The Mercenary Adventure is not an RPG. It is a narrative-focused adventure game with typical RPGMaker RPG features, such as turn-based combat and stats that increase after levelling up. It lacks character progression found in customization or build choices. You, as a player, simply observe the scene directed by Takamakuran, the game's sole developer.
As it is a narrative-focused game, your role and that of your companions is clearly defined, leaving no room for player agency. Your Mercenary and his companions use predefined weapons and armors, and behave in a directed way, working within preconceived roles.
The prologue throws you into Mercenary's world during his quests in a village. During one of these quests, the game reveals its premise: fighting off a demon results in being cursed and entering into a contract with it. If you fail to perform a specific action each day, you will face consequences. This premise tells you that in this game, you will work within the framework of the curse. You expect it to be a pillar defining your experience. However, the curse is quickly forgotten, both mechanically and narratively, after a few days. If you don't perform the required action, you won't suffer any consequences. The curse only comes up in the narrative when it is used to push the story forward — when it is convenient for the author. Otherwise, it doesn't exist. The game has a problem of ludonarrative dissonance.
Even then, the game's narrative is decent until you reach the City, because you are working within the premise established in the first village. You are the Mercenary, you complete the tasks, you journey around, you suffer from the curse. After reaching the City, soon the game becomes incoherent with the premise. You are no longer a low-mid level Mercenary with a curse; suddenly you are a hero fighting an evil organization. Because the story starts working within different thematic frameworks, and remember it is a story-driven game, it feels as if you're playing a different game altogether. What was in the prologue feels distant because you are playing with different themes, incoherent with the premise of the game.
It also fails as an adventure, especially for a game with ADVENTURE in the title. The story is directed to take you to various places throughout the world. In order to reach X, you go through the forest, fight off fifteen enemies (or try to go around them), enter a new area, engage in dialogues and receive an instruction to go to Y. To reach Y, you go through the mountain path, where again, you fight off fifteen enemies. The way of exposing you to new locations is a repetitive pattern, pushing you to embrace autocombat whenever possible. Without autocombat, the game would quickly become monotonous.
The game tries to discuss its world-building ideas. For example, the curse and magic surrounding it. These don't exist only in the narrative: they ARE established mechanically through passive skills, but the way they are explained is through a huge infodump dialogue within one scene. Rather than showing this within the game world in harmony with the passive skill, the author sends you to read a ten-minute dialogue.
What about different areas of the game?
- The art style is phenomenal, pixels as if drawn in MS Paint with coherent, connected motifs, pretty and distinctive character designs.
- Music often fits, sometimes creating a diegetic experience, like in the Estate or the Cathedral.
- Combat is weak. Although turn combat theoretically allows you to approach battles with various strategies, you will ultimately only perform three actions: use autocombat for random mobs, repeatedly ATTACK HEAL ATTACK HEAL when not using autocombat, and tank and buff for more difficult fights (as even stated in the game's guide on F95Zone).
Ultimately, the game promises a narrative-driven experience, but its story and mechanics undermine the premise, and world-building is told in huge infodumps. It still is a unique experience, more memorable and interesting than most games on this website. For that reason alone, you SHOULD play it.
As it is a narrative-focused game, your role and that of your companions is clearly defined, leaving no room for player agency. Your Mercenary and his companions use predefined weapons and armors, and behave in a directed way, working within preconceived roles.
The prologue throws you into Mercenary's world during his quests in a village. During one of these quests, the game reveals its premise: fighting off a demon results in being cursed and entering into a contract with it. If you fail to perform a specific action each day, you will face consequences. This premise tells you that in this game, you will work within the framework of the curse. You expect it to be a pillar defining your experience. However, the curse is quickly forgotten, both mechanically and narratively, after a few days. If you don't perform the required action, you won't suffer any consequences. The curse only comes up in the narrative when it is used to push the story forward — when it is convenient for the author. Otherwise, it doesn't exist. The game has a problem of ludonarrative dissonance.
Even then, the game's narrative is decent until you reach the City, because you are working within the premise established in the first village. You are the Mercenary, you complete the tasks, you journey around, you suffer from the curse. After reaching the City, soon the game becomes incoherent with the premise. You are no longer a low-mid level Mercenary with a curse; suddenly you are a hero fighting an evil organization. Because the story starts working within different thematic frameworks, and remember it is a story-driven game, it feels as if you're playing a different game altogether. What was in the prologue feels distant because you are playing with different themes, incoherent with the premise of the game.
It also fails as an adventure, especially for a game with ADVENTURE in the title. The story is directed to take you to various places throughout the world. In order to reach X, you go through the forest, fight off fifteen enemies (or try to go around them), enter a new area, engage in dialogues and receive an instruction to go to Y. To reach Y, you go through the mountain path, where again, you fight off fifteen enemies. The way of exposing you to new locations is a repetitive pattern, pushing you to embrace autocombat whenever possible. Without autocombat, the game would quickly become monotonous.
The game tries to discuss its world-building ideas. For example, the curse and magic surrounding it. These don't exist only in the narrative: they ARE established mechanically through passive skills, but the way they are explained is through a huge infodump dialogue within one scene. Rather than showing this within the game world in harmony with the passive skill, the author sends you to read a ten-minute dialogue.
What about different areas of the game?
- The art style is phenomenal, pixels as if drawn in MS Paint with coherent, connected motifs, pretty and distinctive character designs.
- Music often fits, sometimes creating a diegetic experience, like in the Estate or the Cathedral.
- Combat is weak. Although turn combat theoretically allows you to approach battles with various strategies, you will ultimately only perform three actions: use autocombat for random mobs, repeatedly ATTACK HEAL ATTACK HEAL when not using autocombat, and tank and buff for more difficult fights (as even stated in the game's guide on F95Zone).
Ultimately, the game promises a narrative-driven experience, but its story and mechanics undermine the premise, and world-building is told in huge infodumps. It still is a unique experience, more memorable and interesting than most games on this website. For that reason alone, you SHOULD play it.