[This article was originally posted here at VGMOnline.net, and is archived here with their permission. Please go check their site out because it is wonderful.]
The spacefaring arm of the 4X genre has a long and extremely celebrated history on the PC. From the classics like Galactic Civilizations and Masters of Orion to the relatively more recent entries like Sins of a Solar Empire and Endless Space, each take on the premise brings with it a different balance of micromanagement and automation. Unlike the terrestrial entries in the genre, though, there aren’t many soundtracks that I can claim have been particularly memorable. With Stellaris, Paradox Interactive seeks to bring their own spin on both the mechanics and the music behind the genre. Paradox composer Andreas Waldetoft has combined sci-fi electronica with performances by the Brandenburg State Orchestral to give us a synthesis of genre that has definitely aimed to give us something memorable. For the most part, I think he’s definitely succeeded.
I return from the abyss! To commemorate, I wanted to return to a genre that I have a great deal of love for. While I tend to call it the Civilization genre, I’m pretty sure that the actual commonly accepted term for it is the ‘Explore, Expand, Exploit, and Exterminate’ (4X) genre. Personally, I think I’ll just keep calling it ‘Civlike’, because we call a bunch of things ‘Roguelike’ that don’t have anything to do with Rogue, and I like consistency in my genre naming.
Secret time–I adore innovative tactical role-playing games. They are my favorite video game genre. So when a mobile video game is developed by Mistwalker (yes, the company of Hironobu Sakaguchi–may you worship at the altar of all that is Final Fantasy), you may color me intrigued. Terra Battle is for iOS and Android, and is a tile-based TRPG. It functions as a collectable card game and a puzzler as well as its headlining genre.
The game itself is populated with content released based on how many people have downloaded the game via a “Download Starter” created by Sakaguchi (based on the success of Kickstarter campaigns, but without the players directly financing advancement). For example, Nobuo Uematsu composed music for the game after 1,000,000 downloads. Familiar names and a genre I love formed a sort of careful optimism that I carried as I started to play the game.
We all have our favorites when it comes to video games. Be it for the artwork, the soundtrack, the mechanics, plot, character development, or style–we have our reasons. To be sure, there is the occasional nerdgasm over a franchise as well. These are the games that stick with us, and usually with good reason. They have components that are done so well that it is something we then go looking for in other games.
When talking to my gamer friends, I am learning that quite a few of my favorites are lost gems; games that don’t have nearly the popularity or following, but are beautifully executed in their own rights.
Kartia: The World of Fate came out in 1998 for the PlayStation in North America, published by Atlas. It was originally released as “Rebus” in Japan. One could go so far as to consider it a “retro” game, by modern standards. Kartia is an isometric tactical roleplaying game, with a very high level of customization within battle. It is a beautiful game, with stunning character art by Yoshitaka Amano and haunting soundtrack by Kenichi Tsuchia and Masaki Kurokawa.