There are some other balancing tweaks too. Particularly, in the original version, you could attack enemies, run away, rest, then attack again. The visibility of traps have improved and it includes the automatic movement function that was introduced in the second game. Most non-Japanese gamers are probably the most familiar with the SNES version, which was ported and localized by Koei. The PC versions take place in a window, and in the SNES version, the view has been expanded to take up the whole screen.
The graphics are similar, but drawn at a lower resolution. The sparse cinematics are voiced, and the redbook soundtrack is alright, but not fantastic. The instruction manual also advertised a contest based on your performance at the end of the game. They also began remaking some of their older games, like Vantage Master in , and eventually Brandish in , with the subtitle The Dark Revenant.
The biggest issue with the Brandish games have always been the jerky way in which the viewpoint rotates. But with the game in full 3D, the world now spins smoothly via the L and R triggers. The movement is still tile-based, but it still looks and feels much, much smoother, which in turn makes combat far more manageable. The viewpoint is slightly skewed compared to the straight overhead perspective of the original, but the field of view is about the same. The new graphics are appropriately atmospheric and moody; the new character artwork is fantastic, like the covers to the original games, are closer to Western fantasy art than the Japanese manga designs that were found in the in-game cutscenes.
You can choose between the original PC soundtrack and a brand new arranged soundtrack, which is excellent. The interface is easy to use, and the automap is transparently displayed over the screen, making it easy to navigate. Each of the shopkeepers is unique too — it speaks to the level of detail Falcom put into this.
Also new are casinos, where you can play the Blade card game from the Kiseki series. In short, the technical shortcomings of most of the original Brandish releases were a huge hurdle for enjoying the game for many people.
With nearly all of these issues resolved, it has become much more playable without the need for dramamine, and is easily the definitive game of the series, even though the sequels add many more other features. A variety of well known artists provided works for various versions of Wizardry. Isutoshi, who later rose to some fame for his work on ero manga, provided some art, and Noboteru Yuuki, later known for Escaflowne and Chrono Cross , did some of the covers too, including the PC Engine game.
Jun Suemi, who illustrated many pieces for the Japanese Wizardry titles, created a few pieces, including the one used on the PSP cover. This entry is part 1 of 4 in the series Brandish. Only half of the seventh Ruins area is actually explored. The other half can be reached with said walk-through-walls code, and is glitch-free, but is entirely empty. More empty space. Only the central part of the final section of the Ruins is normally accessible, with the north and south areas being devoid of content entirely, yet still existing in a fashion.
At one point during the ending montage, Varik is shown traversing a long, narrow hallway, jumping over pits, before finally landing in a hole right in front of a treasure chest. Unlike most of the areas shown in the ending, however, this hallway is completely inaccessible during normal gameplay.
Nevertheless, it does exist, in the upper left corner of the Tower's fifth floor. There are no doors, breakable walls, illusion walls, or warp panels, and you can't fall into it from above, so the only way in is through a walk-through-walls code.
Strangely, despite being seemingly just for a cutscene, this room is partially active: the treasure chest which is itself unobtainable without more wall-walking contains a whopping ten Gold Bars, and the second pit from the top drops you down to the fourth floor. Another instance of a tiny room behind a shop, this time in basement 10 of the Cave. Oddly, this one is not right behind the door, although the door is visible nearby. The last of the "back doors", this one is behind the sound room near the very end of the second part of the Dark Zone.
The Fortress Backbone, a tiny optional area where you can fight the Bezalhydra and claim the game's best weapon, has two long, narrow hallways running parallel to the boss room. They're both completely empty, and their purpose is unknown. Another instance of an ending cutscene area existing out of bounds on another map.
The long, dark hallway Varik walks down after beating the final boss can be found on the left side of Berimya, site of the final battle. The hallway itself actually uses the Dark Zone tileset during the ending scene rather than the Berimya tileset, resulting in a rather glitchy look if visited via cheats. Interestingly, the door at the very end is actually depicted on the minimap.
The opening theme was completely changed for the North American release. While the exact reason for this is unknown, it may relate to a case of presumably accidental copyright infringement. While the exact sequence of events as well as how the infringement happened can only be speculated about, what is known is that the North American release of the SNES port debuted in February with a brand new opening theme, and the enhanced "Renewal" version released for PC in October featured yet another new theme, "Prologue".
The latter would eventually be arranged into "Tradition" for the first part of the PSP remake's opening, as well as weaved into several other song arrangements in the title. Meanwhile, the composer of the new SNES opening remains unknown, and it has never been used again. If you appreciate the work done within the wiki, please consider supporting The Cutting Room Floor on Patreon.
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