When a series runs for a long enough time, it’s only natural to want to experience the highlights first. After all, time is always of the essence, and it’s better to spend it with the provably good installments than by experiencing the low points. However, you may have experienced an instance in which you were so impressed with a particular installment that you wanted to see the rest of what a series had to offer – for good or for ill. As such, your point of ingress may not necessarily have been with the series’ inaugural installment. So the next logical question is: where do you go from there?
What’s better than playing a fun video game? The answer is playing a fun game within a video game. If an arcade or casino exists in a game, you can bet that the programmers took the time to implement several minigames for the player to check out. Sometimes, the staff may be taken aback when players begin dedicating more time to these minigames than the larger one they paid actual money for.
It is the dawn of new year, and our countdown is nearing its conclusion.
One of the worst trends of gaming criticism in the 2010s was the lack of middle ground regarding their rating systems. A lot of this was brought on by their tendency to overhype everything released by major companies to the extent that good grades seemed to be awarded to releases with the most press coverage rather than on the merits of actually being a good game. When reading their reviews, it gave off the impression that anything below a 90% or 9.0 wasn’t worth checking out. This is one of the trends I sought to defy when conceiving my own rating scale. I wanted to make it so that in order for any team to achieve a 9/10 from me, they would need to go the extra mile to earn it. For the following games, the pros outweigh the cons to the extent where you likely won’t be thinking of it for most of the experience. You can be sure that no matter how I decide to rank any of these games, every single one of them is a keeper.
We are now finished with the red and yellow tiers; the only ones left are the green tiers. In this post, I’ll be looking back over the games I’ve awarded a 7/10. The key difference between this tier and the one directly preceding it concerns my stance when asked whether or not I’d recommend a game. A 6/10 is a game I would have some reservations about recommending even if I think it’s technically good overall. There are no such reservations from this point onward; these are all games that were able to earn my seal of approval.
We are now in the second half of my 100th review special! A 6/10 isn’t a terrible grade on my scale. It means that I have reservations recommending the game in question, but it ultimately does more right than wrong. Furthermore, as per my rules, a 6/10 is the highest grade a game with a weak ending can receive. A few of the following entries are indeed titles that would otherwise deserve to be on higher tiers. I feel not enough creators realize how important it is to stick the landing. After all, the ending is the last impression you have a work; if it’s bad, it almost doesn’t matter if the material leading up to it was good. Rest assured, from this point onward, we’ll be discussing games that are worth a try.
Funnily enough, the conclusion of this particular post will take us to the exact halfway point of my list. It’s fitting because a 5/10 signifies that I could go either way when asked if I recommend a game. In the end, I feel that whether or not the reader should check any of the following games is a decision they themselves must make. They have a lot of qualities worth praising, yet you have to wade through a lot of annoyance before their true value begins to shine.
The primary difference between a 3/10 and a 4/10 on my scale is that I couldn’t personally endorse playing any game from the former tier. With the latter tier, my stance when it comes to the question of recommending a game is less straightforward. Essentially, a 4/10 means that I would be more likely to dissuade people from playing the game in question, yet it does just enough right so as to not make the experience irredeemably bad. In practice, quite a lot of the entries on this tier are games that had historical significance, yet are decidedly inaccessible from a modern standpoint. Either way, now that we’re out of the red-score tiers, you can rest easy knowing that from here on out, I’ll be talking about games that are, for the most part, worth looking into.
Dragon Quest V was released in 1992, marking the debut of the popular series on Nintendo’s 16-bit Super Famicom console. Though its presentation arguably paled in comparison to that of Final Fantasy IV released a year earlier, it nonetheless continued the success of Yuji Horii and his staff at Chunsoft by selling millions of copies just like its four predecessors. It has since been declared by fans and Mr. Horii himself to be the series’ pinnacle due to its unique, forward-looking storytelling and novel monster recruitment mechanic. The latter would go on to revolutionize the industry over the next few years when several creators provided their own take on the concept.
As Chunsoft went on to develop a spinoff series known as Mystery Dungeon, the first installment of which cast a supporting character from Dragon Quest IV in the lead role, Mr. Horii joined a new company known as Heartbeat. Their first product was to be the sixth installment in the Dragon Quest series. Production of this game, entitled Dragon Quest VI: The Illusionary Land, proved to be rather troubled, and its initial release was delayed numerous times. The game was at last formally revealed in 1995 at the trade show Shoshinkai before being released a few weeks later. Owing to the large cartridge ROM used in this installment’s creation, Dragon Quest VI ended up selling for a steep price of 11,970 yen. In no way, shape, or form did this deter the dedicated fanbase, as the game went on to sell over three million copies.
Nintendo Power magazine once insinuated that the game was slated for a Western release in 1996 under the name Dragon Warrior V. However, much like its direct predecessor, it was not to be. The series’ lack of success outside of its native homeland, the fact that accurately translating text in a cartridge ROM already at its maximum storage limit into English was an impossible task, and Enix ceasing activities in North America all meant such an undertaking would almost certainly be unprofitable and therefore not worth the risk. Did their admittedly understandable business decision doom another classic to fall into obscurity in the Western world?
In 1996, Nintendo launched the Nintendo 64, the successor to their 16-bit Super Famicom. Boasting a superior processing power, it proved instrumental in ushering in a new era of 3D gaming with Super Mario 64 in particular serving as a pioneering title. One year before its release, Nintendo announced a peripheral to their new console: the 64DD (Dynamic Drive). It was conceived to compete with the Sega Saturn and Sony PlayStation, contemporary consoles which favored the CD-ROM and its large storage capacity over Nintendo’s far more limiting cartridges. Among other things, it would feature a real-time clock, rewritable data storage, and the ability to connect to the internet.
One of the proposed titles for this system was a new chapter in the highly regarded Dragon Quest series. After achieving success with its two Super Famicom installments, releasing the next one on the 64DD would guarantee the sale of millions of units. However, technical issues plagued the 64DD’s development, and it was consequently delayed numerous times. Once its original planned launch in 1996 failed to come to pass, Heartbeat, the company in charge of the game’s creation announced the project would move to the PlayStation. This situation had a precedent, as Nintendo’s insistence on using cartridges cost them much of their third-party support, and series such as Final Fantasy would see their sequels jump to Sony’s console.
Unfortunately for Yuji Horii and Heartbeat, the problems had only just begun. The series’ immense popularity was such that as soon as Heartbeat declared their game would be on the PlayStation, Sony’s stock prices rose significantly in Japan along with Enix’s. Naturally, this placed the team under an immense amount of pressure. How could they possibly live up to the immeasurable hype? Because the staff only consisted of thirty-five people, work on the game was extended several times. It was finally released in 2000 under the name Dragon Quest VII: Warriors of Eden. By that time, Sony had launched the PlayStation 2 months prior. This in no way deterred the fans, as it quickly became the best-selling PlayStation game in Japan that year.
Historically, the series didn’t meet with anywhere near the level of success in its native homeland, but Paul Handelman, who was the president of Enix America at the time, expressed confidence in the game, commenting that “…at the end of the day, compelling gameplay is what it’s all about, and Dragon [Quest] VII provides just that.” As the previous two installments didn’t see a release overseas by that point, those who enjoyed the series were doubtlessly confused when this new entry was unveiled as Dragon Warrior VII. Despite having to translate a monumental amount of text, the translators soldiered on, and it saw its North American release in 2001. By this point, Microsoft had entered the console market with their Xbox console, the PlayStation 2 had been out for a year, and the Nintendo GameCube was a month way from its debut. Does Dragon Quest VII manage to end gaming’s fifth console generation on a high note?
In 1988, Enix and Chunsoft had a hit on their hands in the form of Dragon Quest III. Naturally because of this, the public wanted a sequel, and the creators obliged, releasing Dragon Quest IV: The Guided Ones in 1990. Enix, having learned their lesson from last time, wisely decided to release it on a Sunday. There was an urban legend that the Japanese government intervened by forbidding the creators from ever releasing any future Dragon Quest installments on a school day, but in reality, Enix themselves made the choice.
To place Dragon Quest IV in context, Nintendo was working on a successor to the Famicom, the platform on which the previous installments saw their initial release. NEC Home Electronics had launched the PC Engine to compete with them a few years prior while Sega followed suit with the Mega Drive a year later, a console boasting more processing power than their competitors at the time. When the Super Famicom was released later in 1990, it marked the end of an era. Does Dragon Quest IV manage stand as one of the Famicom’s final hurrahs before a new wave of consoles ushered in a new generation?