This is just a basic over view of how JRPGs have grown up alongside RPGs into what we know and love now. If anyopne has more to add, please message me and let me know =)

JRPG's: Simplicity, Self Parody and Hybrid.

Within gaming there are few genres that have had such an illustrious and popular legacy than the Japanese RPG. Arguably the true beginnings of the JRPG began with the Rouge-like text adventure, and as time moved so the blanks were filled into what we know recognise today as a fully established and articulated genre; developing narratives and characters throughout the game. Classic franchises have grown to have a cult status, whilst some fade into obscurity. The JRPG is not unlike its western cousin; minus the obvious stylistic properties (the close link between the distinct anime styles that permeates many JRPGs) and game play style taking form in the turn based battle system. Many factors are mutually exclusive to the RPG genre as a whole, such as character class and statistical development but the JRPG still manages to differentiate itself from the western RPG through narration and plot devices; These factors have been honed over time and refined into some of the most emotive and important games in gaming. Until finally, in contemporary times, we have seen a cross over between the JRPG and the other genre's such as the Social Simulator and even strategy. All reasons noted above, makes the JRPG worth discussing, from its conception in the late eighties to now.

Emergence, Solidarity and Repetition

During the late 1980's video games were still in their early infancy. The idea of interactive story telling through the medium of video games was a concept that was yet to fully explored, but an exciting idea none the less. The emergence of the Table Top Role Playing Games (Dungeons & Dragons being the most obvious example) gave many developers inspiration to create games that on the one hand tested the player's skill in terms of their decision making and strategic talents, while also creating a narrative that drives the player forward. One of the earliest examples if this is the Nintendo NES's Dragon Quest III. Still thought to be one of the greatest games ever made in its home country of Japan (voted in the top 5 greatest games of all time in Famitsu in 2004), Dragon Quest III influenced a generation of developers to tell stories through video games.

Following this with the SNES and Genesis (or Mega Drive), more instances of the JRPG began to appear. Games such as Final Fantasy and Phantasy Star further entrenched the idea of stat building through narrative motivation in the eighties. Combat mechanics separated the style of play from western counterparts, opting for a turn based strategy on a console format, the western RPG took a different root in the form of PC play with real time battle dungeon crawls (for example Diablo). Navigation around small towns and dungeons from an isometric perspective while distinguishing a difference between combat and exploration made for an entirely different mode of play. Although this was not experienced on any significant degree by western audiences, Japanese developers innovated and reiterated this process for many years.

After the 16 bit era in which the JRPG first began to resemble the genre we see today, developers such as Squaresoft began articulating how they saw the future of the JRPG. Technology was advancing with the advent of the PlayStation and the Nintendo 64 and this gave developers the opportunity to improve the content of their games while also spearheading nuances in pre existing genres. For the JRPG this meant a richer, deeper world for the player to explore; the most important games being Suikoden and the later instalment in the Final Fantasy series, Final Fantasy VII. Both of these games had been praised as some of the most immersive and emotive instances in gaming in general (instead of just having notable recognition within the genre of JRPGs).

By this time, the JRPG had been tried and tested in terms of its narrative style. Taking the form of linear narratives on an epic scope, these quickly grew into the conventions that typified the JRPG as a genre. Epic journeys to save the world; plot twists that focus on the inner motivations of each character, and turn based battle systems became the hallmarks of what is now the JRPG. Though it is hard to imagine a JRPG without any of these conventions now, but during the mid nineties western audiences were just beginning to become accustomed to an already reputable genre.

Arguably, this era can be seen as the golden age for the JRPG. Games such as the Breath of Fire series were enjoying their first appearances in the USA and Europe, and gaining a great deal of admiration. Although Nintendo's SNES had a wealth of JRPG's, serious gaming was just emerging and the JRPG became the obsession for many budding gamers (myself included). Through the multitude of clunky action games and platformers, the JRPG stood out both visually and formally. Never before had games been strategic and entertaining; epic and personal; deep and attractive, all in the same instance. Though a great deal has been said about Final Fantasy VII since its release in 1997, for a great many young gamers growing up in the late nineties it began a beautiful friendship between them and their console. It was in this time when expectations were set. Through the seamlessly endless precession of critically acclaimed JRPG's, the gaming public became habituated with the genre's form, games such as Grandia, Skies of Arcadia and Vagrant Story all share similar narrative characteristics; grand journeys in which certain powers are acquired all ending in a final confrontation and narrative resolution (to the exception of Vagrants Story whose plot entertains a more open ended and ambiguous conclusion but still provides a kind of closure to the in game events). Though these games stand out as incredible stories with engaging mechanics, the similarities cannot be ignored. If viewed positively, this could prove that the mid to late nineties truly was the golden age of the JRPG however; to cynics this could be seen as the beginning of the JRPG stagnation which followed in the next console generation.

Stagnation and Self Parody

The early years of the 21st Century were a very interesting time for the JRPG. After the genre potential hay day in themed to late nineties, cynicism grew. The conventions that once made the genre so fresh and attractive instead turned many against the genre. Though this era also enjoyed its share of classic titles that have proved themselves over time, the Playstation 2, Xbox and Gamecube collectively jeopardised the JRPG future and credibility as a genre.

After the success of many JRPG's on previous consoles, a great series of sequels began to immerge. Once great franchises such as Suikoden began to make fall back on their already established predecessors in the effort to improve upon them from an aesthetic perspective (this specific point I will return to later); the improved technology in consoles such as the Playstation 2 meant that games could be rendered with more detail and better quality sound. This came at a price. Although the DVD could house more data than any medium previously used in gaming, this meant that with the improved graphics and sound there was a chance that there was very little room for larger stories and innovation in terms of the JRPG's conventional make up.

No game typifies this better than Squaresofts Final Fantasy X. One of the most anticipated games on the Playstation 2 promised to deliver vast improvements on the nigh on perfect JRPGs of the previous generation. Final Fantasy X can be described as a game of great aesthetic achievement but lacking in depth and length, so much so it became the first Final Fantasy to spawn its own sequel carrying on the plot of the first, tying up loose ends in that had not been clearly resolved at the end of the original . This seemed to be symptomatic of many JRPG's in the early years of the 21st Century. Also like the great Final Fantasy series, the Suikoden games moved into shallower waters in favour of technological innovation.

This created a crisis of confidence for many fans of the JRPG genre. Games that showed them deeper and more interesting ways of telling stories were becoming a thing of the past. This alienated many fans leaving sales for games like Final Fantasy XII and Dragon Quest VIII in dire need. Both examples show an increase in quality but a deficiency of publicity as the JRPG began to decline in popularity. Final Fantasy XII took a more progressive approach to the way in which the JRPG operated. A innovation in terms of AI and added a deep and complex dimension to battle. For all the praise given by critics, the popularity among fans decreased. Accused of succumbing to MMO style of play, Final Fantasy XII seemed to have forgone innovation and looked to be a bad experiment on part of the newly formed Square Enix.

Dragon Quest VIII on the other hand dispensed with innovation all together. Making the JRPG generic formula as obvious as possible Dragon Quest VIII became a self parody. Taking recognised conventions and presenting them in a humorous and charming way, the last major instalment of the ever popular Dragon Quest franchise became a nostalgic trip for players and critics alike. However, this proved to be the games down fall. While the game is clearly a JRPG for the hardcore fan, this made the game very inaccessible to the average player. With a high Experience limit of levels and difficult boss fights, there seemed to be little progress in the building of character and improvements of character statistics, while also accommodating an 80 hour average play through this further alienated many JRPG fans while restoring the faith of a few older and more committed fans.

As the next generation in gaming grew ever closer it became a time of uncertainty for the future of the JRPG. Would developers learn from the mistakes of their overly formulaic titles? Or would they stagnate further until they became obtuse and unplayable? If the genre was to survive into the 'next gen' it was clear that change had to rapidly occur, sooner rather than later.

Mobile Gaming and Contemporary Innovation

Consoles such as the Xbox 360and the PS3 have had limited experience with the JRPG. Of the few examples there are even fewer games note worthy. In the current generation, there has been a large decrease in the production of JRPG's for the major consoles. A great deal of the older franchises have yet to make an appearence on a High Definition console. However, JRPGs that appear on this current generation have enjoyed a boom on the hand held systems such as the Nintendo DS and the PSP.

The strength of the hand held console has never been so great as in the current generation. For example early Final Fantasy and Dragon Quest titles have been enjoying remakes that breathe new life into the not only the games but the genre itself. The generic make up of the JRPG makes them slow paced and quite reflective, and while the idea of playing a JRPG on a train or bus does not build upon the genre it does mean that playing is more frequent. Also the casual gaming market means that much greater sales of consoles themselves, leaving developers extra money to re-release their old favourites in an attempt to reach a larger fan base. The Dragon Quest series is a very good example of this. Most popular in its home country, the series has expanded with a slew of remakes that have given younger generations the same buzz for the JRPG as the developers when they first played them.

However the mobile market has also had its share of compltely new titles. The World Ends With You is a game that has recieved a great deal of acclaim. Without a legacy to fall back on, TWEWY has had no safety net. Without any pre existing game mechanics to fall back on, Square Enix have taken advantage of this position in creating a game that is unlike ay other mobile JRPG. Controls to visual style there is a very strong emphasis on narrative and characters. Set in contemporary Tokyo, borrowing plot devices from contemporary ideas existing within other Japanese media; for example, the idea of Shinigami games could be seen as a reference to the popular Deathnote manga and anime, while a modern urban setting clearly sets the game apart from dungeons and dragons fantasy of early Final Fantasy and Dragon Quest and feels more like a contemporary Kamen Rider series or teen drama.

With mobile gaming being a cheap and smart way for developers to experiement and progress the JRPG, TWEWT is hopefully the for runner of many more similar games. Taking players directly out side of their comfrost zone, spells and attacks are more free flowing and intense rather than the meditative menu selections from earlier JRPGs. The use of specific actions, executed by the stylus lends itslf more to an action game but stil is made to fit snugly in with the JRPG formula of battles being separate from exploration. While this seems like a minute innnovation, from a generic perspective this is just a small example in a much larger picture.

Recently the JRPG has enjoyed resurgence with the coming of the next generation. Older franchises such as Star Ocean and the Tales series have enjoyed a complete graphical over hall, bringing the game visually up to date while the technological advances have allowed to put more data onto a single disc we now have larger and better looking adventures. As good as the current generation looks, the previous generation is currently going through a period of innovation concerning the JRPG.

The popularity of the JRPG has meant that their rapid output has also made the genre convoluted and seemingly boring. One solution has been the integration of other genres within the familiar JRPG framework. One such genre is that of social simulation (mainly popular in Japan, the object of which is to interact with the characters to gain popularity and in some cases sexual favours). Games such as the Persona 3 and Mana Khemia are making waves in an entirely different way to their current generation alternatives. The advantages of the hybridisation between the JRPG and the Social Simulator is further allowance for character development, Persona 3 being a perfect example of the depth of characters has enriched the game as whole. This makes decisions to do with the party more difficult and plot events more affecting, creating genuine affection for characters and their fates. This nuanced style of JRPG has gained so much popularity that other titles including niche Atelier Iris and Ar Tonelico series have adopted in their most recent instalments.

Alongside extra character development, these games also inadvertently shown a particular innovation when it comes to narrative. The number of choices the player is allowed to make in terms of their social activity within the games enables a fully customised and personal journey through the game. Not one play through maybe similar to another. Different characters maybe developed more than others, some maybe over looked while other stories maybe so gripping the player may wish to spend all their free time in the game developing that specific story arc. This innovation is strictly in the storytelling aspect, game play unfortunately is still taking the form of scrolling through dialogue. In the grand scheme of JRPG's, we see a genre that is still changing and clearly out of its infancy. Some developers seem clearly bored with the JRPG as a whole but do not wish to change the fundamentals of the genre itself, creating a proverbial hot bed of innovation. These few games that have hit the Playstation 2 and have grown popular amongst JRPG fans are creating a positive future for the genre. The news of more Shin Megumi Tensai games crossing platforms and even a current generation debut is nothing short of a relief to fans in fear of the genre's future.

Recently gaming has taken an unexpected turn. During the last generation of consoles, if you were to think 'what is the future of gaming?' the vast majority would have said 'better graphics, better physics, more cinematic looking games'. Though this is not too far from the truth with consoles such as the Xbox 360 and the PlayStation 3, the eldest of the console developers, Nintendo, decided to expand in a different market. Rather than compete with two of the largest corporations in the world, Nintendo's angle cast new light and blazed a trail quite separate from its competitors. It is clear from the cavalcade of titles in your local supermarket that the Nintendo Wii is quite a different beast from the Microsoft and Sony's comparatively more advanced systems.

Motion controls, similar to the like of the Nintendo Wii's infamous Wiimote and Nun chuck, may not be as innovative and lucid as first anticipated, but they allow for an alternative way of playing games. The image of the controller or keyboard and mouse, can put the less enthusiastic gamers off altogether. Analogue sticks and up to eleven buttons, each context sensitive to game in which is being played is daunting for those less confident in their abilities as a gamer. Also for many, the controller is a reminder of the stereotyped image of the gaming geek. The reclusive, agoraphobic and obsessive character who is on the one hand, demonised for being a potential psychopath due to the amount of violence consumed daily through their chosen form of entertainment; or a ball of anxiety and social awkwardness as their only frame of reference is their high score on some obscure arcade emulation or the level of their character on whatever MMO grind fest they are addicted to this month. If we compare these images to Nintendo's family friendly and above all social console, it is plain to see the attraction for the casual gamer. No button combinations to remember or need for dexterity that would give the hardcore gamer who is used to these concepts a clear advantage. Instead the use of motion levels the playing field, allowing nearly all people to come to terms with a games interface. This ethos fits in well with Microsoft's vision of Natal. Microsoft Game Studio's general manager Kudo Tsunoda says 'We all know people who tried to play a videogame for the first time and got stuck trying to figure out the controls. With Project Natal, all you need to play is your own life experience.' With Microsoft's current fan base of hardcore gamers and casual gamers alike, Natal will have to cater to much more than simple Eye Toy type games. With this in mind, it will be interesting to see how developers take to Microsoft's motion technology. Peter Molyneux's Milo and Kate though little hes been discussed, sounds to be quite experimental with its use of the Natal hardware. In an interview with Edge Magazine Molyneux talked about the difficulty of making an interesting casual game, 'It was much less of an interactive experience. We said it had to be done with more or less one button, because the kind of person we want to play it has never touched a controller before.' The fundamental truth to successful motion control seems to be simplicity, which is possibly the major point of contention between the hardcore gamer that need more than the simplicity that casual games offer. Again Nintendo's decision to give the traditional controller a back seat with the Wii, makes them an important example of how motion control attracts the casual gamer, and ultimately how simplicity is key with the causal.
When the Wii launched in December 2006, no one quite knew what to expect. For many the prospect of downloading retro games far outweighed the prospect of new games but, 3 years later, you need only look in game shops and internet stores to see that the Wii is now the predominant platform due to its role as a casual console. New releases for the Wii include It's My Birthday and Horrible Histories: Ruthless Romans sporting a combined total of 45 mini games is somehow representative of the majority of Wii titles. Many thought that the motion controls of the Wii would yield innovation and new experiences; instead the results have been disappointing to say the least. For every descent title released there seems to be at least 5 shockingly bad mini game compendiums that are aimed at the casual gamer. Alternatively, this means that Nintendo with both the Wii and the DS have a strong hold over the casual gaming market. With more and more titles pertaining to casual play as opposed to the more serious, traditional tone that video games usually adopt, Nintendo has alienated many gamers. In an article describing Nintendo's performance at this year's E3, one journalist wrote 'It seems Nintendo divides up the Wii roster by subject matter rather than quality, making The Conduit aimed at an imaginary audience of slavering gun nuts. Two out of three of these games being on-rails shooters shows that the company is simply out of touch with what the older proportion of its fan base are all about'. Games such as Suda 51's No More Heroes and Platinum Games' Mad World seem to be the only real alternatives to the casual games if we discount the obvious choices of Mario, Zelda and Metroid. With the cost effective price of both games and the console there is very little to sway Nintendo's casual demographic away from them, as well as the reputation of the Wii as a fun and social way of entertaining the family Microsoft and Sony now have their work cut out for them. It is unfair to say that Nintendo hasn't contributed to this current generation but, for the most part motion control has just heralded a sudden influx of cheap, disposable casual games.

As I said earlier, for every decent title there are a myriad of bad casual games on the Wii, but it is worth looking into the great games of the Wii to see how useful and innovative motion control really is. Games such as Mario Galaxy and No More Heroes have made quite an impact on the console gaming landscape, and the Wii is possibly the perfect platform from which to achieve such notoriety. The familiar framework of Mario Galaxy does not deviate from what previous Mario titles had already covered, but the Wiimote and Nun-chuck allowed for a different way to play the familiar. More intricate level design and new challenges made it a must have title for not only die hard Nintendo fans but for all Wii owners, casual or otherwise. The act of moving Mario with a different control method on the surface seems to be a shallow experience but still undeniably fun. The replacement of the controller with motion controls caused the game to be viewed form a different vantage point, it wasn't just a question of aesthetics and character design, it was about whether the game worked and how well it fit in to the much loved Mario franchise a good example is IGN's review 'It is a marriage of old and new - a theme that extends beyond presentation and into the gameplay mechanics...' Nintendo literally changed the way we play Mario with Galaxy and this would not have been done with a more robust graphics engine and high definition. Alternatively, No More Heroes catered to a more educated and adult audience. Taking accepted boredoms that hamper video games and utilising them in a collage of violence and self conscious parody. For a creator like Suda 51, games are themselves a criticism of their form and No More Heroes was no exception. The limitations that gamers frequently come across such as control issues and pseudo non linearity are meticulously brought to the fore ground of No More Heroes. The random waggle attacks and the ridiculous mini games serve to comment on casual gaming and new control methods showing just how limited they are. Plus the ironic draw of such a violent game appearing on a family console has had influence with games such as Manhunt 2 and Mad World. The inclusion of such a potentially detrimental game on a console that seeks to redress these limitations was a brave move by both Grasshopper Studios and Nintendo. While a console whose gaming repertoire is filled with plumbers who save princesses and Pokémon, a porn renting violence loving otaku is certainly an odd choice to add to the line up of featured games. These examples show how exactly the motion controls have been taken and utilised. From casual games that require very little skill or experience to play to reiterations that breathe new life into old favourites and games that or not intended to be good examples of games Nintendo has covered all of the bases. This is promising for Microsoft and Sony, two companies that have more potential power under the hood of their respective consoles. With both Project Natal and Sony's motion Wand could have all the benefits of Nintendo's motion control with very few of the limiting factors that have sullied the Wii, for example the cheaply made mini games compilations.

At E3 both Sony and Microsoft made waves with their ideas for motion control (especially Microsoft), but by looking at what Nintendo has accomplished with motion control can either company pull it off? Nintendo is a different animal to both Sony and Microsoft with its pre established, long running franchises, as well as its family friendly image. It wouldnt make sense for Microsoft or Sony will neglect their fan bases as both consoles have would not sacrifice their pre existing control methods. Both motion control options are essentially just peripherals, like a light gun or arcade stick, however casual gaming is certainly where the money is and this is the underlying difference between Nintendo and its competitors. Although there is nothing to say that these motion controls are primarily for casual gaming we can only speculate and use our past experiences to forecast what may come. Is motion control the future of gaming? Probably not, but it will certainly play a part in developing the industry and expanding the market.