Tag Archives: Kingdom Hearts

Frickin’ Damsels

The original Kingdom Hearts follows a pretty typical story structure. Boy is childhood friends with Girl and Rival. Home gets destroyed, everyone gets separated. Boy sets out to find Girl and Rival. Girl is captured by bad guys, Rival turns to dark side. Boy rescues Girl, helps redeem Rival.

In the third game, Kingdom Hearts II (don’t ask about the numbering), the Girl, Kairi, winds up being captured by the bad guys again and the Boy, Sora, sets out to rescue her again. There are turns and twists, more Disney worlds, and stuff.

There’s nothing really ~fancy~ inherent in the broad strokes of the games’ stories, most of the fun comes from its aesthetic of mixing Final Fantasy tropes with Disney characters and worlds. They draw a lot from the Disney canon and Saving The Princess is a big part of that whole thing. Plus, rescuing Kairi isn’t the big climax or resolution of the first game. Even after she’s rescued there’s still Stuff To Do. It’s not an excuse for damseling her, by no means, but it’s something. She also gives Sora the Oathkeeper Keybalde (which is objectively the best Keyblade).

The good news is that even though she does wind up something of a damsel in Kingdom Hearts II, by the end of it she’s using her own Keyblade and fighting bad guys. That’s right, after all this time having Sora and Riku save her, now she can fight her own battles.

Anyway, thirteen real-world years go by, a bunch of other Kingdom Hearts games come out and I play a couple of them. And finally, Kingdom Hearts III, the tenth game in the series (please don’t ask about the numbering) came out last month. Something teased by the prior games is that it’s been leading up to a bunch of heroes fighting a bunch of villains, one of those fighting heroes being a Keyblade wielding Kairi. Which, dope. Let’s have the Boy, Girl, and Rival fighting together against the bad guy in the kind of anime showdown I’ve been awaiting for the past thirteen odd years.

Alright, here there be spoilers for Kingdom Hearts III, as I’m gonna be getting into plot details. I haven’t finished the game yet, but I’m getting real close to that final boss.

Kairi gets sidelined for a good chunk of the game, off training with another character. Cool, fine, but we only see her in a couple cutscenes, which is a bit of a bummer, but, fine, it’s fundamentally Sora’s story after all. When everyone shows up at the Keyblade Graveyard it’s finally time to rock and roll, and everyone’s fighting. After an initial defeat, it’s Kairi who rescues Sora after he’s saved everyone else, which is a delightful twist to have him be saved by her for a change. Look at how this game has grown, man!

Big showdown happens again, with Sora going to his allies in turn to assist them in fighting one of the villains. It’s while helping Kairi that the fight is interrupted with a cutscene — and Kairi gets captured by Xemnas who overpowers her by twisting her hand over her head.

Okay.

So.

Kairi, Keyblade wielder, is overpowered that easily? And then she’s turned into a damsel again!? It’s frustrating how straight this is played, Kairi makes no attempt to fight back against Xemnas, instead struggling helplessly. Sora, of course, is pissed and here we go again, a male character motivated by the endangerment of his sometimes love interest.

Great.

Oh, but wait, it gets better.

Sora defeats Xemnas and the other villains and is now staring down the Big Bad Xehanort. He taunts Sora, summoning an unconscious Kairi, and decides that Sora needs some motivation.

So he kills Kairi.

Explicitly to give Sora some motivation. The villain (and narrative) effectively fridges Kairi for the plot.

Look, I love Kingdom Hearts but it’s 2019, can we please stop treating female characters like this? We’ve done the damsel in distress over and over again, can we just, not? Can’t there be some other motivation for Sora to really wanna defeat Xehanort besides him offing Kairi? It’s lazy, and frustrating, especially when the story’s already made her a fighter. It seems like the game undercuts her growth at every turn, reducing her again and again to being just a plot point for Sora to be motivated by or to rescue. As other major games have been making great strides in how they handle female characters, it’s such a shame to see Kingdom Hearts regress to old habits. It’s just plain lazy.

I haven’t finished the game yet, and maybe, just maybe I’m judging the game prematurely; maybe just maybe they’ll find a way to redeem Kairi’s character. But somehow, I doubt it; at the end of it all, Kairi’s just another damsel. Again.

And to top it all off, I didn’t even get Oathkeeper out of it.

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KH3: GOTY 2008ish

As I continue to play Kingdom Hearts III while balancing all these newfound adult responsibilities that have sprung up since Kingdom Hearts II came out thirteen years ago, I’m struck over and over again by how much of a flashback the game is. Not just in the way that it makes me feel like a teenager again, but in how it embodies a game design ethos that’s been eschewed by a more contemporary zeitgeist.

For example: Invisible walls.

Virtual game spaces are limited by nature —there’s only so much world you can code. Figuring out how to demarcate that boundary has been a near-constant tension in game design. Mario cannot go backwards once the screen has advanced, if Mega Man tries to go beyond the edges of the map it’s a bottomless pit and he dies. Classic Pokémon has its hedges and fences that prevent you from wandering off the map. As games progressed into a more proper 3D space, limiting the play area became harder. There was only so much mileage you could get out of high walls and bottomless pits when you’re trying to make these massive, immersive spaces. Invisible walls were one solution; here’s a foot-high fence but try to jump over it and you’ll be unable to proceed. It’s an understandable device, but over time level designers have found more elegant solutions, be it by hiding those invisible walls in a thicket of trees, creating a level so intricate that the player cannot easily find the edge, or using a narrative intervention where the player’s character decides to turn around (and if you don’t you die!).

Kingdom Hearts III is having none of that and is all about those straight-up invisible walls. Not even the sort where they make it look there’s a ~magical~ barrier; nah, these are actual invisible walls that prevent you from jumping on to that rock over there that you could probably almost definitely reach. It’s almost charming in its bluntness, in how no attempt is made to disguise it. It’s positively old fashioned, particularly jarring against the game’s very contemporary graphics.

This probably factors into the nostalgic factor of the game, but there are so many things that make Kingdom Hearts III feel like a much older game. Where many modern games have been trying to find ways to keep players in control as much as possible, Kingdom Hearts III goes all in on its massive combat finishers and the like — these things are long enough for me to put the controller down and take a hefty sip of my beer! And also limited combos in an action game? The Arkham games and more recently Spider-Man let you whale on opponents endlessly, but Kingdom Hearts III still rocks the upgradeable three-hit-combo. When you’re used to being able to chain together hits, blocks, and dodges it’s weird to have to operate within a paradigm that requires a more measured approach that somehow also means mashing ‘X’ a lot.

Then there’s the animation. Major AAA game studios are all about that motion capture these days: they get actors to actually act out the scenes and then animate based on that. It’s what gives the beautiful cutscenes that Naughty Dog is known for. Kingdom Hearts III makes no attempt at that verisimilitude. Sora, Donald, and Goofy will stand around in cutscenes in their default stance, gesture as part of their dialogue/action, and then return back to their default immediately after. This was par for the course around the time Kingdom Hearts II came out in 2005, but it’s been a while, man. Once again, it’s almost charming to see how much this game harkens back to an earlier time; if anything it’s a marker of how far the ethos of game designed has evolved over the years.

I still don’t know if Kingdom Hearts III is an objectively good game. But what I do know is that I’m having an absolute blast playing it and, had this game been released closer to its predecessor, it’d definitely be a contender for Game of The Year… but, like, in 2008.

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Thirteen Or So Years Later

I think it was my cousin who turned me in to Kingdom Hearts, years ago, via a ROM of Chain of Memories. It was a novel game, mixing as it did Disney worlds with a Final Fantasy mentality. I played the original PS2 game later and shortly after rented the third game, Kingdom Hearts II from Blockbuster (remember those?) and subsequently bought it. This was all back around the summer of 2006.

This past Tuesday, the tenth non-remake game in the series came out: Kingdom Hearts III (the numbering system is weird, man). I’ve frequently made the joke that I’ve gotten old waiting for the game to come out, a gag which culminated in a recent Instagram post. It’s been a long time since Kingdom Hearts II and it to finally be holding — and playing — this game feels almost surreal.

I’m not talking about the plot here. Though III is the third numbered sequel and tenth game, all those spin-offs, interquels, and prequels have all been integral to the overarching story. But never mind the scope, length, or complexity of those games; here at last is a big one meant for the PS4 (and XBox One) and meant to be played on a tv. This is Kingdom Hearts freaking III. Not 2.8, not 358/2 Days, and not 3D: Dream Drop Distance, it’s frickin’ III.

So like I said, it’s surreal to finally be playing a proverbial white whale of video games. I’m playing Kingdom Hearts again, man. I did buy and play the remakes for the PS3, so it’s not like I haven’t touched this world in the last dozen-odd years. The sense of the surreal doesn’t stem from an unfamiliarity to it all — I’m quite used to seeing Mickey Mouse discussing the darkness in people’s hearts. It’s that here’s a new game, so long after the last one and yet so familiar. I’m playing this game in my apartment in Queens, and yet in some ways I feel like I’m a teenager back in South Carolina on summer vacation. For all its shiny graphics and the bells and whistles afforded as a major contemporary game, much of Kingdom Hearts feels like an older game; it very much plays like its predecessors.

It’s a good sequel in that it feels like a continuation. But through it all, I’m terribly curious about why this game, at once very new and yet more familiar than just about any sequel I’ve played resonates so strongly. What is it about it that tinges it with such nostalgia?

Part of it, I reckon, is because it’s a video game. Games are, by their nature, interactive and thus there is a level of projection to their immersion. I’m the one who rescued Kairi and teamed up with Donald Duck and Goofy to beat Ansem. Returning to an old series will of course bring back those memories. The other thing is that no other game quite has mechanics like the core Kingdom Hearts games. Sure, I spent a lot of time playing Halo when I was younger, but replaying it or embarking on its sequels reminds me of how great a first-person shooter it is. There’s no other game that plays quite the same as these, even director Tetsuya Nomura and Square Enix’s other Final Fantasy games aren’t quite similar.

Then of course there’s how singular this game is. Where else are ya gonna get Donald Duck, Jack Sparrow, and a kid with anime hair fighting monsters? The nostalgia towards Kingdom Hearts no doubt builds off of childhood memories of Disney stories, retold now in the over-the-top melodrama expected of a quality JRPG. I’ve shot space aliens in Halo, Mass Effect, and a plethora of Star Wars games; I’ve gone treasure hunting and spelunking in Uncharted, Tomb Raider, and Assassin’s Creed. But there’s really no other game quite like Kingdom Hearts.

I’m only five-or-so hours into the game. Unlike the Josh of thirteen years ago, I have a job and other adult responsibilities to attend to. But the game’s a lotta fun. It doesn’t matter too much how ‘good’ it is (and I’m not so sure it’s really that good for a game released in 2019), it’s a new big Kingdom Hearts game and it’s about time.

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The Problem With Narrative Sidequests

One of the most striking features of the planet Elaaden is a huge derelict Remnant ship. Sticking out broken over the desert planet, the ship could hold answers for the mystery of the old killer robots that populate Mass Effect: Andromeda. The latest game in the Mass Effect video game series has a strong focus one exploration, namely that titular distant galaxy. There’s so much to see, so much to find out.

But I still haven’t gone to the ship, despite having done basically every other sideqeust available on the planet. This isn’t so much a case of saving the best for last, as much as it is putting off what I expect will be a fun-if-pointless mission.

Because the Remnant Derelict is not a Priority Mission (that is, a story mission), it’s highly unlikely that any Major Plot Twisting Details will happen. If there is some massive revelation about the Remnant waiting in the wings, whatever’s aboard that ship will either tease it or corroborate it, depending on when I play it in relation to that story mission.

Andromeda is an open world RPG. There are Priority Missions I play one after another, these make up the main plot. I complete Mission A, then I can do Mission B, and so on until the game ends. Meanwhile, there are these sidequests, things I can do around the galaxy be it earning my squad’s loyalty or blowing up a Kett tower. Those sidequests can be done in any order and at any point after you’ve unlocked them (usually by completing another sidequest, or progressing to a certain point along the Priority Mission chain). This means that I could have explored that Remnant Derelict when I first found it a couple Priority Missions ago, or I could wait and only explore it after I’ve finished the main story – and the central plot played out. Thus, the mission has to accommodate either timeline. This in turn limits the developments that the sidequest can have, nothing can happen here that would affect a Priority Mission in a big way.

Consider, if you will, a hypothetical game based on Firefly and Serenity. Midway through the movie, we find out that the Reavers, a savage group of spacefaring barbarians, were in fact accidentally  created by the Alliance (spoiler). In the hypothetical game, you wouldn’t find this out in a sidequest, it’d be a  paradigm-shifting story quest that would affect the crew through any major plot developments. Thus if there was a sidequest where you could explore an old Reaver ship or an Alliance Databank, this twist wouldn’t be there. Anything you found would be cool, but self-contained.

This is the hurdle that open games have to deal with. Something more linear, like Uncharted or Halo, progress in one direction like a movie, scene 1 into scene 2; there’s no scene 1.5. Every level/chapter/scene will affect the plot in some way. Giving the player a choice means the game’s writers and programmers have to have planned whichever path the player takes.

In Kingdom Hearts the player can visit a variety of worlds in whatever order they want. They’ll pal around with Aladdin, Alice, and Ariel, then have to go to a specific world where More Story happens. This isn’t too pressing most of the time, but as the plot picks up, visiting Halloween Town or Monstro’s belly feels like a filler episode in the larger narrative of Sora and Mickey’s adventure. They can’t impact the plot too much because the player may have another world to complete before the next Big Story Moment.

There are game critics, Ian Bogost and Johnathan Blow among them, who argue that games and stories don’t mesh well. And in some ways they do have a point. Either you have a linear game (like Uncharted) where the player is given no narrative agency (and so is a glorified interactive movie) or you have the case of Andromeda or Kingdom Hearts where the extent of then player’s agency affects the distribution of the game’s narrative.  Either the narrative ignores you or you strain against it. Digital gaming can’t seem to catch up with good old tabletop rpg’s, where the game master is making stories on the fly in response to their players’ decisions.

But video games are still a young genre. The amount of player agency in Andromeda would have been unheard of twenty years ago. It’s a bummer that it can’t anticipate and account for everything, but who’s to say games won’t in the future? Exploring a virtual world in Andromeda is a great experience, even if it exposes some of the issues with open world games. Yes, the narrative failings are frustrating, but it’s a step forward towards what games could be. Risks propel the medium forward; who knows where we’ll be in twenty years.

Of course, I could be totally wrong and that derelict ship may have a crapload of secrets about the Remnant and it turns out Andromeda has untold variations of its Priority Missions prepared in its code with each one voiced and animated ready to go. But the point stands; for all the issues with open ended video games, the potential remains. And that’s exciting. Bring on the AI game masters!

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