Let’s Run

So Awesome Games Done Quick 2013 is done, and with it the SDA marathon events have raised about 3/4 of a million dollars for charity. That’s really amazing, and on one level I’m really proud that I’ve been able to participate, even if it’s on some small, nigh-useless level. I had felt, for many months prior to my trip this year, that general speedrunning communities and activities, and even the charity angle on the whole thing, might not really be enough to make my trip worthwhile. I was really going just to see friends, my family, and Yuzo Koshiro.

None of that’s changed from my trip, really. But it doesn’t have to. Every year I meet more and more people that I’m excited to go see again, so while my sister’s family won’t be in the area next year, and Magfest may not have quite as amazing of a headliner (though I can think of a few I’d like to see at least as much as Koshiro), I’m really hoping that I can make the trip work out again next year, even if it’s not as long.

This was my fourth Magfest, and I’m still astounded by how quickly the event has grown. In 2012 the event moved to the gigantic Gaylord National in National Harbor due to space constraints at the previous venue, and I couldn’t imagine how many people were there. This year didn’t seem that much different, but according to the organizers the jump was from 6000 to at least 9000! By comparison, in 2009…there were apparently only around 1350.

I’m not really much of a convention-goer; I wouldn’t even say I don’t like them, but for the most part I wouldn’t choose them over other things I could be doing with the time and money. Fortunately, Magfest lines up very closely with something else I like to do, and I’ve always had an amazing time, so it’s not usually a hard choice.  Hanging out is fun enough, but I’m amazed by how many people show up to play music and the amount of obscure or largely inaccessible games that people bring out every year. This year I was only exposed to a few games that really caught me off guard or that I just hadn’t gotten to play before, but they sure didn’t disappoint.

 

This is a picture of me, for some reason.

My “favorite” was Pac-Man VR, a hilarious little entry in the Virtual Reality craze of the 90s. You put on the helmet, stand inside a small enclosed ring on a platform so you don’t stumble off and hurt yourself or the precious machine, then get a small 1-handed grip for the controller. You’re Pac-Man, in first person, and the controller has one button, which is used to walk forward since the game would be impossible to control if you were forced to always move like in the original game. Also, since you can’t see ghosts that might be behind you (or outside your general field of vision period) the game doesn’t use a standard life system. Instead, you have a short amount of time to collect 1/4 of the dots on the field, and if you’re successful you get another equal period of time for the next 1/4, and so on. As such, the main challenge of the game after the adjustment period is over is not getting lost trying to make your way to the last few dots. The final one is marked with a nice arrow, but since you can’t see the overall layout it’s not easy to tell what the best way to get there is. I never saw anyone finish the first level so I’m not sure how the later levels change the formula up, but it was great to watch (both the player in the game, and the tv which had a separate line out) and play for a bit.

I also spent my traditional time at the Cave shmup setups, and while, between Magfest, emulation and the fantastic array of console ports, I’ve played nearly all of their games at least a bit, there was still one gap in my experience: Ibara Kuro. The original Ibara is a sequel of sorts to Battle Garegga, which I consider my favorite game of all time, but the “Black” version is essentially a remix by another programmer that changes up a lot of the mechanics. The game is quite a bit easier than the original if you play conservatively,  but trying to take advantage of the scoring mechanics tends to place you in between impenetrable walls of bullets. It’s not a very forgiving game and I didn’t have time to learn anything tricky, but I really enjoyed it nonetheless. I think I embarrassed my friend by singing the soundtrack constantly, but what else was I supposed to do? It was so loud in there you could barely hear it!

I also met some guys out there who play King of Fighters XIII and some other fighting games, and a few hours of KoF even when I hadn’t spent any time practicing recently was really nice. I had really forgotten how much I liked the game, and I’m always surprised by how much better I do against players who aren’t local for the most part. I feel like a lot of the guys in Denver have “figured me out” at this point, and it’s hard to beat them without coming up with new one-time gimmicks, but on the road the fact that I play less common characters and do have a lot of bad tricks can help a lot. In the end I didn’t ever actually play Zerp, who plays two of the same characters that I played for a long time, Elisabeth and Shen. That was kind of a disappointment, but he showed up a couple more times while I was at AGDQ since he also knows Josh and a couple other guys, and ended up introducing me to Chaos Code as well, which is a weird Taiwanese fighting game that mashes up some “anime” mechanics with more KoF-ish type basics. It definitely feels a bit weird and “cheap” (in the production sense) but it’s got some fun backgrounds and a weirdly addictive soundtrack, and I’m pretty excited to share its goofiness with some of the local players in Denver.

Finally, there was the man himself, Yuzo Koshiro. I honestly had no idea what his performance was going to be like, although it was billed as the first of two acts for a “dance party.” Sadly I was correctly left to assume this meant he wouldn’t be pulling out any of his more prog rock/metal/fusion type stuff, but the set certainly didn’t even begin to disappoint. He ended up DJ’ing about an hour of game music from across his career, starting with some Actraiser music before moving into some heavier and more “rave”-y stuff like Streets of Rage and Shinobi. The climax involved many tracks from the Wangan Midnight Maximum Tune arcade games, which I was especially excited about. I’m not at all familiar with the games, but I basically always love singing in game soundtracks and wish there was more.

I ended up having to cut Magfest short on both ends and would’ve really loved to stay even a little longer, but it was still just a great time and I didn’t regret going out to make sure I got a nice Sunday afternoon and evening with my sister’s family. After that, it was time to get to AGDQ.

I feel like a lot of the event actually speaks for itself if you watch the stream, although anyone who’s been to a major fighting game tournament or anything else knows how completely different being there is from being a long-distance spectator. The atmosphere was definitely a lot more subdued overall than a competitive event, but a lot of the same passion was there. Speedrunning may be less of a commitment per game in many cases (although the top players on Super Metroid and similar popular games have certainly poured a lot of their lives into their titles), but I was still struck by the enthusiasm with which players absorbed new tricks and asked for help on a staggering variety of runs and games.

I can’t say I felt that same drive, even in the middle of all this. For me learning about the basic speed tricks or concepts in a game is really fun, but it’s kind of like trying out combos for characters I don’t play in fighting games. It’s not fundamentals, or sometimes even useful, it’s just a fun little unique thing to try out.  I don’t want to rehearse a whole game in most cases, I just want to see something new and fresh. But it all ties into my greater understanding of the “performance” aspect of speedrunning and other superplays. It’s not just about knowing how the game works and playing it a lot; there’s a lot of important “setups” or other combo-esque sequences needed to really excel. The players know exactly what the desired outcome is, and the drama stems from human error and the unpredictability of programmed behavior. This doesn’t change my outlook towards these kinds of plays overall, but it does make the idea of doing them a lot more approachable now that I’ve started to understand the methods and scale of work better.

The other facet of performance is, of course, the player and their personality. For the most part, viewers respond best to people who are fun to watch along with their games. Whether these are people like Mr. K or Cosmo, who bring a warm friendliness to match their esoteric and detailed knowledge, someone like PJ, whose enthusiasm and temper hold steady through even the most stunningly painful games, or the over-the-top personalities like tri-hex and Flicky who often dominate the stream’s attention even if they’re not playing (for better or worse), the players are definitely a big draw not just for me, but the viewers at home. Of course, some carefully cultivated mystique can go a long way too, but it’s usually best for someone like Siglemic who’s got a game that’s sufficiently popular and flashy to entertain the viewers on its own.

I’ve been around the block a few times with these events, and I knew coming in that there wasn’t some kind of life-changing experience coming. But as my interest in fighting games has grown faster than my interest in speedruns, there’s still a lot for me to think about in terms of what this trip and the community is “worth” to me, and there’s not an easy answer to that. I’ll be back in the future, I’m sure, but with my sister moving out and a lot of other stuff unresolved in my life, I’m not quite sure when that future will be.

Stand Back, Stand Clear

So I was going to write a big post about NEC, but then it just ended coming out on the EFL boards where everyone who I know consistently reads this blog already read it. All there would really be to add are some interstitial diversions and insanely trivial anecdotes, a small rant about Power Instinct 5 (it’s entertaining, especially after my KOF playing times), and then talking about how much better Philadelphia is than Las Vegas. As strongly as I might feel about those topics I don’t actually have that many interesting things to say about them, so maybe another time. But what is there to talk about? Oh, I know! It’s the end of the year, and everybody who writes or talks about games has to make a big list about how they still like obscure game X but AAA title Y doesn’t really hold up. It’s the law.

I haven’t played as many games over the past couple years as I did when I was in late high school/early college, so the idea of making a “top 10” list is absurd in multiple ways, the least of which being that some of the games on the list pretty much have to be ones I didn’t actually like since I don’t think I even played ten games I completely loved. But I find that given some distance I almost always feel differently about games than when I was actually playing them. Often my opinion goes down after the freshness wears off, but sometimes I appreciate elements more.

I don’t know who thought this was a good idea. They were wrong, but I love them.

The first new game I played this year was Final Fantasy XIII-2, and if all you want to see is that I think it’s bad, cool. Final Fantasy XIII-2 is a bad game. We’re done here.

Wait a second…why did I even play this game in the first place? Oh right. It was because I liked the first one. I’m not really much of a fan of FF in the first place, but I got excited as soon as I heard the music in XIII was going to be by SaGa composer Masashi Hamauzu. Hearing that the battle system was much more action- and puzzle-based than in most RPGs had me even more intrigued, and in the end I rented and beat it over spring break. I really enjoyed the bizarre meta combat, in which your characters’ specific actions barely matter, and instead the way they combine is everything. For most of a battle, you had to juggle several factors, building up to hit the enemy’s weakness while keeping yourself alive and preparing for your devastating strike with stat buffs for your party or reductions for the enemy. If you kept everything moving correctly, then you could catch all the balls in one gorgeous moment, and switch from your precarious attack-defense cycles to an all-out ass-kicking to finish things off. The system wasn’t perfect (for one thing, the game doesn’t have a good way to convey the importance of potent offense, leaving many wondering why the game “suddenly” kills them after a long battle), and once the game finally just hands you all the possible options near the end things get a bit repetitive.

Also seems familiar!

My impression, though, and this was backed up by a few interviews I read, was that the team focused almost completely on the mechanics and encounter design, leaving many standard elements of Final Fantasy by the wayside so they could be honed. There are essentially no friendly towns, few open areas to explore, virtually no “sidequests” that don’t involve killing things, no mini-games…it’s certainly very reductionist, but I appreciated the philosophy.

All that said, my absolute favorite part of FF13 is when two of the main characters stumble their way into a Chocobo-themed amusement park. Like everything else, there’s not any “real” reason this happens except that they made the art assets for it, but it’s the one actual respite from constant fighting in the game. And in sharp contrast to the rest of the soundtrack, the song which plays is a tinny, diegetic jingle about how much fun it is to play with Chocobos. It’s clever, hilarious, and almost unbearably vapid at the same time. In other words, genius.

From here I feel like a review of part 2 practically writes itself, especially given how short the title’s development cycle was. The scenarios are all pieced together from art assets that got cut the first time, and the story makes even less sense. The battle system has no real mechanical additions, and the monster system is cute at first but gimmicky and really unwieldy. The boss fights are almost all trivial and half of the “roles” in the game are nearly useless, which makes combat a straightforward and boring slog with depressingly few “oh my god!” moments. Worst of all is just the developers’ attitude and lack of understanding about players’ complaints. As much as I enjoyed FFXIII, there’s simply no way its basic model would’ve held up for another 30+ hours. The structure was workable but due for additions. But 2’s open, frequently-redundant areas and arbitrarily plotted progression don’t feature anything that feels like a carefully laid course, just busywork to fill time while the designers figure out how to actually make a game.

Even though there were definitely alarms sounding all over the place, I had to play it. I just can’t resist a great soundtrack, and after its release, with the music spilling all over the internet, I couldn’t stop myself from getting hyped up. I’m sure most people heard “Crazy Chocobo,” as the backlash exploded almost instantly in many different places that I tend to visit, but that was just the tip of the iceberg. A huge portion of the music features vocals, almost always with cheesy lyrics attempting to match up with what’s going on in the game’s story and settings. Although none of them are indicated to be actually heard “in context” as with Cocoon de Chocobo above, I absolutely love it, and the effect is occasionally like some kind of really anime musical (as in the theater production), which is even better.

After all, JRPGs are no stranger to melodrama, so to me the idea that Serah, Noel, or possibly other entities are essentially “singing” bizarre songs to the audience, about how important it is to stay upbeat and fight together with your friends, or what it’s like having a ridiculously miserable and depressing backstory, is too delightful. And that’s not all! Many of the more conventional tracks are also fantastic, featuring work not just from Hamauzu but one of my personal top favorite game composers, the criminally underappreciated Mitsuto Suzuki. Originally I knew him from his time making weird, beepy techno for Konami’s rhythm games, but since moving to Square he’s gotten a couple of chances to play more of a main composing role. (As far as I know, his official job at both companies has been more in back-end sound production.)

The thing that really catapults this up to the top of my favorite soundtracks though, is something it shares with two of my other favorites, Nier and Resonance of Fate. All three feature on-the-fly, context-based track switching or (mostly in Nier’s case) blending. In FF13-2 this switching occurs when you’re moving around dungeon areas, as random enemies will appear near you and you get the option to try to run away from them or engage head on for advantages. As far as the game goes, it’s a pointless, bad compromise, and therefore clearly stands out as the worst of the three examples here. By contrast, ROF has a similar system, where the music lays low as you wander around and prepare for combat, then suddenly roars to full-on rock once you pull the trigger and start a battle. Nier’s uses are more subtle and varied, but a good example is the game’s starting town, where a woman singing in the middle fades in and out as you get close or move away. Still, even in this game the music’s sudden shift from driving and melodic to low and sinister (and usually, the sudden cutting out of lyrics) is definitely effective.

I have something of a “spoonful of sugar” outlook on a lot of things; they may be bad in obvious ways or have elements that I simply dislike, but one really strong area is enough to prevent me from being too upset with them. This is even more true when, as in FF13-2’s case, it’s the music that really carries it. But even though it’s not an aggravating game, it’s a monotonous one that doesn’t bring anything else that’s interesting to the table. In a sense, I got just what I expected from a rushed, samey cash-in. And that’s the biggest disappointment of all.

Demon’s Emblem: Path of Radiant Stories

Sometimes, when I go to read the SDA forum, I’ll see a post by someone who’s trying to break down a game they haven’t even played. Maybe they’ve watched most of it on youtube or read a guide written by some importer to try and suss out the mechanics before the English release, or maybe they just have a demo and are playing it over and over to try everything they can think of. I’ve certainly tried to do that myself with fighting games and Cave releases during the long wait before they hit consoles, but it’s never really crossed my mind in a speedrunning sense. I really try to walk into any non-arcade game I’m looking forward to as unspoiled as possible, because that first impression is a big deal. And even if I know how a game kinda looks at a high level before I get my first shot at it, I spend some time playing around and figuring out what feels best to me before really digging in. I’m sure that a lot of these runners take time to enjoy their first real playthrough as well (while of course at least taking mental notes on things that seem to be effective, if nothing else), but I’ve never picked up a game that I bought expecting I’d want to do serious speedruns on it. And that’s assuming you can even call my original attempts “serious”…

Fire Emblem: Path of Radiance

I’m sure I wasn’t the only one who played the Melee demo in stores and was blown away by Marth. “Who is this guy? Is he from some Zelda game?” With his shieldless sword stance and his Anime Hair (I didn’t know that’s what it was at the time, I was just twelve and thought it was cool) and his counter-attack (anyone who’s played against me or even knows my mains in most fighting games would know that I love counters) I knew right away I had my favorite character. At least, until I owned a copy years later and unlocked Mr. Game and Watch after countless hours. Anyway, I never had a GBA either so the Gamecube installment was my first crack at this mysterious series that I hadn’t gotten to play before! After playing through the game, I thought it was really cool and seemed like a pretty easy game to run. Before long I got hooked up with SDA’s resident Fire Emblem fan, Molotov. He’d played through the entire series, done or planned runs on most of the games, and was just generally cool to work with.

If you have a purely turn-based game, you’re basically looking at four distinct ways to improve your time:

  1. Offense. Essentially, the most effective way to defeat enemies and accomplish goals. In a game like Fire Emblem this often means blitzing an enemy boss or moving aggressively to a key capture point, while moving as few of your units as possible.
  2. Defense. Methods for avoiding dying (as your resources and power are often much lower than in a “regular” playthrough), or, better yet, reducing the amount of actions the enemies get to take.
  3. Randomness. Many of the FE games are heavily deterministic (if you make the same moves, the game will put out the same results), but as I recall PoR doesn’t do this and allows you to try the exact same suicidal moves repeatedly until they work in your favor. Additionally, there’s a significant benefit to aiming for specific stat gains, because FE assigns each unit unique chances to increase each stat on a level-up. The hero might have an 80% chance of gaining a strength point while a magic-type unit could have something more like 30%.
  4. Execution. Turn-based games are often derided because you rarely get combo-video type material, and while it’s true that there are often “all or nothing” scenarios in action games where being slightly off can make or break a run, the sheer amount of commands in a long game makes a huge difference over time.

As a newcomer, I viewed #1 as by far the most important. It certainly makes a bigger impact on your time than the others, but not to the extent that I treated it as. Not to mention that ignoring #3 and especially 4 makes the run just look sloppy and lazy, which is undesirable given the emphasis on a finished product at SDA.

In THIS game, the rules say I can do it as much as I want!

It’s even funnier to me in retrospect because #1 is almost completely trivial. The game gives you a small number (I think you get one guaranteed, and can find a few others) of items which you can use to teach a character a unique, class-based skill. For most characters this is a creative little move that’s entertaining but won’t change your tactics much. If you give this item to Ike, the hero, instead, his attack will randomly (and frequently) turn into a double attack, with the first hit stealing an equal amount of life from the enemy and the second ignoring their armor stat, which usually just straight up kills them unless it’s one of the last couple bosses. The self-healing and his overall power also makes this strategy pretty much immune to long-term bad luck. The enemies will try to slowly chip away at him while his revenge attacks take them out of the picture and cancel out the damage that he’s taken. Since this is a speedrun though, playing for overall okay luck isn’t really that good of an idea unless you’re doing the game in one shot. If you’re playing for keeps, you want to make sure that you get those big hits against big enemies and gain good level-ups to boot. Not one of my specialties, in this case.

The other major strategic element involves the Pegasus Rider character, Marcia. She can fly over most terrain features (rocks, trees, holes, water, etc.), as well as other units, friendly or not, and carry Ike at the same time! Aggressive use often allows him to reach his targets several turns quicker than walking, but she also brings in one of the crucial defense trade-offs. Having a passenger weighs down mounted characters, lowering their effective stats. This makes it harder for them to score damage and causes them to get hit for more damage more frequently. Marcia isn’t a terribly strong character to start with, and if she dies before the last mission you have to reset (she’s just too good, all the way to the end), so using her effectively reintroduces some of the luck mitigated by Super Ike.

All that said, I would pretty much sum up my run with a simple statistic: I recorded about 24 hours of footage, for a run that finished under 4. Don’t follow my example.

Radiata Stories

As always, we got renders instead of the sweet concept art for the box.

Pretty much the last time I had a chance to talk to my man Enhasa, he told me, “the better a game is for speedrunning, the better it is in general.” I had to argue a bit to suss out what he was trying to get at, but that’s not important right now. For now, all I really have to say is that as much as I love Radiata Stories, it’s a pretty goddamned terrible game. I’ve thought about this over and over through the past several years, and to date I have not come across another game in which speedrunning forces you to almost completely ignore the best parts of the game and spend the entire time suffering through the bad parts.

I guess depending on who you talk to, maybe the GTA games count? It’s the same deal here, although obviously with a much more JRPG flavor. Kicking things is the primary way of interacting with the world; it opens chests, reveals other items hidden in piles of rubbish or under rocks, and lets you pick fights with almost anyone you want. The game gives you a fairly large world to check out, filled up with a large number of NPCs who all lead their own little lives. The heart of the game is trying to hang out with these people and find out what they want so that they’ll become your “friend” and join you in battle. (If that sounds cool to you, play this game.) The game has a clock which dictates what each one does every day, so you can basically stalk them until you find out what you need to do, then try to do it. A few characters have pretty cool questlines, and my favorite plays with the system and your expectations in a really clever way.

Watch closely…

But none of that matters, because out of about 170 characters in the game, the speedrun recruits less than ten. Hell yeah! On top of that, you can’t skip cutscenes, which basically instantly adds over an hour of holding O and mashing X to skip text as fast as possible throughout the game. The scenes themselves are generally pretty funny and engaging…the first time. But as a runner you get to get sick of them instead!

The most actively annoying system in speedrunning the game involves avoiding encounters. Like most RPGs from the past decade enemies appear on the map as you walk around, and you can try to move around them or at least avoid being put in a disadvantage by being ambushed. In most of those games this is really easy for the most part, but Radiata’s dungeons and overworld aren’t comprised of “field” areas, and instead, a spindly series of trails. As a result, you don’t have a lot of space to maneuver around them and it’s often difficult to even pull off bait and switch tactics to work around them. Obviously, there are a lot of runs on things like older Final Fantasy games where you can’t avoid “random” battles at all, but the fact that in this game you can as long as you get lucky means that you should play until you get really lucky. Or until this happens and you’re too mindfucked to continue for the day:

The battle system is really mediocre too, like a slow and super dumbed-down version of Star Ocean 2’s free-moving mashy action. You only ever get to control Jack, the main character, who has a couple of basic defensive moves and a prepared attack string plus a special move that uses your meter. You can give orders and try using formation attacks with your party members, but their effectiveness is mostly tied to how strong those party members are in the first place and otherwise just waste your meter that you could be using to kill things. Character building and equipment are also ridiculously limited so while the game is super easy playing normally there’s not much to abuse like in other tri-Ace games, where even at low levels you can get game-breaking damage if you know how. The only way to really make fights fast and easy is to recruit the best characters, and regardless of which story path you’re on, they aren’t in your small pool of applicants. You’re lucky if your allies don’t kill themselves trying to play hero too much, since often you need them to be alive so that they get hit by supers instead of Jack (whose death causes game over).

Like I mentioned before, I didn’t have to figure out much of the overall strategy in this game. A few weeks after I first beat the game, Molotov found me a Japanese Geocities page created by “ogu_dai”, in which he detailed his checkpoint times and overall strategies for each of the separate story paths. His stuff was designed for single-segment play, so it was a bit more luckproof than good segmenting strategies, but most of it was tremendously useful and saved us at least 100 hours worth of testing. In terms of resource management, there’s basically one bottleneck on the “Fairy” storyline that I was running. You want to buy the best weapon in the first half of the game as soon as possible. This basically means taking a detour in an early dungeon during the part of the game where you don’t have any choice of what to do, to get the best item in the game, so you can sell it.

By “best” I mean that it locks Jack’s non-battle movement speed at the medium range where he does a funny “power walk” animation, and does nothing else.

If that sounds cool to you, play this game.

Combined with the small amount of money you get otherwise during the opening of the game, you can head to the weapon shop as soon as the game lets you and buy a big two-handed sword! This triples your damage, which basically still means it’s godawful until the game hands you the best one-hander you can get outside of the bonus dungeon early in the second half.

There are four other crucial purchases in the game, but once you get going money itself is hardly an issue. One is the command to have a party member heal you. They are not always intelligent enough to do this on their own. The second is a large stock of “Flee Balls.” Like other RPGs, fighting non-bosses to level up is almost a complete waste of time. Even when a battle loads because you couldn’t avoid getting into it you lose precious seconds, and to make matters worse there’s no “retreat” command like in other games. You have to buy these items and use them whenever you get hosed over just to cut your losses. Third, you need items to poison the enemies that you do have to fight. Almost every boss is vulnerable to poison, and once an enemy is poisoned, it doesn’t go away. The poison deals damage faster than your low-level sword hits do anyway, and doesn’t build the enemy meter while doing so (like hitting or being hit by bosses does). If you can get both that’s awesome, but in many cases it’s not safe enough to do so, either because the enemy super will unavoidably kill you, or because they can just kill you in one combo anyway.

A nice fat stack of Bison dollars.

But, if you’re really outnumbered, the poison doesn’t help that much, as you put yourself at risk just trying to use the items. It’s also difficult to hit your target because you literally “throw” the poison at them, so if someone else is in the way it will never hit. That’s where the last purchase comes in, and despite it being the most broken and useful tactic in the game, it was the last one we found out about. Molotov and I investigated it on our own because ogu_dai never had to use it. (He leveled up more and actually recruited a semi-useful character instead.) There’s a command called “Earthquake” that you can buy late in the game. If you have at least one living party member, all of you fall on the ground, causing it to shake so much that all of the enemies are knocked over. Your team gets up first, so this stunlocks anyone you want, while dealing damage similar to poison (and stacking with poison if you can hit it, obviously), but it costs 4 meter per use. Every time it touches an enemy though, you gain back 1 meter, so if you hit four enemies at once, it’s an infinite. It’s so good against the hardest boss on this path that it’s actually worth using healing items on his weaker cronies just so they won’t die and force you to stop using the infinite on him. Sadly, I don’t have a video, since this is the point where I gave up on recording the run since I couldn’t get the strategy down. Now it would be easy, really the least of my worries starting over.

I know that sounds awesome, and that it is awesome, but it doesn’t change the fact that this game is really annoying and broken for speedrunning, with all of the other ways being much less interesting and hilarious. It’s unfortunate.

Demon’s Souls

Don’t have nearly as much to say about this one, as I wasn’t involved in any sort of strategic development and just copied what other people had already figured out until I gave up on the game before really learning it anyway. Basically, the key feature of the Souls games is the death system. It’s kind of old-school in that it puts you back in a designated respawn point at the beginning of the current level, but you also drop all of your “souls” (which serve as the money used to buy both items and stat increases) on the spot where you were killed (or a short distance away if you jaunted into some kind of bottomless pit). You can also only have one puddle of souls on the ground at once. The idea is that you’ll figure out what you did wrong and find a way to not die in the exact same spot next time, and thereby succeed in regaining your souls (as well as keep the ones you collected working your way back to where you died in the first place). In order to make this actually dramatic, the game autosaves pretty much all the time and prevents you from backing up your save to cheat death.

“I play shmups and other games where you can’t go back all the time, so this’ll be a piece of cake, right?”

Most accurate fan art of all time.

Nope.

In MAME you can make save states. All of the 360 Cave ports have a training mode where you can start on any stage (and usually any boss) with perfectly calibrated parameters that match your usual/desired progress, which is basically as good as a savestate aside from the more limited starting points. Fighting games have training modes where you can try almost anything you can come up with (unless you need the dummy to do something that you can’t figure out how to record) over and over. Even beatmania IIDX has a practice mode where you can break down individual measures at ridiculously slow speed to see what’s going on.

In Demon’s Souls, you can’t reload your save to repeat a level with the same conditions. If you try to go back, you’ll have more stuff and be stronger. The bosses are dead permanently.

Most of Demon’s Souls is not a hard game when you know the easiest routes and how to build your character. Out of the hour-long run, maybe 10-15 minutes of the game at most has actual ways for you to screw up and lose a lot of time. Every time you want to practice those parts, you have to play most of the other 50 minutes too. Obviously, once it’s crunch time before the marathon, you want to get used to just going through the whole game no matter what happens, but I gave up before I could get to that point.

I’m not going to play Demon’s Souls again. I still haven’t even played the sequel, which I was looking forward to before all this happened. I probably will someday, but I’ve held contempt like this for much longer than a year before. It’s just not time.