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Question of the Day: Valkyrie Profile and the Need for Voiced Dialogue

Posted by John Constantine



My backlog is becoming untenable. There are games, games that I started months ago, sitting in a pile that appears to be growing of its own volition. Where the hell did that copy of Pro Evolution Soccer even come from and why is it sitting in the “to play” pile? No one in my home even likes soccer!

The worst of the lot is Persona 4. Rather than hide myself away like some horrid realization of gamer stereotype, refusing to venture into the sun until the game is complete, I’ve been working through Persona since early December, taking it a bit at a time. It’s starting to drive me crazy. A few days ago, I fired it up for the first time since mid-February and was treated to one of its scarce animated cutscenes. Turns out that bear suit made a dude! Yeah, not a dude wearing a bear suit. The bear suit formed a dude inside of it. More startling than spontaneous dude generation was hearing the characters’ voices. I had forgotten they could talk you see. This is because, with very rare exceptions, I always turn off the voice acting in RPGs. Why? Because the voice acting is almost always terrible. Dragon Quest VIII’s British cast and Final Fantasy XII’s gang of breathy stoics are exceptions to the rule. Most of the time, you have to deal with screeching whiners who insist on naming every single thing they do and I’ll have none of it. Honestly though, I wonder why voice is considered a necessity in modern design.

A few weeks back, some folks were pretty upset when Square-Enix said they would not be adding an English voice track to Valkyrie Profile: Covenant of the Plume in addition to losing the game’s already completed Japanese voiceovers. A few years back, the entire internet flipped its wig when Eiji Aonuma said The Legend of Zelda: Twilight Princess would not have spoken dialogue.

My question to you, dear reader, is what’s the big deal? Is voice acting necessary in every game these days? Does it actually make an RPG, or any game really, better or worse when you can hear its characters speaking? Should a game be criticized if it doesn’t have voice? What if it only has limited voice?

Let me know.

Related links:

Question of the Day: Ogre Battle and How Much Tutorial is Too Much?
Question of the Day: Your Ideal Controller?
Question of the Day: Yu-Gi-Oh! And Card-Based Videogames?
Question of the Day: Why Can’t I Emulate?


+ DIGG + DEL.ICIO.US + REDDIT

Comments

Jeremy Owens said:

Hi John,

I've been on a catching up on old games streak.  However, the last two games I just finished are two of four brief answers...

#1- My opinion - No, a game should not be criticized if it skips voices.  We games for years without it and I think we seemed to enjoy ourselves, did we not?

#2 - If a movie can almost completely forgo voices, I think a game can.  Surely, if Wall-E, a movie, can be that engaging then interactive entertainment can be pretty easily.

#3 - I would not cry out for a cease to voices though.  Just finished Psychonauts recently.  If you have a kick ass script and awesome voice acting then go for it.

#4 - How about we split the difference?  I love the voice yet not voice style of Okami which I'm currently playing (yes, it took me this long, I'm horrible.)

March 19, 2009 9:54 PM

alexb said:

I can understand fans being upset at a completed voice track being denied to them when other players got it. Voice can add a lot to characterization if it's done properly. The problem is that it rarely is.

March 20, 2009 12:12 PM

cward24 said:

I would normally agree on the voice acting except in the case of Valkyrie Profile.  The Valkyrie Profile 1 and 2 both had voice acting and it did actually add to the game.  It will not be the same without Megan Hollingshead (who was in both games as Lenneth Valkyrie) shouting "Nebelung Valesti" before an overkill.

March 24, 2009 12:32 AM

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John Constantine, our superhero, was raised by birds and then attended Penn State University. He is currently working on a novel about a fictional city that exists only in his mind. John has an astonishingly extensive knowledge of Scientology. Ultimately he would like to learn how to effectively use his brain. He continues to keep Wu-Tang's secret to himself.

Derrick Sanskrit is a self-professed geek in a variety of fields including typography, graphic design, comic books, music and cartoons. As a professional hipster graphic designer, his recent clients have included Hooksexup, Pitchfork and MoCCA, among others.

Amber Ahlborn - artist, writer, gamer and DigiPen survivor, she maintains a day job as a graphic artist. By night Amber moonlights as a professional Metroid Fanatic and keeps a metal suit in the closet just in case. Has lived in the state of Washington and insists that it really doesn't rain as much as everyone says it does.

Nadia Oxford is a housekeeping robot who was refurbished into a warrior when the world's need for justice was great. Now that the galaxy is at peace (give or take a conflict here or there), she works as a freelance writer for various sites and magazines. Based in Toronto, Nadia prizes the certificate from the Ministry of Health declaring her tick and rabies-free.

Bob Mackey is a grad student, writer, and cyborg, who uses the powerful girl-repelling nanomachines mad science grafted onto his body to allocate time towards interests of the nerd persuasion. He believes that complaining about things on the Internet is akin to the fine art of wine tasting, but with more spitting into buckets.

Joe Keiser has a programming degree from Johns Hopkins University, a tiny apartment in Brooklyn, and a fake toy guitar built in the hollowed-out shell of a real guitar. He writes about games and technology for a variety of outlets. One day he will stop doing this. The day after that, police will find his body under a collapsed pile of (formerly neatly alphabetized) collector's edition tchotchkes.

Cole Stryker is an American freelance writer living in York, England, where he resides with his archeologist wife. He writes for a travel company by day and argues about pop culture on the internet by night. Find him writing regularly here and here.

Peter Smith is like the lead character of Irwin Shaw's The 80-Yard Run, except less athletic. He considers himself very lucky to have this job. But it's a little premature to take "jack-off of all trades" off his resume. Besides writing, travelling, and painting houses, Pete plays guitar in a rock trio called The Aye-Ayes. He calls them a 'power pop' band, but they generally sound more like Motorhead on a drinking binge.


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