I haven’t played an RPG in quite a long time and I’m glad I chose this one to ease back into the genre. One of the things I like most about the majority of 8 and 16-bit console games is that I can usually complete them fairly quickly and then move on to something else before things get too stale. This is not so much the case with a lot of traditional RPG titles that emphasize constant slow-paced menu-driven battles. Thankfully, 1995’s Terranigma is a breezy action RPG that only took me about 19 hours to complete at a fairly leisurely pace. The combat is stimulating and the game doesn’t spread itself too thin or take up fifty hours of your life just because it can. I really appreciate that.
Also known as Tenchi Sōzō (“The Creation of Heaven and Earth”) in Japan, Terranigma is the third game in a loose trilogy of Super Nintendo action RPGs from developer Quintet that also includes 1992’s Soul Blazer and 1994’s Illusion of Gaia. The three games don’t share any specific characters or plot elements but they do all include many of the same gameplay elements and narrative themes.
Terranigma had the misfortune to release just as publisher Enix was closing down its North American operations, which makes it one of the relatively few Super Nintendo games to see official release in Japan, Europe, and Australia but not over here. It’s a damn shame because this game is a triumph and deserves more than the dubious honor (along with Seiken Densetsu 3) of being remembered as one of the North American SNES’s fabled “lost” RPGs. Thankfully, it’s easy these days to track down a ROM file (or a reproduction cartridge, if you’re an unrepentant physical media snob like me) and experience this gem for yourself.
In Terranigma, you play as a mischievous teenage boy named Ark (although you can change his default name to whatever you like) who lives in the peaceful village of Crysta, along with his adorable purple-haired love interest Elle. Life is pretty peaceful until one fateful day when Ark breaks his way into a forbidden room in the village elder’s house and discovers a literal Pandora’s Box that he (of course) promptly opens. This causes everyone in the village to be frozen in place by a magic spell of some kind except for the elder, who tells Ark that he must leave the village to seek out five mysterious towers and conquer their various challenges in order to restore the cursed villagers to life. Things escalate quickly as Ark soon discovers the shocking truth that the subterranean Crysta appears to be the last surviving human settlement following some sort of cataclysm that laid waste to the surface of the planet. Each of the five eldritch towers he visits causes one of the planet’s sunken continents to be restored to its former place. These revived continents turn out to be very familiar indeed: Eurasia, North America, South America, Africa, and Australia! Ark soon finds himself in the surface world, where he must serve as the catalyst for the resurrection of life and human civilization as he journeys far and wide across this devastated Earth.
Right away it’s clear that you can’t accuse Terranigma of having a rehashed stock JRPG plot. There’s no evil empire to fight and there isn’t even anything resembling a true villain on the scene until well past hour twelve. Ark’s quest is a slow burn driven by the player’s own desire to piece together the enigmatic plot and is really more about the journey and the plethora of memorable people and places you’ll encounter along the way than the purposefully nebulous destination. It’s very similar to Dragon Quest VII in that sense, although it thankfully avoids that game’s glacial pace and extensive backtracking. Ark is also not the standard “silent protagonist” that you’ll find in RPGs from this era and his wisecracking, devil-may-care attitude adds a lot to the game’s charm. As a whole, Terranigma’s story is completely delightful and I won’t be spoiling it here. If you’re in the mood for a complex, unorthodox narrative laden with challenging themes and a blend of sparkling humor and touching warmth, Terranigma is for you.
The gameplay also doesn’t disappoint, as this game features some of the most nuanced and well thought out combat mechanics seen in an action RPG of its generation. Ark can walk and run in eight directions, unleash five different attacks with his weapon (a spear), and, most crucially, jump. The variety of distinct attacks available is uncommon enough but the ability to jump is what really sets Terranigma’s combat apart from that seen in other action RPGs like Legend of Zelda: A Link to the Past, Secret of Mana, and even Quintet’s own earlier efforts like Illusion of Gaia. You’ll also unlock additional movement options like swimming and cliff scaling through the acquisition of key items during gameplay but these are mainly useful for exploration and don’t impact the combat. Overall, fighting enemies in Terranigma feels faster, richer, and generally more fun than it does in most other games of its kind.
Being an RPG, there’s also the requisite magic system but I can’t say I cared all that much for it. Terranigma’s magic is effective, no doubt, and the various spell animations look and sound awesome. The main issue I had is that you simply don’t need any of it! The game’s difficulty is such that just beating down everything in your way with your weapons is both quicker and more enjoyable. Here’s a basic rundown: You find crystals called “magirocks” scattered throughout the game world. They work sort of like bottles for holding the spells of your choice until you decide to use them. You need to go to a magic shop, pay money to have them filled with magic, and then bring them back for recharging as they’re used. See the issue here? You can either trek back to the magic store over and over to spend money refilling your magirocks or you can just…not, since beating on the bad guys is more efficient and more exciting. Ultimately, I can forgive Terranigma for this rather lackluster system, however. Balancing the magic system in an action RPG seems to be one of the trickier aspects of the design process. Look no further than Square’s Secret of Mana, where the most effective combat strategy involves repeatedly pausing the game to select attack magic from the menu over and over again until whatever you’re fighting explodes. Not exactly the pinnacle of great action. It’s far better for the magic in a game like this to be unnecessary than overpowering.
Terranigma’s final distinctive gameplay element is a bit of a distant callback to Quintet’s own ActRaiser: Town building. Doing sidequests for villagers will actually alter the game world by facilitating technological advancement and international trade. Villages can become towns and towns cities. It’s a fairly minor aspect of the game in that it won’t alter the main storyline or ending but it’s a lot of fun to see the results of your actions and choices take such a tangible form on the world map.
When it comes to presentation, Terranigma is practically unrivalled on the system. Sprites are larger and animations are smoother than they were in most earlier action RPGs, the backgrounds are lushly detailed, and the cinematic cut scenes accompanying the gradual resurrection of the world are easily some of the most elaborate and beautiful ever conceived up to that time. The breathtaking score belongs in the pantheon of all-time 16-bit greats like Chrono Trigger and Final Fantasy VI. It really is that good. The music has that chunky synth orchestra sound that SNES RPGs are famous for and the compositions are soulful and inspired.
There are a couple flaws worth mentioning. As I alluded to earlier, Terranigma is a pretty easy game. That might sound like a plus for some players but I really do think the enemies could have been made just a bit tougher, as it would have bolstered the game’s underwhelming magic system by rendering it a tad more useful. I also got the impression that the game’s best levels were concentrated in its first half, with later dungeons feeling markedly less detailed and innovative.
This is really minor stuff, though. Terranigma is a resounding masterpiece and a must play title. Quintet’s games always had great artwork and music paired with rock solid gameplay but that’s not why I think they’re remembered. No, I think it’s because Quintet was never afraid to introduce big ideas into their games in small ways. Death, rebirth, religion, the nature of good and evil, the paradoxical fragility and resilience of life, the dangers of pride and greed: Quintet didn’t just lecture us about these things, they actually showed us different aspects of them through meetings with unforgettable characters and then left us to draw our own conclusions. They didn’t hold back but they still somehow managed to do it with restraint. They gave their audience credit at a time when games were considered child’s play.
Nothing illustrates this better that Terranigma’s absolutely heartrending ending. I wouldn’t dream of spoiling it here but I will say that it’s the most pitch-perfect bittersweet coda I’ve ever experienced in a game. I actually shed a tear or two and no game has ever made me do that before in my 3.5 decades of play. It’s easily my favorite game ending ever.
This is why Quintet’s body of work will never be forgotten.