Toronto Thumbs

Super Happy Happy Mega-Fun Monday!
Rhapsody: A Musical Adventure

Good morning, fellow Thumbs! Do you know what day it is? It’s Super Happy Happy Mega-Fun Monday!

We here at Toronto Thumbs know that there are so many ways you’d prefer to spend today rather than going to (or being at) work. Perhaps mixing a drink together from all those chemicals beneath the sink? But before you get sippin’ and slippin’ on that toxic Tom Collins, why not let us distract you with the lighthearted remembrance of games past…

Whenever I moan about not really having a childhood, it’s generally understood that I don’t deny having been a child. As with everyone else, I started on the first page of life. The idea is that at an early age I began perceiving my surroundings and situation with an air of egotism that made them far more serious and thus less fun. Maturity is often gauged in absence, in the denial of that pure, whimsical and imaginative freedom that childhood represents to those wanting a second helping of it. And one of the more serious pursuits in video games during my childhood was the RPG. They had an air of maturity, doing away with all that fast-paced action and requiring a real effort on my part to play. I’d need to devote weeks of my time to the quest, any down-time spent mapping out strategies and making detailed lists regarding magic, supplies, and enemy HP.

But despite how serious all of this was, there was still a freedom of imagination, and an air of humor that persistently surfaced. Since this time, the RPG has grown along with me, evolving with each new cycle of hardware, and yet seemingly falling victim to the same belief about the necessities of maturity that led me astray. It’s a rarity to find an RPG that doesn’t have the same stick wedged up its backside that I once did. I feel obligated to say rare, because certainly there are exceptions. But RPGs that still deliver structured narrative, largely present protagonists that are sullen, detached, and miserable. And while this gives hope that an effeminate hero might one day replicate my personality traits, it leaves me nostalgic for earlier entries in the genre – games that simply don’t take themselves so seriously.

If I could lay the finger of blame, and I can, it would point squarely (see what I did there) at Final Fantasy VIII’s Squall Leonhart. That doesn’t absolve Cloud Strife the burden of extended therapy sessions, but for all his complexity he wasn’t opposed to the occasional cross-dressing adventure with Aeris. It’s hard to imagine Rinoa doing the same with Squall. He is the strong and silent type, the template for characters that appear complex, but prove inaccessible to party members and the player. Squall is no fun to be around, and no fun to play as, the prototype for faux complexity, that cryptic character that fails at conveying the emotions insinuated by the narrative.

And as more titles come forward, it seems one would need a home-made time machine to explore the lighter-side of the RPG. And even if my last attempt failed to produce results beyond singeing my nipples, I feel motivated by Valkyria Chronicles to continue the attempt. Sega’s under-appreciated accomplishment knows where the genre has been in comparison to where it stagnates today, making me long for the “quirky” RPG.

But such a game would have to play with traditional narrative, say by having a female protagonist that must save a Prince. He could have been attacked by a self-absorbed witch, who meaning to put the Prince to sleep instead turned him to stone. And our protagonist would have to possess a strange ability, like the ability to talk to puppets, and carry a magical horn that grants wishes. Her best friend could even be a puppet, with the soul of a human, and they’d have strange adventures while battling the witch’s horde of hungry cats. And if you agree that this sounds like a great idea, then you should drop me a line about opening a studio. But before you do that, you should definitely spend some time with Nippon Ichi Software’s Rhapsody: A Musical Adventure.

Originally published by Atlus in 2000 for the PSOne, Rhapsody did more that twist narrative conventions. As the title implies, the game is presented as a theatrical experience, replacing the popular FMV cut-scene of the time with in-game musical sequences that included vocals.  These songs were available in both English and Japanese, developing the narrative through a mixture of humor, sorrow, and heart. It’s an unorthodox means of character development, and one that does away with simple exchanges of dialogue to deliver back-story. The game’s protagonist Cornet, in an early example, sings a song she has known since childhood that causes her to feel sad, but simultaneously encourages her to move forward to find her dreams. In opposition to this, the evil queen Marjoly’s ode to her own magnificence personifies her self-absorption with a rarely seen degree of humor that adds depth to her character.

Battles were fought from the tactical perspective, with characters allotted set moves and attacks per turn. Although for a strategy RPG it proves light on features. There are elemental attacks and some itemization, but compared to other entries in the genre Rhapsody presents little difficulty or customization. New party members are gained as Cornet meets various other puppets that have their own motivations for joining, and party members level up together at the end of each battle. Even novice players are likely to complete the game in ten hours give or take. What Rhapsody concerns itself more with is in the presentation of a performance piece that flows smoothly from these adjustments to game-play.

For those that aren’t aware, I’m taking a break from recommending titles that prove aggravatingly difficult to find today. In September NIS brought Rhapsody to the Nintendo DS, giving me and all of you the chance to spend a weekend revisiting a cult-classic. This port has dropped the tactical element, instead presenting traditional RPG mechanics for battles. Oddly, the song sequences are only available in Japanese with English subtitles. Though this didn’t detract from my enjoyment, the option for both was an impressive offering from the original release. The dual-screens serve the obligatory role of showing maps via the top screen while players explore environments from the touch pad. But truthfully I would have rather seen the game overhauled for a PSP performance due to its musical ambitions.

Rhapsody is still worth the investment, delivering a refreshing oddity to the DS library. Following Cornet and Kururu on their often mis-adventures reminded me that RPG’s are capable of humor and heart. Whether it was Cornet having to wear a bear costume to a beauty contest when she couldn’t find a dress, or cooking dinner for the prince only to have it go awry, the game isn’t afraid to find simple freedom in being silly, laughable, and human. Certainly I enjoy various titles of the apocalyptic persuasion, but Rhapsody is that breathe of fresh air, the remembrance of innocent story telling. It’s songs make me smile and it’s story makes me laugh, and that’s certainly reason enough to play an older title while waiting for developers to lighten up, even just a little.

Posted in DS, PlayStation, Reviews, Super Happy Happy Mega-Fun Monday! |