Games You Slept On: Shin Megami Tensei Devil Survivor

No GravatarThe Nintendo DS was an underrated system. Cue backlash, but hear me out for a moment: in an era with flashy onscreen graphics and multiplayer gameplay, the DS stood alone with its often “basic” displays and “restricted” single-player campaigns. And, predictably, there were a great many games that flew under the radar of gamers. This is the tale of one of those games, which appeared and vanished quickly, while still gathering praise and helping add to the prestige of the series with which it was aligned.

This is the tale of Devil Survivor.

Devil_Survivor_by_MachoMachiDevil Survivor arrived on scene at the perfect time: early Summer 2009, right after the release of Pokemon Platinum (and at the time when the casual Poke-players would be seeking something new), near the beginning of a season perfectly suited for portable gaming. Part of the prolific Shin Megami Tensei series, this game was a solid representation of the visual novel/tactical battle system pioneered by Atlus throughout the previous decade or so. Mixing elements of strategy, foresight and “common sense,” it brought players into a world on the brink and asked “what would you do to survive?”

Devil Survivor was an apocalypse story in the truest sense of the word. Rather than portraying the downfall of society at the hands of zombies/aliens/communists/etc, the game chose to “pull back the veil,” and reveal to a select few the “reality” behind out world: angels are calling the shots and maintaining a semblance of order, while demons seek to rebel and overtake the masses using mankind as a nexus point for their plots. Humanity, caught in between their eternal war, is given seven days to comply with the angel’s commands, or the city of Tokyo will be completely destroyed.

While borrowing heavily from Christian symbolism and storytelling, the game manages to frame the topic in a context that leaves religion out of the debate. Rather than bear witness to the coming doom, a select few of those humans choose to do something. Cults devoted to the idea of human liberation preach the transcendental power of humanity as a whole and warn against both domination and depravity. Certain demons, despite their “unholy” origins, choose to work alongside humans to spare the destruction, while angels appear petty at times, reveling in their “power” while the world around them slowly decays. Long before Supernatural decided to “humanize” the warring factions of good and evil and throw shades of gray into the cosmic struggle, Devil Survivor was portraying both sides strengths and weaknesses as part of an expansive “morality play” and forcing the player to call the shots on how the story ended.

shin-megami-tensei-devil-survivor-overclock-3ds-screenshots-10The concept of survival was a central point to the entire experience, as players were forced to deal with mobs of panicking humans, discovering shelter for the night, acquiring food and even looking for a power source at one point, all while society crumbles around them. The daily “countdown” towards impending doom added to the tension of the story, facilitating the need for “smart” decisions, rather than just reacting to the situation at hand, a tactic which would more than likely lead to death or derailment of plans/plots/initiatives. While not as urgent as a survival horror game, there was a distinct emphasis on consequences and foresight built into the plot, which rewarded astute gamers, and added stress to impulsive choices.

This emphasis on storytelling is one of the hallmarks of the Shin Megami Tensei series as a whole, and Devil Survivor expanded upon narrative and character interaction throughout the “seven days” of gameplay. There were numerous story lines in play, rooted around the game’s central characters, and even more around some of the “supporting cast.” Deciding which path the game took often required quick thinking, time management, and attention to detail, for some of the alternate stories hinged on how certain interactions proceeded, how often specific characters were used, what time of day it was, and how well the Protagonist sympathized and related to the individual stories of his friends. One slip up could close off an entire story line from that play through (especially those which were time-sensitive), and often that deciding moment would not be noticed until hours later. Finally, unlike its sequel, which forced the player to choose which side he was on, Devil Survivor elected instead to keep the main plot of the game static: the alterations to the plot rarely changed the outcome, just the path the story took to get to the outcome.

auctionMechanically, Devil Survivor was fantastically executed. I often called this game series “Pokemon with demons,” and for good reason. Unlike Persona games, which rely on luck and savvy fusing skills, or previous SMT games which needed negotiations to win demons over to your side, Devil Survivor tackled the issue by instituting an auction system. Money accrued during gameplay was used to enter into a “demon auction” against computer controlled AI “characters,” who would bid for the rights to contract with demons offering their services online. Quick bidding and successful manipulation of the system would net powerful demons at a low cost. Failure would mean loss of a potentially powerful ally forever.

mqdefaultWhile there was a buyout system which circumvented the bidding wars, it was often more cost-effective to analyze strategies and find ways to outbid the computer, thereby winning powerful new demons to your collection, which could then be fielded or fused within the Cathedral of Shadows to create more powerful fare. Players were encouraged to keep checking the auctions after each battle, since new demons would appear frequently, as older ones would eventually “experience out” of viability. This mix of fusion and “negotiation” proved to be as addictive to players as wandering the tall grass, because battles were often challenging and required a steady stream of “the best” demons to ensure victory.

Battles were both simple and complicated affairs. Borrowing from the tactical RPGs which Atlus is known for, combat removed the player from the interactive world and placed him on a massive grid system, facing off against wild demons or opposing summoners. Strategy took the form of choosing not only the appropriate demon, but also having a working knowledge of the demons skills and “specialties.” Certain demons had the ability to move quickly, or multiple times. Others could attach twice. Others could attack from long range. Some could heal, or fly, or teleport. It was very easy to lose sight of these special skills in the heat of combat, and thereby discover your party has been maneuvered into a tight spot from which escape was unlikely. There were many-a-battle where enemies with huge hit boxes could wipe out an unprepared party before they could move within range to strike.

beelzebulDevil Survivor was a frustrating experience for the unprepared. While the learning curve was hardly an issue, the difficulty would abruptly ratchet up several levels in between encounters. Time-sensitive events would vanish swiftly, and frequently never pop up again in the “daily log,” thereby restricting (or even breaking) carefully planned course of action. Certain bosses were quirky and had merciless AI and “random number generators,” which could spell doom for even the best-prepared party. Even grinding was unpredictable and relentless in its encounters. And yet, it is a testament to the game’s appeal that one would not wish to stop playing. Even after losing a hard-fought, twenty-plus minute boss fight in the final moments due to an unanticipated sequence of strikes, the player would simply reload a save and go right back, taking what they learned and hopefully avoiding it the second (or third, or fourth) time around. Maybe a tweak to character abilities, or a swapping of demons/party members, and it was back into battle. It made the eventual victory both sweeter and more satisfying, knowing it was attained through strategy and effort, and not just overpowered steamrolling.

devil survivor 2It might be a testament to the success of the game that you rarely see copies for sale. It sold fairly well, maybe not a hit in most people’s opinions, but certainly enough to warrant both a “fancy” 3DS upgrade, and “cult classic” status. It vanished from store shelves a few months after release, and even the used game sections rarely-if ever- see copies in them. Like many of the other SMT titles, this one served to satisfy the fan-base, but also made fans of many newcomers, myself included. While it’s a radical departure from the wildly popular Persona series that many casual gamers recognize, it was also familiar enough to have solid appeal. The replay value was extremely high: New Game + mode carried over demons and money, which made the followup game sessions ridiculously easy; the existence of multiple endings, “exclusive” fusions, and optional bosses prompted repeat plays just to see how strong one could become.

There was a sequel released in February of last year, also for the DS, which carried over many of the aspects that made this game such a success. And on it’s own, Devil Survivor 2 is as much a “Game You Slept On” as it’s precursor. But for this gamer, the first title will always be the special one. It opened the wide world of Shin Megami Tensei on a platform that seemed perfectly suited for casual play, while not losing any of the addictive nature that other SMT games hold. It was because of this game that I sampled Persona, which has become its own monster in my gaming life. And while I haven’t played it since those three hundred or so hours back in 2009, I can still recall vividly how much enjoyment the game carried with it. That’s a rarity these days.

About - Charles has written for ROG since 2010. An anthropologist and culture lecturer, he has previously been a featured panelist at Anime Boston and Otakon, the first educational guest at Anime USA, and frequently speaks at cons up and down the East Coast. He received his MA in cultural anthropology in 2011, and currently writes on convention culture, sacred culture in media, otaku identity and mythology.

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