Hey all, and welcome to the finale of this LP of Treasure of the Rudras, or Rudra no Hihou (did it backwards this time!). The final day of E3 is upon us, and what better way to celebrate the yearly catastrophe that follows Dave Lang and his cohorts by averting a similarly apocalyptic event in another world? Be sure to peruse the table of links at the bottom of this article for the previous entries in this year's Mento's Alternative to E3 2016 event. Yep, I'm upgrading it to an "event". I'm sure that's not an embellishment in any way.
Before we start, we have our last pre-amble concerning Rudra no Hihou; this time, I just want to review the game based on the single scenario I've played and consider how playing through the others will potentially impact my appraisal. After the LP is complete, I also want to make - for my own edification more than anything - a timeline of all the events I either triggered or saw happen as an incidental party. I think it'll be fun to refer back to that timeline if I ever get around to playing as the other characters, and see just how closely the sequence of events lines up from alternate angles.
So, how is this game? It's actually an awkward prospect; I don't think Rudra no Hihou is a lost classic. At least, not compared to Squaresoft's sterling output for the Super Famicom and SNES. I'm by no means someone who can judge their entire library, since I've only played about half, but Rudra slides somewhere in the middle in terms of overall quality of the gameplay. However, Rudra shines most in its presentation - the soundtrack and graphics in particular, which have always been strengths of the Squaresoft stable. I also appreciate just how weird its story and premise is, how its distinctive scenario-based format offers diverse but interlacing storylines (about which I can only comment about so much, of course) that for some reason I haven't called "Rudrashomon" yet and the game's emphasis on a (mostly) singular cultural source to draw all its legends and monsters which helps make the game feel more distinct from its "borrow from everything" contemporaries like Final Fantasy, as well as being more aesthetically and culturally cohesive. Whatever, I'm largely just playing game criticism buzzword bingo now, but I hope my point got across. That every boss was based on a Hindu/Buddhist deity rather than having them share the stage with Norse, Greek, African and Japanese mythological figures seemingly picked at random is a big plus in my books. Makes it feel like the game was based on a specific legend, rather than cobbled together from incongruous parts.
Back to the gameplay though, Rudra no Hihou is what you might consider "standard" Squaresoft, right down to how party members line up on the right while the bigger enemy sprites occupy the larger space on the left. I've talked (and demonstrated!) how well the larger sprites look while fighting, though I've perhaps not been able to give a similar exhibition to how well they animate given all the static screenshots, but the game generally plays exactly as it looks with all the random encounters, maze-like dungeons and NPC hint-gathering you'd expect. There are two divergent modifiers in the game's favor, for those of you who generally only revisit games this old (twenty years last April!) because they still have something unique to offer: how the scenario-based structure can factor into the world and dungeon design, and the Mantra system.
With the former, you have a lot of dungeons that you'll visit and revisit with the distinct feeling that you'll be travelling through them with another party at some point. For instance, you'll visit some dungeons without reaching its end or see any sign of a boss, often fighting enemies that are considerably weaker than your party along the way - what this suggests is that you're meant to encounter this dungeon for the first time with a different party, and your current party is only passing through for story reasons. The treasures are gone, the puzzles have been solved, and you're simply strolling through to complete a story objective or sweep up anything that remains. It's a weird feeling to walk into a dungeon and see that it's essentially been completed, even though it's your first encounter with same.
With the latter, you have an endlessly in-depth and modifiable magic system that - once you pick up on its rules - offers a great amount of versatility. While you learn the various elemental and healing mantras fairly quickly, you still need to figure out which spells raise people from the dead, or cure ailments, or cause status effects, or buff stats. Yet when you consider the amount of affixes in the game - the words that can be attached to the start or end of the mantras you have - there's a great deal of tweaking that can be done. For instance, most affixes increase the power of the spell while also increasing the MP cost, similar to how Fire has always progressed to the stronger Fira and Firaga spells in Final Fantasy with an inflation in MP each time. However, "PE" will boost the mantra's power but actually lower its MP cost. Others, like the suffix "NA", will turn the spell into a multi-target version, and there are special prefixes that will only boost the strength of a spell if it's in its multi-target "NA" form already. Best of all, the Aeon Genesis fan translation team who worked on this game really outdid themselves in creating spells with fixed effects that are actual words in English - "TORNADO", for instance, is a fairly powerful Wind-element spell that the game doesn't necessarily reveal (at least it didn't in Vbomb's chapter, unless I missed it) but the player could feasibly guess it. "LIFE" doesn't do what you might expect, but the thematically-similar word "ANIMUS" does. If you try MEGA or SUPER as prefixes, they do indeed have a significant effect on the power of your spells. So even though the Mantra system is a little Byzantine at first and prone to a lot of trash "non-starter" spells with any swears and dumb phrases you might concoct within its twelve-character limit, it's also a fascinating and ultimately game-enhancing experiment.
The question, then, is whether or not Rudra no Hihou is worth coming back to years later. I would say yes; the one benefit of a Kawazu-directed game is that it has something you'll never see done again elsewhere, sometimes for good reason. I can't speak to Kawazu's other SNES games - his only other directing credit is for the three Romancing SaGa games, which I've been informed have varying amounts of questionable design decisions - but Rudra no Hihou is one where the weirdness works in its favor, or at least doesn't diminish the gameplay to a detrimental degree. Plus, if you're reading this, you have three other scenarios to try out (though the fourth is locked until the other three are complete, keep in mind) and a whole lot of bonus Mantra ideas to try out. You'll be starting out on a strong foot if you were to follow my lead.
Anyway, we'll now launch into what became a three-part (plus Finale) conclusion to this series. It didn't quite work out the way I'd hoped, but I did eventually do what I promised to do: complete the game as Sion/Vbomb and give everyone (and myself) a thorough look at a game that hailed from a genre and developer who were at their respective peaks, though for one reason or another managed to escape the gaze of almost all of us outside of Japan.
Part 9: Surts Him Right
Last time, on Rudrastic Measures: Surt, the surly giant who fought our equally surly hero Vbomb on top of a giant tower what feels like days ago, has given the party a list of destinations to visit across the Sky Islands in order to find a way back to Terra Firma. Presumably, no-one's invented parachutes yet. We're just about at the end of this whistlestop tour, heading towards the Danan Temple and the third of four Divine Danan mystics.
Part 10: Hitting a Nerve
Last time, on Going Deeper Rudraground: Betrayal! Drama! Getting eaten by a giant fish! These are the everyday occurrences of Vbomb and his team, who include Foxy the foxy hunter, Ture the scholarly giant and, now that he's finally back, Ramyleth the Mage King that's dressed like a Jester. We may have accidentally caused the destruction of the Sky Islands (yeah, our bad), but at least we're back on the ground. Well, in the ocean specifically. Remember that part about getting eaten by a giant fish?
Part 11: FOXYDIE
Last time, on Rudra-Roh!: Foxy's down (the most underrated of all Tarantino films) and with her dies Vbomb's chief hypewoman. Surely this can't stand! No demonic grim reaper is going to keep her away from us forever, even though he did kind of take Foxy's soul and eat it. Oh hey, don't read this synopsis if you haven't seen all the screenshots above yet. Sorry, I should've stated at the outset that there'd be some Game of Thrones shit going down today.
Finale:
Last time, on My Rudra, My Rudra and Me: It's been quite the ride, but now Vbomb and his beleagured team are standing outside the very gates of Hell ready to save the world from utter annihilation. What is the nature of this Rudra deity of destruction? Is it a sentient creature, or is it simply the form of the destroyer that some other God has created to eliminate us? If so, are we going to have to try really hard to not think of the Stay Puft Marshmallow Man?