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cosmiciaria · 3 years

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Assasin’s Creed III Remaster review - Spoilers! - Long post!

I wanted to keep this spoiler free, but as this game is such a narrative experience, I don't think I'll be able to. I'll try to keep them at minimum, but be warned: there are major spoilers ahead. By the way, this game is almost a decade old, so y'all had plenty of time to get spoiled beforehand. And if you're reading this, it's because you like this game and you probably know how it ends.

Review under the cut because this is way too long.

As always, I express my feelings and impressions regarding my experience with a game – I write it because I like writing reviews instead of, I don't know, recording a video for YouTube. I'm not a YouTuber and I feel safer behind a keyboard where people don't point out about my weird accent (the accent every Hispanic person has when they speak English). Since the pandemic started, I found refuge and comfort in AC games, with Syndicate being my first contact with the franchise, and Unity solidifying my love for it. I found strength and weaknesses in all the installments I've played, which are almost all of them by now (excluding the first AC with Altaïr, the new saga with Origins, Odyssey and Valhalla, and Rogue). I've also platinumed three of those games I've played, and I'm on my way to platinum this one, so I think I can speak from a deep fan standpoint by now.

Since Syndicate, I studied from up close each of the protagonists of the mainline games. I felt drawn to Arno because he looked like one of my oc's (and his girlfriend looked like my oc's girlfriend as well); I wanted to learn about Ezio because he's a fan favorite; I wasn't at all impressed by Edward but ended up growing fond of him; I respect Altaïr for what he means to the Brotherhood; but I can safely say, that I haven't felt as attracted to a main AC protagonist as I felt with Connor.

From the moment I knew he was a native American (such a bold choice, it seemed for me) I felt instant attraction – but not the, idk, physical (he's a cutie I give it to you), but because of what he could bring about as a main character. A perspective we don't usually get to see, and personally, as I'm not American, a point of view to educate me on a different side of history. I wanted to see what they could do with him as the star of the game, I wanted to play with him and understand how someone like him could rise up and become a protagonist of such a well known and beloved saga of games. I applaud this decision from Ubisoft, whether they did it because they wanted to look progressive or not, I don't care, I'll always cherish that the protagonist of a famous videogame is a Mohawk. And with the American Revolution as the main stage, no less. Such an important scenario to strengthen the virtue of independence, patriotism and love for a country, going hand in hand with a character that represents America even more than the Founding Fathers.

(Also I'm a Hamilton Fan Trademark so I couldn't stop singing random parts of songs while playing this game, it was a nightmare every time Lafayette appeared on screen because I JUST HAD TO start mumbling Guns and Ships)

I lunged blindly into this game – I'd only spoiled myself the very ending because I played Black Flag before – so imagine my surprise when I first saw Haytham, Connor's father, as the main protagonist.

So here's the deal. Let's clear this out of the way.

I thoroughly enjoyed the game. It was what I expected and more.

But.

Yes, there's always a but in AC games, you know the drill.

As I kept playing with Haytham, charming though he was, I kept thinking to myself "ok but when does Connor come into play". I also already knew Haytham was a Templar, so the end of the first few sequences didn't catch me by surprise – actually, what caught me by surprise was that there was no mention of Assassins or Templars during the "prologue" with Haytham, instead you're left to believe they're all Assassins until he prays to the Father of Understanding and you realize with a gasp "oH NoO!".

You play with Haytham the first three sequences. One of these have the most memories out all of the sequences more or less. This whole thing can take up to three to five hours depending on how much time you wish to put into exploring or completing the optional objectives. And still no signs of Connor.

Connor does come eventually – as a child – by sequence 4. It's not until the end of sequence 5 that you get to play as (almost) adult Assassin Connor, so maybe five or six or even seven hours into the game and you're barely starting.

I know what they did here. I understand. And this is what I meant when I said they were going for a 'narrative experience'. To make you play as Haytham before, to lure you into a false sense of safety believing he was an Assassin working for a just cause, to make you feel invested in his relationship with Ziio – only to discover he's one of the bad guys, that will eventually give birth to our true hero of the game – it sediments everything perfectly. It tells you everything you need to know to understand these characters and their motivations. I can see where they're going and some of it can be quite predictable, but it was done right. On the narrative aspect at least.

I got used to Haytham by the time we switch to Connor, we're used to his cloak and his three pointed hat – his accent, his sassiness, his everything. You grow fond of him and you think, hey, maybe it isn't so bad to not play as Connor, I can roll with this – until the sudden change happens. The game completed its purpose: let you know and care for Haytham, only to strip him away from your hands and bring you the real protagonist with an interesting background that didn't need to be told, but it was instead shown to us players. What a better way to tell a story.

But the problem is – most of Haytham's memories are fillers. For starters, the very first memory where you appear in the opera house (similar to that one at the end of Black Flag… mmm) serves as a tutorial for climbing and killing with the hidden blade. Then the whole memory on the ship to Boston – completely expendable and removable, the story doesn't suffer from it. All the memories used with Haytham as tutorials – how to shield from an open line of fire, how to use ranged weapons, how to sneak and find stores and viewpoints, how to use horses and walk on snow, fricking Ben Franklin – everything, everything could've blended in better. You could still tell the story you wanted in only one sequence playing with Haytham, and end it the way it does end in sequence 3, without avoiding any important detail to frame Connor's backstory as well – but instead, this part with Haytham does feel like it overstays its welcome, and by the end you're just hoping it ends soon, it drags on for too long, and there's no real sense of thread pulling the strings together here, everything just kind of 'happens'.

But the never-ending prologue doesn't end there (badam tum tsss), because Connor still isn't an Assassin. Connor is not Connor actually, as I had been led to believe prior to playing this game: his real name is Ratonhnhaké:ton, which I wish it was used more often than it was. Ratonhnhaké:ton is like four or five years old when you first play with him, and his village is assaulted by what we assume are Charles Lee's men, a Templar and companion to Haytham. Ratonhnhaké:ton swears revenge upon these putrid British invaders and he grows up resenting the death of his mother, who died in the fire provoked by these Templars.

Not even knowing what a Templar or an Assassin is, Ratonhnhaké:ton is sent by one of "the spirit guides" (actually, Juno, one of the Precursor people) to seek the Brotherhood. When he's around 14, he sets out of his village into the wide world and finds Achilles, who will become his Assassin mentor – that is, after completing a set of tasks that yet again seem to go on forever. Ratonhnhaké:ton turns into Connor to cover his true origins, a name I thought it was random, but by the end I realized how wrong I was.

It isn't until Connor turns 17 that he becomes a fully-fledged Assassin – and you might think, well, Ezio became an Assassin at the same age – yes, but it didn't take him five sequences to reach there. I can't believe I'm defending Ezio.

It's not that I didn't enjoy playing as Connor when he was a kid, no, and I also don't think that part of the game should be skipped since it shows his people, family and friends – maybe comprised, yes, into only one sequence – the real problem here is the fact that first you need to play what could be considered the longest prologue ever, even longer than Kingdom Hearts 2's one, and you're teased with grasping the real protagonist but no, because there's still more 'prologue' to cover with Connor's rise to the Brotherhood. The real, real story, begins in sequence 6, and even then you still have a lot of tutorials to listen from the NPC on duty.

And if you do the maths – you're halfway through the game – halfway! – and you're just starting. The game has twelve sequences and the meat of the plot is on the last six. Then, why did I play all the previous parts?

For the 'narrative experience' thing I talked about. They wanted to lay the groundwork for a better, compelling storytelling, and I can appreciate it, but not when it hinders the pace of the game this way.

That is, certainly, my biggest issue with the game. The pace. If you're going to give me such a slow start, introducing characters non-stop, and only give me resolutions, discoveries and action packed sequences on the later half, then the story isn't balanced at all – I understand that at some points you need to slow down and sink in what's going on; you can't also introduce ten characters in one cutscene because that's just bad story telling – but the memories of this game are clearly not well organized and weren't thought with the player in mind, but rather with the story in mind. To think that the first mission you do as a full Assassin is to receive more and more tutorials on how the fast travel points work and how you can lower your notoriety (as far as gameplay goes in this mission, it's only walking around at a slug's pace to follow the NPC giving you instructions) it does feel like a slap in the face after all the things and hours and effort you put into it to finally reaching this point (which, I remind you, it's by sequence six!).

It's at this point where I can't blame people for not following through with this game. I have plenty of friends who abandoned it even before reaching this part. And I found myself having trouble to return to it: I only wanted to go back to it because I knew I had to like Connor, I knew he wouldn't disappoint me as a character.

Boy, was I RIGHT!

Now, to be honest, I may be biased, like I said: I was instantly attracted to Connor due to his backstory and I wished to see what he could bring to the table. And I have to say, he didn't disappoint me at all.

Maybe you know or maybe you don't, but up until this point, my fave Assassin was Arno: he showed weaknesses and he suffered the consequences of his actions, to the point of no return, that rendered him vulnerable and a mere human being. And I love me a good vulnerable character who knows their limits and strives to get out of that pit. I love me a good, compelling character that has growth and agency and isn't made of cardboard or has a one-dimensional personality. And Connor delivered on this front.

Connor might very well be my new fave Assassin. I'm sorry, Arno. I still love you babe. But Connor… I never found myself rooting for a character more than I did with him. I wanted him to succeed, I wanted his people to be saved, I wanted to see his ideals become a reality – and he's got so much agency, he's a storm when he comes into a scene, his naivety mixed with the brutality of his killings, the simplicity of his reasonings – he's an idealist, and he fights for it, whether we like it or not, and that devotion to his own creed is at least respectable, let alone admirable. He's never downplayed for his upbringing or his ethnicity, he works among the most notorious people as if he was another one of them, he's well respected in his community, he shows kindness and always offers a helping hand to those in need, but never doubts to plunge his blade into this opponent's throats, fearlessly, he doesn't mind telling George Friking Washington to shut the hell up and not follow him because he'll kill him (there's such a pleasure in a native reprimanding enslaver Washington) – he's, simply put, a great hero.

I've seen many complain that he's boring, or that the actor who played him, Noah Watts, delivered lines in an emotionless way – the only thing that could make him 'boring' is the fact that he's not a lady's man like Ezio was, and to my eyes that's a plus. He speaks slowly and modulates well in English because that's not his mother tongue, and I can appreciate when a company puts these little details, like his way of speaking changing throughout the game as he gained more confidence with this new language he was learning to use. As non-English native speaker, I certainly can commune with the feeling of adapting my tongue and my brain to a new language, and I also know that I speak weirdly to those who are native, maybe I don't have the same intonations, and maybe I sound emotionless as well, who knows, but I can't think of a better portrayal of a non-English character speaking English in videogames than this one. They remained faithful to his culture, and even though I noticed Noah didn't speak Mohawk as fluently as English, I can still feel pleased with the fact that Connor speaks in his mother tongue in all of the scenes he interacts with Mohawks (that's something they did better here than in Unity, where not a single character has even a French accent. I switched the language spoken to French in my subsequent playthroughs, much to my disappointment, because I really liked the Canadian actors). I know subtitles may seem threatening to some, but I wish they did this more often: deliver more lines in the original language of each of the protagonists. It shows care and respect. And I think this game excels at respect.

So, yes, I liked Ratonhnhaké:ton, as you can see. Maybe a lot. Too much.

I also really, really enjoyed his relationship with Haytham.

When Haytham appears back in to the fray it's when the plot picks up. Their interactions are gold: I love the rivalry, I love that Haytham is constantly testing his son, and I love the tiny bits that may show or make us believe that Haytham has a soft spot for him – I love that we never truly know what's going on through Haytham's mind, why does he do the things he does – but what I enjoyed the most about these two fighting together is the fact that they represent opposing forces, a clash of interest, and they bring back the concept of the blurred line between the Templars and the Assassins, their different methods. Haytham represents the collectiveness of the Templars, through him we learn of what they truly uphold as right and just, and behind some of his reasonings you can see sense and understanding – you comprehend his goals, you get to know your enemy, your antagonist, which is something, for instance, the Ezio trilogy lacks (because Templars bad bad pium pium die Templar bad guy) and Unity and Rogue tried to do but ultimately ended wasting its potential. I never understood Templars more than I did through Haytham, and sometimes I found myself nodding at some of his statement, like 'hey… huh… he's not that wrong about this…'. But still, we're led to believe that the good guys, the Assassins, are never wrong, so we pull through with Connor – only to realize that yes, Haytham was right in many aspects, and yes, Haytham has lied to us and he needs to be stopped.

It's here when my love for Connor reached its ultimate stage: when he denies both his father (Templars) and Washington (for whom the Assassins were working). It's here where you see the true agency of this character. It's not black or white, as Ezio's games were; it's not that he was expelled against his will from the Brotherhood like in Unity; it's not that because of a clash of interest now he resorted to the Templars, like in Rogue; no, it's the philosophy of the very first AC game with Altaïr: Templars and Assassins are one and the same, they only differ in their methods, and when Connor comes to this realization, his struggle is visible and he puts his people first. Like always.

He remains true to his personality. He's grown, he's seen the truth, but he must make a decision. And after all, we're here because we want to see him protect his people. That's his real main driving force and we root for him because of it.

Now, I've spoken a lot about our main character. But, what about the secondary ones?

Achilles, Connor's mentor, hides more than he's willing to share – but slowly his backstory unfolds. In his homestead, Davenport, you're able to build a community with different townsfolk that you can invite to live with you through special sidequests, which combine plot and gameplay seamlessly. Through the homestead missions, you get to know Achilles and the other inhabitants and you see them thrive and grow into a tight-knit community close as family. I daresay that these missions were my favorite out of the whole game, and seeing the town grow not only in NPC's walking around but also in sounds, steps, people working and laughing and dogs barking and kids playing, gave me all the fuzzy and cozy feelings of a warm blanket in winter. Most of Connor's innocence and kindness is shown through these missions, and there are also some really good jewels hidden there, like the quest that asks you to guide the pigs back inside – damn. This game gave me very good laughs.

On a gameplay level, this game is light years away from its predecessors – the parkour alone has been revamped and revitalized, making it more fluid. Free running now isn't a chore anymore. Now you can hunt, which is a great part of Connor's backstory and culture, so it's good to see they blend gameplay with plot like this. There's a crafting system that took me ages to understand, but thankfully I got the hang of it. The combat is pretty much the same (counter kills always for the win) and the difficulty remains quite easy, as the games that came before. I wasn't looking for a challenge so I'm fine with it. Now, if you're looking for a challenge… the optional objectives got it covered for you. Because, good lord, they made these stupid main missions so much unnecessarily HARDER and IMPOSSIBLE to complete without having three or four ragequits and sometimes you have to restart up to ten times. To be honest, I never found myself more enraged with the optional objectives than I was with these missions, and I thought Unity's optional constraints were stupid ass complicated, I was wrong. This game. Must be. The most. Annoying. Piece of videogame. To platinum.

Apart from the 'oh I want to die optional objectives' thing, you have naval missions – which, yes, you guessed it, take place on a ship – I guess they were testing the mechanics for a (not so far away) future pirate game, because I can see the seeds of what later Black Flag came to be. It's serviceable and it fulfills its purpose, but as I don't like ships much, I left it on hold for the endgame.

If you don’t dig the naval missions nor the main missions, there’s plenty to do in this game: you have the aforementioned homstead missions, the club challenges (which can take... quite a while), the underground fast travel points (a nice change of pace, though you can easily grow tired of them), the liberation missions, which will see you help liberate a city from Templar control and recruiting a new Assassin apprentice, much like in Brotherhood and Revelations; taking Forts, hunting like there’s no tomorrow, courier, delivering items and message delivery missions, a ton of collectibles, etc, etc.

You might realize I stopped talking about the plot by the time I reached sequence 6 – yes, it's because I'm a little upset with it.

I said that we're here because we want to see Connor protect his people and triumph against the Templars. Yes. We receive that, yes. Amidst. A thousand. History. Lessons.

In my Ezio's Collection review, I complained that in Revelations we were shoved history in the face – I hadn't still finished AC3, because then I would've mentioned something about it. Connor comes across all the important figures of the American Revolution in such a contrived way – he acts as a guardian angel of this revolution, aiding each of the emblematic characters that took part in. I can roll with it in my suspension of disbelief (how come this one person was present at every major event, you know), what I can't roll with is the fact that he was present at the Declaration of Independence – this is some Ken Follett level of bs of probability of something happening to a character. Besides, it's always latent though never truly explicitly addressed, but Connor's skintone was something that should've deterred him from even speaking to someone like Washington – let alone, be present at the moment they signed the Declaration. He does mention at some point that freedom and this new nation was only for white men, and that he acknowledged that slaves deserved as much freedom as everyone else was fighting for; I'm glad he addressed the elephant in the room, though I'm also glad they didn't make the whole thing about it, because normalizing a character like this as a main protagonist was the main idea, I think, when they chose a Mohawk to represent the American Revolution. Still, that someone like him was able to achieve all he achieved in a plot like this, it only means he has some kind of Main Protagonist Shield, otherwise I doubt this could've served as a realistic story for anyone else in the same situation as him. It's, uh, a little hard to believe, that's all. Whereas I can see Arno existing within the historical frame of the French Revolution, without being the one that let the guillotine fall on King Louis' head, this one was a little more far-fetched.

I haven't touched upon the Desmond part – the present day of this game is more, uh… present than ever. And I loved it! I loved it because it delved deep into the Precursor's lore, and also it fleshed out Desmond's relationship with his father, and we actually do shit with Desmond – though that part of the Brazilian stadium, huh, for a company that paid too much attention and consulted with experts on the Mohawks, they clearly left Brazil out of their investigations. I forgive them, they tried.

The music… didn't have as much personality as other installments, it was kind of there, and right now I can't evoke a single theme except for the main menu one, so there you go, it's quite forgettable for my taste, sadly.

I forgot to mention that: this game looks gorgeous. I played the Remastered version of the game, and sometimes it looked like it was done for the PS4 instead of being a remaster (it does look better than Black Flag which came afterwards!). Lighting is magical, the trees breathe life into the screen, the water effects are crystal and realistic; many times I felt like was horse-riding in a Last of Us game (yes, I just compared Ubisoft to Naughty Dog, don't hit me). Davenport Homestead is my favorite location, now more than ever, because it's not only beautiful, but it also means home.

This game accompanied me in a very important moment of my life: I sprained my ankle and I spent a week in bed recovering, while also pondering about my job and the prospects of my future; I took many decisions while playing regarding what I want for my life. I cried at the end because I realized I had become too attached to the characters and because I was so sad to see Connor keep losing things. It all comes full circle by the end. It's a very mature ending, maybe a little unfulfilling, but reality is often disappointing and not everything needs a happily ever after.

All in all, my major complaint goes to the structure of the game and the poor organization they gave to it (AND THE OPTIONAL OBJECTIVES DAAJKSDAD). But Connor as a character in itself made it all worthwhile for me. And I'll always cherish him. I know he won't resonate with everyone, but he resonated with me.

#videogame review #review #assasins creed iii #ac3 #aciii #connor kenway #ratonhnhaké:ton #ubisoft #haytham kenway #assassins creed #assassins creed 3

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blueskittlesart · 4 years

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i am in a sad. how about some hc characteristics for link and zelda

this is so long because i have so many feelings and half of this is more analysis of their canon characters than headcanons but its IMPORTANT so i cant omit any of it but i dont want to make a super long post analyzing video game characters so it’s under the readmore hgfdfghj

SO link was always a very quiet kid even before the sword and everything. He wouldn’t speak unless spoken to and was shy enough that he had trouble socializing with the other kids in his village. However i dont think it really would have bothered him that much?? he found his own ways to have fun, climbing trees or shield surfing down the hills around hateno. Even as a kid, he was very independent and had a tendency to want to resolve problems on his own without going to anyone else for help, so he’d come home with two skinned knees insisting that he was fine and he didn’t need his mother’s help bandaging them up. (yes this drove his mother crazy, yes mipha also had to deal with this shit and that’s what made that cutscene between them so intimate, it was her telling him that he’s allowed to trust her enough to let her help and that she will always be there to heal him as many times as it takes. dont talk to me) Through his memories we see that zelda thinks, or thought, that he unquestioningly accepted his duty as the hylian champion and never had any struggles with his place in the world, but zelda tends to take things at face value and i find it hard to believe that link never had any regrets about his position. He was put into training as young as twelve years old, essentially taken away from his family and his life in order to serve a higher destiny. I think it probably lead to link placing all his value on how he can serve others. As far as he’s concerned, his only worth is contingent on his ability to protect and serve zelda and the other champions, which is why we see so much of him getting hurt or being reckless in order to protect others; he believes on some level that if he fails to be a good soldier he will not matter to anyone anymore. his only worth in his mind is based on how he can be “useful.” On a less depressing note tho i think hes very good with animals, espc horses! he finds them easier to interact with than people. dogs are the same, theres a reason it only takes like a minute of him standing in front of a dog for it to follow him wherever he goes. He also likes to cook and that’s not even a hc have you seen the little graphics for all the different food he can make? the PRESENTATION. he’s very deliberate in little things like that because it MATTERS to him that what he makes looks good! not for any particular reason, not to impress anyone but because he’s made it for himself and he wants to take pride in what he’s made. thanks for coming to my ted talk

Ok now on to zelda. She has a lot more canon personality than link which like. she’s an npc and link is the player character so that’s to be expected BUT i still have a lot to say about her character. She’s headstrong and stubborn and emotional and it gets her into trouble. She has a tendency to take things at face value and she lets her emotions take over very quickly, which puts a strain on her relationships with others. Due to her status and the prophecy she was supposed to fulfill she was incredibly isolated as a child. she hardly ever interacted with anyone her own age, which is why she treats link the way she does at first; she doesn’t have any experience with anyone who isn’t required to be around her. She’s used to being condescended to while simultaneously being expected to be perfect in everything she does, and it’s made her... mean. she deliberately pushes people (read: link) away because she believes that no one really cares about her outside of her status and her supposed power, and what we see of her father’s actions only reinforce that perspective. she and link are very VERY similar in that regard, in that they place all their self-worth on their importance as hyrule’s prophecized saviors. the difference between them is that zelda fails, she is unable to be the perfect princess she is expected to be, and she has a support system in urbosa (and link, and as far as im concerned mipha too even tho they aren’t shown to be friends in canon) that allows her to recover from the trauma that forced her into that mindset. she learns to be more empathetic, she stops pushing people away and begins to consider how her actions affect others. she doesn’t necessarily lose the idea that she has to be useful completely, but she becomes aware of it and makes an effort to not take out her frustrations with herself on other people. Ok thats most of my Thoughts out of the way so onto the less depressing stuff, Zelda is INCREDIBLY smart. like child prodigy level intelligence. Her mind is very mathematically oriented, which is partially why she’s so drawn to sheikah tech. it’s something she understands very easily and can break down to its most bare functions in a matter of minutes. she was instrumental in getting literal ANCIENT TECH to work again and was respected by sheikah scholars. She is also very very curious, which helps her out in certain situations, but can be... problematic in others. she doesn’t know when to leave well enough alone. shes essentially always turned up to 11. She’s interested in animals, like link, but her interest is from a much more scientific standpoint than his. She has trouble with animals that require a more empathetic approach, like horses, because she prefers to think of animals and plants in terms of their benefit to her: a horse is transportation, a frog could be used in an elixir or a dish, etc etc. her curiosity and willingness to learn help her out a lot post-calamity when she finds herself traveling hyrule with link. though not very adept with weapons, at least at first, her quick thinking makes her a good strategist. she’s adept at finding weaknesses in enemies that may be less obvious to a common soldier (cough cough she literally highlights ganon’s weaknesses in the final battle of botw and i want them to keep that motif in botw2 because it makes so much sense for her nintendo PLEASE)

HELP THIS IS SO LONG AND IT CAN BARELY EVEN BE CONSIDERED HEADCANONS IM SO SORRY I JUST. HAVE A LOT OF FEELINGS ABT BOTW LINK AND ZELDA DONT TALK TO ME

#what if instead of analyzing a book for my english summer work i just analyzed link and zelda's characters in botw #hey mr k heres a 17 page essay about a topic i was NOT supposed to write about no i didnt do the actual essay but this is good analysis i s #asks #im literally embarassed to post this bc its like the mortifying ordeal of everyone knowing how much i think about video game characters #sailorrinn #ALSO THESE R LIKE LOWKEY HIGHKEY DEPRESSING ANALYSIS I KNOW YOU SAID YOU WERE SAD BUT THESE PROBABLY WILL NOT MAKE YOU HAPPY IM SORRY #wait holy shit did they remove the character limit on tags?? that last tag was so long but it let me type the whole thing

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retrowarriors · 7 years

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Remembering Working Designs

A tribute to non-literal translations and over-the-top packaging

By: Chris Saturn

I’ll always remember my 23rd birthday. It was the first year that I lived alone. No roommates, no girlfriends, no family. Just me and a small rabbit with apparent anxiety disorders named Ephraim. I couldn’t talk my way into getting the day off of work, but I did have the following three days off and a plan on how to spend them. Square-Enix had given me the gift of re-releasing one of my all-time favorite games right on my birthday. I’d stopped by the Electronics Boutique on my way home from work and picked up my copy of Final Fantasy IV Advance and went home to enjoy a long mid-week weekend. Before starting the game, though, I powered up the ol’ internet-machine to catch up on my message boards and the day’s news. That’s when I saw the headline: “Working Designs Officially Dead.”

The news hit hard. A week that was meant to be filled with happy nostalgia was instead clouded over with the knowledge that a big chapter just closed in the history of video gaming, and that several people in one of the most open and transparent video game companies were now unemployed. Even now, nearly twelve years later, I look bad with sadness when I remember that day. Fortunately, thanks in a large part to the transparency provided by Working Designs and its president, Victor Ireland, we don’t have to ask how it happened.

First, let’s rewind a bit; many people may not remember Working Designs. Gamers outside of North America may have never even heard of them. So let’s pause and reflect on what it was that made Working Designs such an important component of the history of video game localization.

Though I played some of Working Designs’ early releases on the TurboGrafx, they first caught my attention with the first release of what is arguably their signature franchise: the Sega CD game Lunar: The Silver Star. As a fan of JRPGs like Dragon Warrior and Final Fantasy, I was always looking for something new. The US market wasn’t oversaturated with the genre like Japan was, so western fans had to hunt for their next fix. The Sega CD market wasn’t exactly a crowded space, so Lunar definitely stood out. Anime cutscenes, voice acting, and 80’s style hair metal? Sign me up. Pushing past those first impressions, the part of the game that truly stood out was something I’d not really focused on in past JRPGs: the script.

Out were the thees, thys, and thous of Dragon Warrior. In were references to MTV and The Simpsons. This wasn’t some stuffy tale of knights and dragons, this was something relatable. Something like I’d seen on TV and in movies. As the years went on, I greedily snatched up anything I could find with that pink gradient logo. Though the games varied wildly by genre, they all had at least the one thing in common. No matter the tone, the setting, or the gameplay, they all had Working Designs’ trademark tongue-piercing-fully-through-the-cheek translations.

In the early days of gaming, few considered localization to be important at all. If the players could figure the game out, that was good enough. Although looking at Castlevania II, I don’t think they were even up to that standard. Many younger gamers didn’t even realize games were originally from other countries, and just accepted the broken, machine-language as a staple of video games. Then came this company out of Redding, California who not only put a ton of effort into translating their games, but into making the script fun to read.

As the sun was setting on the Sega era and Sony was rising to prominence, Working Designs followed the money over to the PlayStation. Big name games like Final Fantasy VII turned the JRPG from a niche genre to a behemoth international industry. Despite their high quality translations, Victor Ireland and his team needed a way to stand out. In a move that seemed bizarre at the time, Working Designs became one of the first companies to offer special Collector’s Edition packages. Several of their Sega games came with foil-embossed covers, but they truly went above and beyond on their PlayStation games. The 32-bit reimagining of the first Lunar game came in an oversized box that included the game (with limited, randomly selected art on the discs), a soundtrack, a behind-the-scenes documentary, a leatherette hardbound artbook/instruction manual, and a full cloth map! The second PlayStation Lunar game even included a full replica gold pendant, as seen in the game! It was probably imitation gold, but with Working Designs… it’s hard to say for sure.

As the PS1 era drew to a close, Working Designs seemed to predict the downturn in popularity of the JRPG and started to diversify their portfolio, mostly with shmups and games about mechs. While these never sold at quite the level of their JRPG offerings, the commitment to quality was as present as ever. Games like RayStorm, Gungriffon Blaze, and Silpheed: The Lost Planet all featured signature Working Designs quality localizations and even had foil-embossed covers.

Despite my heavy praise, the company certainly wasn’t without its critics. Many in the budding online JRPG community were concerned about the loose quality of Working Designs localizations. What original flavor text was omitted so that they could squeeze in a Who Wants to Be a Millionaire reference? Would it have added more to the flavor of the world if Ruby hadn’t referenced Beavis and Butthead? As many fans as there were of Working Designs topical references and not-so-sly humor, there were plenty who pointed out how quickly the games would appear dated, an argument that certainly appears to hold true today.

Another attack frequently lobbed at the company was their, shall we say, lack of commitment to punctuality. It wasn’t uncommon for Working Designs games to be delayed by months or even years from their originally planned ship date. These delays were often unrelated to the games themselves, and often were caused by an inability to find a partner to produce their increasingly extravagant bonus items at the quality that would satisfy Victor Ireland. Delays in making the cloth maps for Lunar: Silver Star Story Complete grew so excessive that Working Designs shipped playable demo discs of the first several hours of the game to retailers to hold-over fans who’d pre-ordered. Alongside those demos came a now infamous punching puppet doll of an in-game character, an item that surely couldn’t have led to further delays or costs.

This over-commitment to quality and value, alongside their malleable relationship with release dates, ultimately led to Working Designs’ demise. The western JRPG market became flooded in the late 90s and early 2000s, and Working Designs’ attempts to stand out ended up costing far more than they could earn. Their releases were too few and too far between to compete in an increasingly aggressive market. Their final product was to be a translation of Konami’s PS2 Goemon title under the localized name Mystical Ninja Goemon. Despite getting approval from Konami, Sony’s US division placed increasingly impossible standards on the game, critiquing the graphics and interface. Having already poured so many of their few remaining resources into the game, they desperately tried to meet Sony’s standards to no avail. Over a year after their final release, the days of Working Designs ended with a fizzle.

It’s easy to see the influence Working Designs has had on the video game industry. Special collector’s edition items have become commonplace, and colorful localizations are found everywhere from The Legend of Zelda referencing doge memes to Final Fantasy XIV referencing the music of Wham. The people of Working Designs spread across the industry, as well as to other industries. Victor Ireland has formed a new company, Gaijinworks, that is equally devoted to bringing over Japanese games with high quality translations, and equally devoted to ignoring whole pages of calendars. Ashley Angel, the voice of Lunar’s Alex, went on to a briefly successful career as a winner of ABC’s Making the Band and became the frontman of the MTV-backed boy band, O-Town.

Looking back at that day in 2005, I still feel somber. The loss of a smaller, but still influential name in video gaming has left wounds that haven’t yet healed. Companies like XSEED and NIS America (as well as Ireland’s own Gaijinworks) have taken up the mantle of localizing and publishing lesser known Japanese titles, but none have quite had the charm and spirit that Working Designs showcased in its prime. The industry may have grown and matured, but I’ll always hold a warm spot in my heart for that time when a small group of people in California could introduce me to the lesser known games that might otherwise have gotten lost in translation.

#Working Designs #Video Games #Translations

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