tune “Somewhere’s Meadow” and “What Will He Retain?” are for the ears. Getting lost a couple of times and unsure of where to proceed next wasn’t frustrating, as it just meant I got to listen to some more songs.

Right. All Our Asias is not perfect and certainly not for everyone. It’s focus on narrative and slowly moving towards the next story beat will probably feel like a chore for many; however, I found myself instantly sucked into this world, curious to know more, much like Yuito himself. I won’t stand here and say I understood everything it was going for and definitely could not relate to some of its themes, but your mileage may vary, and you won’t know until you give it a click.

My five favorite games in 2016

According to my “2016 completed games” tag here on Grinding Down, I finished 83 games in 2016. That’s…a lot. Certainly the highest amount I’ve seen since I started tracking all this nonsense. Yes, yes, many of these games one might consider tiny and small and not worth counting, but it’s my life, my mind, and anything that sparks my attention and holds it for more than a minute or two is worth calling a game, as well as worth seeing through to completion. Now, many of these games that I beat in this year of the monkey were not released in the last twelve months, such as Final Fantasy IX, Read Only Memories, and Costume Quest 2. Also, of the five below, I’ve only actually beaten numbers five through three, but that won’t stop me from lovingly praising the top two entries. Can’t stop me now.

Before all that, some honorable mentions. Gears of War 4: You are all right, a bit straightforward, and I’m finally getting better at the multiplayer, but I really don’t like how serious everyone takes the game, which often makes it not very fun to play (see, I like playing games to have fun). If you want something weird and artsy, give Karambola a bite. Devil Daggers is cool as hell, probably because that’s where it was spawned to begin with, but I’m total rubbish at it. Shout outs to Earthlock: Festival of Magic, a throwback RPG that I’m surprisingly spending a lot of time with this last week. Lastly, The Average Everyday Adventures of Samantha Browne is a great freebie that will likely resonate with those that suffer from social anxiety, like me. Remember, it’s an honor just to be nominated.

If you’re wondering why something is missing below, some dear game you hold close to your heart and swear up and down made 2016 all the better by existing, chances are I just didn’t get to play it this year.

Here we go. The last list of the year…

5. Tom Clancy’s The Division

Tom Clancy’s The Division is a game I never expected to find myself playing. Honestly, I picked it up because a friend from work was getting it and wanted to play together. This is a rare happening, where I get to play a videogame with another human being that I know. I couldn’t resist. It’s a cover-based shooter with loot in a snowy, disease-laden New York City, which, despite that, looks amazingly pretty thanks to all the Christmas decorations left up. Getting through the main missions and to the endgame stuff was pretty easy, and I found myself obsessed with collecting all the collectibles, which had its ups and downs.

Unfortunately, that endgame stuff, as well as the Dark Zone in general when not safely traveling in a group, were not entertaining to me and didn’t keep me around for long afterwards. Nor did the Underground DLC. However, Ubisoft and the game’s developers have seemingly been working to fix a lot of the game, and my few attempts at the Survival DLC so far have brought me back into the fold, excited to craft a scarf with better cold resistance. It’s not a perfect game, but there’s something to it, a looty loop I can’t turn down.

4. Even the Ocean

For many this year, the biggest surprises were things like Doom and Hitman, old games made new and modern. Well, I didn’t play those. For me, the biggest surprise of the year was Even the Ocean…mostly because I had no idea what it was until I saw a trailer and then immediately contacted the developers for a review copy. The story is grand, telling the struggle of Aliph and her quest to fix a bunch of power plants to stop the foretold invasion of flood-bringing monsters.

The game is a mix of narrative sections and platforming sections, with each area highlighting a new twist on Aliph’s abilities and the ways to balance her energy levels. What’s super amazing about the whole thing is its openness–you can tackle most of the power plants in any order, and you can play the game just for the story, just for the platforming, or a combination of both. There are even further options in the menu if you find the platforming too challenging and need some extra help. There’s a lot of love and care in Even the Ocean from Sean Han-Tani-Chen-Hogan and Joni Kittaka (y’know, Analgesic Productions), and it more than shows in every character interaction, design choice, and piece of music.

3. LEGO Star Wars: The Force Awakens

LEGO Star Wars: The Force Awakens is glitchy and broken in a few spots, but that never stopped it from being fun. Frustrating, for sure, but always fun when it was working. I guess that’s something that can ultimately be said of every LEGO release from Traveller’s Tales. This is a game that I mostly played with Melanie, and we ate it up in pieces throughout the year, finally completing all the DLC add-on missions and last remaining Achievements back in November 2016. As always, there’s a ton to do and collect, and the cutscenes are more enjoyable than ever, full of the usual charm and goofiness, but even show off some details not explained in the film. That said, I still hate racing side missions in these games, and throwing in floaty spaceships didn’t make them any better.

2. Stardew Valley

I have not experienced a full year yet in Stardew Valley, having last played somewhere in the middle of in-game winter. Winter is rough. There’s less to do when it comes to your farm, and I didn’t prepare ahead of time for this. The good news is, one, that it doesn’t matter, because the 31 hours I’ve played on Steam leading up to this standstill were amazing and some of the most addicting gameplay I’ve ever experienced. Two, I plan to restart the game very, very soon on Xbox One, keeping the incoming winter season in mind from the start, but otherwise doing much of what I did before, such as wooing Maru and focusing heavily on digging deep into the mines for rare gems.

Stardew Valley is the epitome of the “just one more…” mantra, with the unit here being day. In this open-ended, country life RPG, you have inherited your grandfather’s old farm plot and given up working in a corporate office. That’s the start of the game, and you decide where to go from there. You can attempt to fall in love and marry a local villager or work to restore the community center. Do not support the Joja Corporation. There’s also events every season to partake in, or you could simply wake up every day, water your crops, pet your cat, and hang out on the farm until the sun sets, doing it all over again the next day. It really doesn’t matter how you play, as it is all rewarding. This is backed by a stellar soundtrack that perfectly matches every time of day, every season. Also, the sound effect when you collect an item is pure bliss.

Even the Ocean was made by two people, and Stardew Valley was made by one, Eric Barone (@ConcernedApe). I find this beyond impressive, to the point that it hurts my brain. Everything you’ve heard about Stardew Valley is true; it’s a game you play now to remember fondly later.

1. Disney Magical World 2

This might seem like it is coming out of left field, or it may be no surprise at all to those that know me, but yeah, Disney Magical World 2 is my favorite game of 2016. Naturally, I’ve had a post in the works for this one for a couple months now, but haven’t had the chance to put all my thoughts into words and hit the publish button. You also might remember that my favorite game of 2014 was Disney Magical World.

With the sequel, not too much has changed, and I’m more than happy about that. Since getting the game in October, I’ve put over 40 hours in it and have no plans of stopping now, despite only having three more stickers left to acquire. You still move between themed worlds, tackling missions for specific Disney characters and collecting a vast number of ingredients/materials, all of which feeds back into making food for the café, creating ace ensemble outfits, and crafting countless amounts of furniture. There’s also a garden to tend to, and your own house–really a single room–to decorate. Mine’s mostly green. Gone are the collectible cards full of nostalgic art, replaced with pieces from a larger picture puzzle that allows you to interact later in a special area for bonus “like” points…I’m not a huge fan of this switch, but it is a minor element that can be nearly ignored if desired.

Disney Magical World 2 is a fantastic portable game. I pick it up and play for twenty, thirty minutes, and always have something to do. I don’t follow the same pattern each time, but it usually goes like this: run to the café, collect money, load it up with more food to sell, run to main street and see what the lady with the stall is selling (it changes multiple times throughout the day), purchase a new outfit or make some furniture, run around the map and collect puzzle pieces or see if there are any quick material-gathering missions to do, accept a story mission or two, and, lastly, return to the garden to pull up any finished crops and then plant new ones. Phew. This is not the same every time, but more or less my plan of attack. I have some story missions left to do in the Alice in Wonderland, Little Mermaid, and Lilo and Stitch worlds, but I’m trying to save them, really make this last. Besides, even after all the time and work I’ve put into it, I’m only at 33.51% completion.

So far, the in-game world of Castleton has changed for Halloween and Christmas, with the next scheduled event happening on April 1. I was hoping to see something earlier than that for either Valentine’s Day or St. Patrick’s Day, but, regardless, I’m looking forward to spending more time with Disney Magical World 2 in 2017. I wonder if I’ll have rung it dry of content by the end of the year.

In Even the Ocean, an unassuming power plant technician rises up

Even the Ocean has a lot to say. Sometimes the game says it out loud, other times it’s in the silence, the awkwardness, the looming dread. To be honest, it wasn’t everything I thought it would be, but in 2016, in this age of Internet spoilbreathers and big budget over-promoting with trailers every odd week, that’s a welcomed surprised. For starters, I entered Even the Ocean‘s beautiful if troubled world without having touched Anodyne, the previous independent videogame from Sean Han-Tani-Chen-Hogan and Joni Kittaka, also known as Analgesic Productions. Seems like I’ll need to work backwards for now.

The easy, one-two punch is that Even the Ocean is a heavy on the narrative, puzzle platformer about balance, about balancing. Not just the light and dark energies that hold the world together and keep Aliph, our unassuming power plant technician of a protagonist, alive, but also the balance of work and free time, of not overdoing it, of dreams and demands. Basically, Whiteforge City goes from good to bad after a routine maintenance trip to a local power plant takes a wrong turn, leaving Aliph in a position to show what she can do. Mainly, maneuvering safely through dangerous puzzles and solving those light-bouncing conundrums we’re all familiar with after things like Beyond Good and Evil and every Professor Layton title. With Mayor Biggs backing her, she’ll travel the continent, moving from power plant to plant and elsewhere, to save the city she now calls home from total destruction.

Gameplay is structurally straightforward, possibly on purpose, a mix of puzzles, platforming, and chatting. Mayor Biggs will assign a number of downed power plants to Aliph to investigate, and then you can pick which one she’ll tackle first. Each plant (or location) is more or less a puzzle maze, with learning how to navigate rooms blocking your progress. These places have their own theme and teach you, the player, something new about Aliph’s abilities, something vital. One area focuses hard on her maintaining the right balance of energy as she moves between energy-sapping blocks of color, another is all about timing jumps on moving platforms, and one will have you carrying items while avoiding heat-seeking enemies. I personally liked the puzzles involving using her shield the most. There are also non-platforming sections, like in Whiteforge City, which has you exploring different areas via menu selections and speaking with locals to learn more about the world and your place in it.

Let me explain more about the energy system since it is Even the Ocean‘s big draw. Aliph has a shield and bar of energy, represented at the bottom of the screen as chunks of blue and purple. The energy bar greatly affects her maximum running speed and jump height. When the energy slants one way too much, she’ll either jump higher and run slower or vice versa. Sometimes this is inevitable, and other times you’ll need to drop or increase to a certain amount for puzzle reasons. Discovering the when and where for this is a lot of fun and extremely rewarding, though a part of me had a hard time trying to constantly keep the bar sitting pretty at 50/50. If you go too far in one direction, the energy will consume Aliph, reloading you at the last checkpoint, of which, thankfully, there are many.

Even the Ocean is stylish as heck, both in its looks and sounds. The music is oftentimes soft, but moody, lingering behind every jump Aliph makes. It can get real pretty too, soothing, safe-sounding notes to provide comfort in dark times. I really liked a lot of the sound design too, from the noise the statue makes when saving your progress to Aliph pulling up her shield to even the simple pit-pit-pit of the dialogue boxes. The pixel art is…look, I love pixel art. I am never afraid to say pixel art is beautiful, is great, and Even the Ocean‘s art design is stellar. Commonplace locations, like a forest or beach, are enhanced with weird, unfamiliar flora. Many might see this whole thing as yet another 2D indie platformer with retro graphics, but it is more than that. The locations are unique and interesting, like Clearbreeze Island, home to a giant telepathic starfish. Also, every character portrait feels plucked from real life…though I have no way to prove that. Hmm, I wonder who Humus actually is.

Truth be told, not everything worked for me. I didn’t understand why there couldn’t be a single map or mini-map when traversing the overworld. Now, after exploring it fully, the world is not that big and it is impossible to get lost, but having to equip specific maps was a tad tedious to the point that I only relied on it for one puzzle-pertinent part. I also found the inclusion of an inventory misleading and unnecessary, as the number of items added to it over the adventure is slim, and it is as functional and as fun as reviewing your “key items” in any ol’ RPG. Y’know, the ones you can’t do anything with, but carry to the credits. Lastly, I was hoping to find more in the world, in the “dungeons”…some secrets or hidden doodads, but Even the Ocean isn’t about wasting time on inconsequential pick-ups to satisfy us collectible fanatics. At least you unlock some dev commentary buttons after completing the game to explore at your leisure.

At times, over my six hours with Even the Ocean, I was reminded strongly of other adventures, which shouldn’t be shocking. Everything is linked, in one way or another. As Aliph entered each new environment brimming with locked doors, unreachable floors, dangers, and offbeat characters, I thought of Knytt Underground. As Aliph jumped from wall to wall, shifting her energy balance to allow for extra speed, I thought of Super Meat Boy and Mega Man X. The game, at least on the normal playthrough setting, never becomes brutal or punishing, though a few puzzles did take a few tries until I learned the trick to making it through them alive, if leaning hard towards one color of energy. As Aliph took breaks after each plant to check in with Whiteforge City and her friend Yara, I thought of Persona 4 and schedules and the use of repetition. Of its story and conclusion, I couldn’t help but think of Shadow of the Colossus and The Last of Us, of our current political landscape and the hardships many face every day, of persevering against unlikely odds.

Here’s my suggestion: dip your toes into Even the Ocean. Wade in slowly, letting your skin become used to the temperature, to the ripples. When you are ready, comfortable enough, dive down. Submerge yourself. The flood is coming. Now it’s time to find out how well you can swim. Don’t worry–if the waves are too rough, too relentless, you can always play through it on Story Mode. In fact, I plan to do just that for my second go-around.

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A review copy of the game was provided to me by Sean Han-Tani-Chen-Hogan and Joni Kittaka from Analgesic Productions LLC.

2016 Game Review Haiku, #76 – Even the Ocean

Here comes the flood, world
Check your balances–light, dark
Heed Aliph’s story

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Here we go again. Another year of me attempting to produce quality Japanese poetry about the videogames I complete in three syllable-based phases of 5, 7, and 5. I hope you never tire of this because, as far as I can see into the murky darkness–and leap year–that is 2016, I’ll never tire of it either. Perhaps this’ll be the year I finally cross the one hundred mark. Buckle up–it’s sure to be a bumpy ride. Yoi ryokō o.