Special note: Due to the story-heavy nature of Steins;Gate, there are a lot of spoilers, both major and minor, contained within this review. Since conspiracies are an important theme in this game, I’ve “redacted” said spoilers. To see this text, hover your mouse cursor over the black bars.
Usually, when I preorder a game, it’s for one of two reasons: I want to play it right away (the StarCraft IIs of the world) or I don’t necessarily want to play it right away, but still want to support it (the Bravely Defaults of the world). Rarely have I preordered a single game to support an entire genre, but that was what I did when it came to JAST USA’s localization of the Windows port of Steins;Gate (it was originally an Xbox 360 exclusive in Japan): I did it in the hope that we might see more English-translated, non-hentai PC visual novels in the future. Steins;Gate is hardly the first such product, but it’s one of the most important ones we’ve seen in some time, or at least since Ever17 and/or Higurashi: When They Cry. It’s also the second and most successful of Nitroplus and 5pb.’s “Science Adventure” standalone VNs (released after Chaos;Head and before Robotics;Notes), and the first to be officially localized in English. So, in the end, does Steins;Gate live up to the hype?
As Okabe peers in at something, Daru ponders existential matters.
This visual novel takes place in modern-day Akihabara, the Tokyo neighborhood famous for its electronics and anime/game otaku stores. The narrator and POV character is one Rintaro Okabe, a college student who spends a good deal of time as his alter ego, Hououin Kyoma, a self-described mad scientist on the run from “the Organization”. This is all in his head, of course. Along with his classmate Itaru, aka Daru, and childhood friend Mayuri, aka Mayushii, he spends his summer vacation running the Future Gadget Laboratory, basically an apartment hangout above the Braun Tube Workshop, a store specializing in old CRT television sets. The “gadgets” they make in the “lab” are, for the most part, laughable failures, but then something bizarre happens one afternoon. This mysterious event leads to the lab’s fourth member, a prodigy and real scientist named Kurisu, joining the team, as well as further investigation into the latest gadget, the PhoneWave (name subject to change), which was originally intended as a remotely controlled microwave but may in fact be some sort of time machine.
As this is a traditional VN, there is very little interactivity. Apart from the True End, the routes to the endings are fairly straightforward, and other, smaller, in-game decisions lead to extras and achievements. All of the player’s actions are not carried out through the expected dialogue trees, but are determined by what is done with Okabe’s cell phone, which can be whipped out at almost any time and interacted with. Aside from replying to emails and (sometimes, rarely) talking on the phone, the player can change the wallpaper and ringtones, and, amusingly, access the Future Gadget Lab’s website, which opens in your computer’s default browser. Of all of the phone’s functions, emailing is the most cumbersome. You can answer emails by clicking on select phrases within them, but you’re locked into your choice and can’t go back to see how Okabe would reply to the others; in addition, these replying options seem to disappear after a set amount of time has passed.
What’s more irritating about the phone menu is that I discovered it purely by accident. The phone menu opens when moving your mouse cursor all the way to the right, or by pressing the “P” key. Neither of these moves is mentioned in the pause menu, which I also just happened upon and contains information on what all the other controls are. Note that at the time, I was playing the download version of the game, which does not come with a manual or even a readme file (the Limited Edition comes with a printed manual; not sure about the standard physical version, which hasn’t come out yet). As the phone menu is the main gameplay mechanic, this is a major oversight; a rudimentary control/hotkey guide accessible through the game’s start screen, or even just as a separate text file, would’ve greatly improved my initial experience. ETA (05/06): I’ve since noticed that that there is a PDF manual for the download version, though it has to be downloaded separately from the rest of the game’s files.
The Tips menu contains all sorts of useful info, like the definition of “kitteh”.
Aside from the phone menu, there’s a handy “backlog” feature, which is a record of the preceding narration and dialogue. Unfortunately, character names aren’t listed alongside their dialogue (you can hear their lines again, though) and saved files start with blank backlogs after loading them up, but despite these issues, I relied on this feature quite a bit. Other menus include “Tips”, an exhaustive glossary of technical, otaku, and other terms that gets filled out as one plays the game, standard pages for overall progress and achievements, and CG still and movie galleries that are unlocked upon reaching an ending for the first time. There are also two types of save files, quick saves and regular saves, and a total of 160 save slots between them; given that this game is roughly 40-50 hours long if you go for just one ending, having all these slots is more a necessity than a luxury.
The character graphics are designed by huke, the popular illustrator who created Black Rock ★ Shooter, and are unmistakably his creations: white circles in the irises, sharp chins, tiny mouths, and lots of dappled texture patterns. This art isn’t perfect; sometimes, the anatomy looks a little wonky, especially in a few scenes featuring Tennouji, aka Mister Braun, the muscular manager of the CRT shop. There is also a technical glitch in at least one spot when a character is zoomed in on, where the mouth animations don’t quite line up with the still face. The backgrounds fare better, capturing both the real-life and imaginary settings quite well, and include a few arresting and memorable images. The localized text is well-written—respectful of its source while being accessible to English speakers—and contains only a handful of grammatical errors. It’s worth noting that this localization uses a mix of real names (for example, the otaku stores Animate, Toranoana, and Mandarake) and fictionalized ones (Starbecks, Dr. P, etc.). I’m not sure if this is equally true for the Japanese original, but it wouldn’t be surprising if it is. As for the music, it’s the type of bordering-on-generic stuff typical of an above-average anime; appropriate but not particularly distinctive, in other words.
Uh-huh, Okabe, whatever you say…
And speaking of which, both the story and the characters are anime as hell. Okabe starts off as the most unusual character in the ensemble, but later follows a path of personal growth, much like heroes in other Japanese media. Mayuri is a childlike airhead and cosplay seamstress who is mostly endearing, occasionally irritating, and sometimes shrewdly observant. “Super Hacka” Daru accurately describes himself as a “gentleman pervert”—he gets along respectfully with “3D girls”, but loves the 2D ones in eroge and can find moe in anything, including the Large Hadron Collider. Kurisu is level-headed most of the time, logical almost to a fault, and a closet Internet Person. Then there’s male shrine maiden Luka, catgirl waitress Faris, cell phone addict Moeka, and Braun Tube Workshop part-timer Suzuha, rounding out what would be a harem in nearly any other game. The harem/dating sim elements are made much more obvious in the second half of the game, where large chunks of backstory about most of the female characters is revealed, and deciding what “route” to take to what ending essentially boils down to what girl to choose. There are some other characters, but aside from the ones named above and the previously mentioned Mister Braun, they play only minor roles.
All of these characters are key participants in a conspiracy-heavy story inspired by the real-life tale of John Titor, an alleged time traveler from 2036 who appeared on an internet messageboard back in 2000. The main villain is SERN, a fictionalized version of CERN, the famed nuclear research organization. In Steins;Gate, it turns out that SERN has been researching time travel, and it’s this research which leads them to take over the world in 2034. Still, despite his anxieties over SERN’s methods and secrecy, not to mention his own worries about affecting the past, Okabe cavalierly encourages his friends to fulfill their personal wishes using the PhoneWave (name subject to change) after his first successful controlled experiment, which involved winning lottery numbers and was one in which he seemingly becomes the only person to have remembered what the world was like before the past was altered. This carefree approach to the Lab’s time travel experiments, in which brief emails, called “D-Mails”, are sent to the past, contrasted sharply with the scenes that had come before, and seemed to me to be somewhat out of character for Okabe.
After all is said and done, it’s revealed that Moeka is an agent of SERN’s who, during a raid of the lab, kills Mayuri. Conveniently enough, this happens shortly after the completion of the PhoneWave (name subject to change)’s successor, the Time Leap Machine, which can send a person’s memories (and, as it quickly becomes obvious, their consciousness) up to two days into the past. Okabe uses the Time Leap Machine to try and prevent Mayuri’s death, only to find himself failing every single time. Eventually, he learns that in order to escape the “worldline” on which Mayuri dies, he must re-obtain the IBN 5100 computer that he had borrowed several days ago—which had disappeared from the lab during the fulfillment of one of his friends’ wishes—and use it to hack into SERN and delete the first D-Mail from an encrypted database. Naturally, this means undoing all of the effects of the successful D-Mails that his friends had sent.
The game’s CGs are often composed from dramatic angles.
In addition to narration, much of the VN’s actual text consists of dialogue laden with technical explanations and quantum physics discussions, broken up with lighthearted chit-chat and geeky, and sometimes racy, bits of humor. There is also plenty of drama, especially when it comes to the “wishes” that were fulfilled by the D-Mails and Okabe’s having to decide whether or not to retract them. Some of the game’s text drags on at times, but other sections move along at a good clip; one part that I found myself surprised to be engaged by was a card game tournament, where the rules and moves were described in great detail. The characters themselves are mixes of standard anime/manga archetypes, but when more is learned about them, they become somewhat more nuanced.
There are some small inconsistencies here and there, but, unfortunately, the culmination of the story contains the most gigantic plot hole in the entire game. It turns out that, for some weird reason, deleting that initial D-Mail from SERN’s database would return the world to the past in the Prologue, in which Kurisu died. From a practical standpoint, this makes no sense whatsoever, not least of which because SERN’s D-Mail is a copy of the original sent from Okabe to Daru, and, more importantly, in order to delete it, no time travel is involved. On the date on which Okabe has to decide whether or not to delete the D-Mail, it has existed on that database for about two weeks; it seems like the idea that deleting it would mean that “it never existed” is being taken far too literally here. That said, in a way, it’s rather cheap and dishearteningly silly to have to decide between the very lives of either Mayuri or Kurisu (and having the future be either a nuclear wasteland or a SERN-ruled dystopia, respectively, though these concerns aren’t nearly as important to Okabe) when the mechanism for doing so makes no logical sense whatsoever. For the record, when it came to this point, I chose to save Mayuri and kill Kurisu… and yes, according to the game, the past was changed and Kurisu went back to being dead. There’s also the matter of the second successful D-Mail, the lottery one, which wasn’t only not cancelled, but was largely forgotten about altogether.
These end-game events led me back to a thought I had during the prologue: is Rintaro Okabe a reliable narrator? Sure, the Hououin Kyoma alter-ego is pretty much dead by this point, but after embarking on the Mayuri route, and not long before the SERN database deletion was carried out, Kurisu left Akihabara to fly back to the United States. That said, it lessens the impact of her dying, or “dying”: either way, Okabe’s memories would be pretty much all he had left of her.
As of this writing, I’ve only seen Mayuri’s ending and not any of the others, though I might go back and at least check out Suzuha’s, since she ended up being my favorite character. The fan book which came with the Limited Edition contains, among other things, plenty of spoilers for all of the endings, including hints for actions that need to be taken to reach them. It makes for interesting reading if you, like me, have played all the way through and have reached one ending, but don’t have a terribly strong need to see any of the others. However, if you have the LE and don’t want anything spoiled, don’t so much as flip through it until you’ve seen all the content you want to see.
Steins;Gate is flawed, and I’m still not completely sure if its high points make up for the troublesome final act, but thanks to its endearing characters, solid production values, and the occasional surprise (which was always welcome, since thanks to some heavy-handed foreshadowing, some major revelations were ones I had correctly guessed about well ahead of time), most of my experience was good. It’s not about to usurp Last Window or the second Ace Attorney from the lofty positions they hold in my own personal visual novel rankings, and it is nowhere near as good as Ghost Trick, my favorite adventure game of any kind, but Steins;Gate has its merits. In the end, my main hope for this game hasn’t changed: that as a high-profile ambassador for PC visual novels in English, it does well enough to ensure more and better such titles to be localized in the future.
Ever since late January, Shin Megami Tensei: Persona 4‘s been eating up most of my gaming time. I finally beat it yesterday, but am going to put off writing about it for now (and I will write about it, promise) to get some reviews out of the way. Like the previously reviewed Paper Mario: Sticker Star, these are all games which I played when I was not preoccupied with Persona 4.
Before that, though, I just want to note that the links page has been updated for a couple of friends’ sites and a Let’s Play. I also want to note that the Kickstarter for “Frog Fractions 2″ is currently going on and that you should pitch in, if you haven’t already. That’s all for now, so let’s get to it…
After beating Sticker Star, it would seem odd that my next “secondary” RPG would be another one based around platformer mascot characters, but that’s what it was. Sonic Chronicles, which is perhaps most famous for being made by BioWare, is the first and only RPG in the Sonic franchise. Given the rocky history of Sonic games and the unusual choice of developer, I both wasn’t quite sure what to expect and didn’t keep my hopes up. This proved to be a wise tactic.
Sonic Chronicles follows the title hedgehog and his friends on a quest to rescue a kidnapped Knuckles from a group called the Nocturnus, and eventually, save a whole lot more. It uses some prominent bits of Sonic lore in telling its tale, and many series regulars make appearances, including Amy, Shadow, Big, and Cream. There are dialogue trees sprinkled throughout, though they don’t really affect what direction the story takes, as well as a sprinkling of humor and pop culture references (the Soundgarden one was the most out-of-left-field of the latter). Aside from some bits of dialogue that could’ve done with much tighter editing, and every single human NPC being a white male of some sort, the story works well enough, both for the Sonic universe and in general.
However, the game controls in exactly the way one would expect from a big-name developer who had never made a DS title before: every action requires touchscreen input, including starting the game. There are only two actions that have button-based alternatives (the field abilities and opening the menu), but if one has to use a stylus for everything else anyway, there’s no point in using anything else. This touchscreen gameplay is fine for the most part, but gets tricky when using the special POW abilities during battle, all of which require precise timing. Most POW moves will thankfully let you do at least some damage if you mess up the inputs, but healing and other support actions will fail outright in such cases. This being the case, the support characters are pretty much useless until one obtains a certain very rare Chao which lets you bypass the timed inputs—and even then, it’s not guaranteed that you’ll ever be able to get this Chao, as which ones hatch from what eggs is apparently random.
The rest of the game is a mix of polished and clunky. For example, while some of the music sounds fine, albeit generic, other pieces are dinky and an embarrassment to the franchise; one of these happens to be the only piece that I recognized as being from a previous Sonic game, a bare-bones cover of “Diamond Dust Zone, Act 1″, originally from the Genesis version of Sonic 3D Blast (what’s odd is that Richard Jacques is in the credits, presumably for this piece, when, to the best of my knowledge, it was actually written by Jun Senoue). The graphics fare better, though the 3D character models are kind of ugly when seen head-on, and the POW move icons are a bit more pixelated and jaggy than they could be. Taken as a whole, it’s an odd, quirky entry in a franchise that’s no stranger to the occasional odd, quirky entry. It might be worth a look if you’re a Sonic fan and/or into such curiosities (I fit both criteria), but it’s hard to recommend as a good RPG.
Speaking of playing similar games so close to each other, my next secondary title was a high school-based life simulator, much like the non-dungeony parts of Persona 4, but such was my mood when I started up this doujin game. Published by Capcom, localized by Nyu Media, and developed by 773, Cherry Tree High Comedy Club puts the player in the shoes of Miley, a high school student who dreams of becoming a professional comedian. To help achieve this dream, she has set out to recreate a school club that two alumni, now famous comics, were originally members of. Unfortunately, she needs a minimum of five club members in order to make it official, and she only has herself and her roommate. Thus, the goal of the game is to recruit those last three members before the deadline for new clubs closes.
The format should be familiar to anyone who has pursued Social Links in Persona 3 and/or 4: when not cultivating her knowledge of conversational topics (ranging from pets to politics) through reading or other activities, Miley talks to people around town and nurtures friendships with a specific subset of them. If she becomes close enough friends with any one of the six available candidates, they will join the club. Carrying out your search for club members day to day in this way can be repetitive after awhile, but given the format, it’s to be expected. It’s not a very long or difficult game, though some strategizing is required. I should also note that recruiting all six candidates seems to be impossible for a first playthrough; fortunately, there is a New Game Plus mode.
The music and story are bright and cheery, as are the graphics—save for some issues with text on characters’ clothing when their portraits are flipped—and the UI is very well designed. However, the one part of the game that stands out in a negative way is the localization. Although the writing itself is fine, typographical errors frequently appear throughout the dialogue, and I even caught a misspelled word in the user interface. It’s clear that this game would’ve greatly benefitted from a thorough round of copy editing/proofreading. Aside from that, there’s a quirk to this localization that is peculiar to Capcom-published visual novels: it’s rewritten to be set in the United States. Aside from the Westernized names, two noteworthy changes are that a certain pair of foreigners are now from Sweden instead of Canada, and the town’s shrine is explained as being a gift from Japan. Granted, this is not usually a major issue with me, but things like the shrine, not to mention the castle visible from the town’s park, are so obviously Japanese that one wonders why they even bothered with Americanization in the first place. These changes have also led me to wonder if the game itself (and by extension, worryingly, the gameplay) was altered so that there’s no school on Saturday in the English-language version, but I couldn’t find anything on 773’s site that seems to indicate this. Either way, the technically inept localization is a disappointment compared to the rest of the game, which is an enjoyable, lively diversion.
Not long after starting Miley’s adventures in club recruitment, I got The Itch and started up Hammerwatch, one of the few light-on-plot hardcore dungeon games left in my Steam backlog. It was one of the first things I had ever voted for on Greenlight, but I didn’t get around to actually picking it up until the last Steam Holiday Sale. After playing it, I’m kind of glad I didn’t pay full price.
The story is very simple: while escaping from a castle with your fellow adventurers, you alone get trapped and have to find your way out. The game is divided into four areas of three floors each. Each area has a boss, as well as minibosses, regular enemies, enemy spawn points, loot, treasure chests, traps, upgrade and potion shops, and secrets—lots of secrets. Most of these secrets take the form of hidden areas that can be found by attacking the right wall, pushing the right buttons, or solving puzzles, and lead to money, “vendor coins” (special items that lower the prices at shops), extra lives, and strange planks. Unlike most other games with such secrets, finding these goodies in Hammerwatch is practically required if one wants to make decent progress through the game. While I appreciate the focus on discovery, it seems a bit misguided to me to have so much of the game’s accessibility be dependent on what should be optional.
Aside from that, the castle floors are massive and very well designed, though having to go through them again and again after failed playthroughs leads to a sort of boredom settling in. As for the enemies, although some interesting things are done with them from time to time, for the most part, they’re pretty brainless, and will just swarm straight to you once you’re in their line of sight.
There are four character classes to choose from (all male, which is a bit weird), which are all well-balanced with their own distinct strengths and weaknesses. Although I tend to gravitate toward melee classes for these types of games, after trying out all the classes on the Medium difficulty, I ended up beating Hammerwatch with the wizard, whose basic fireball attack struck the right chord with me. Playing any one of the classes is an exercise in repetition, though; no matter which class I was, I found myself using very similar strategies on most of the regular enemy types throughout the game.
As far as aesthetics go, I have no major complaints aside from an iffy loop point in the background music. The options for graphics, controls, etc. are very good, although controller support is limited. Hammerwatch also has a co-op multiplayer component and modding tools, which sound promising for anyone who’s into those sorts of things. However, if you’re like me and want a solid single-player dungeon crawler first and foremost, this isn’t bad, but you could do better.
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Xenogears is one of those games that I had long been curious about, but didn’t want to play, both because and in spite of its reputation. I didn’t like Xenosaga Episode I: Der Wille zur Macht, mainly due to its sedate dungeons and overlong, poorly-paced cutscenes, and didn’t relish the thought of slogging through its predecessor. However, at the same time I wanted to know why Xenogears has commanded such attention. Therefore, when a new Let’s Play of the game by The Dark Id appeared at the Let’s Play Archive, I dove right in.
"All shall be mocked accordingly..."
It turns out that I had made the right decision. Seemingly every new dungeon, rare as they are, is described as the worst in the game; the story has some interesting ideas but is needlessly complicated, poorly plotted (a good example: that old JRPG trope, the battle tournament, is used as a major plot device twice), and did far more telling that showing; and from the looks of it, the staff had just about run out of money when it came time to work on Disk 2. The Dark Id’s humorous asides, especially the ones involving sandwiches and/or Citan Uzuki’s dickery, plus his astoundingly thorough analysis of the game’s quirks, made all this the more digestible; I’m sure I would’ve experienced Chrono Cross levels of rage if I had played this myself.
This Xenogears Let’s Play is easily the longest one I’ve ever read, and took me some time to get through. Not long after wrapping it up, I decided to play a new game. I’d already finished with Rune Factory: Tides of Destiny and given up on the original Tropico after finding it a bit too difficult, and not the fun kind of difficult, either. Also, I wasn’t in the mood to pick up Sonic Colors or Pokemon White again. There was that damned-cute-moogle-fest Final Fantasy: Crystal Chronicles, which I was (and still am) playing co-op, but I needed a new single-player game. So, the new game I played? Bayonetta.
For the next three days, I found myself immersed in the closest thing to a masterpiece I have played in the action game genre. Bayonetta is marvelous, with slickness, humor, and outrageousness in abundance. The title character is a strong, sexy, and ridiculous gunslinger and a great follow-up to a certain other beautiful mixed-race hero from an earlier game by the same director. Speaking of which, there are several homages in Bayonetta—some more subtle than others—to director Hideki Kamiya’s previous works, to certain classic Sega franchises, and to games that have nothing to do with either. My favorites of these made me absolutely giddy as this already awesome game got even better. In general, there is so much love put into Bayonetta—love of the heroine, her world, the action, and of video games themselves. I don’t know if I’ll ever experience another game like this again.
The next game I played only took me two days to get through, but has a much longer title: Penny Arcade Adventures: On the Rain-Slick Precipice of Darkness, Episode One. This was one of several games I picked up during this past December’s Steam Holiday Sale, and more or less on a whim at that. The game itself plays a bit like a weirdly balanced JRPG with notes of graphical text adventure and that unmistakeable Penny Arcade feel. It was all right, and I’m looking forward to playing Episode Two sometime soon, in part because one of my favorite PA characters, Charles, makes an appearance.
After Rain-Slick Precipice, Episode One, I decided to delve back into the world of Caribbean island management—but via Tropico 4 this time. The campaign this time around is a long one at twenty missions, but once I got to a certain point, the previous starting islands began to make repeat appearances. This was a little disappointing, as were the moments when the sound would stop during a cutscene, or the one time during the final mission where the game crashed, or the few other tiny annoyances presented themselves, but I was still engrossed for a good two weeks. In many little ways, it’s much improved from Tropico 3, and I ended up spending more time playing it than I do with a lot of JRPGs. I wrapped up the campaign this afternoon, so now I’m going to step back from it for awhile and catch up on just about everything I’d been neglecting in the meantime, such as, well, this blog…
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It’s a new year, which means the annual status report on my backlog. I would’ve had this up sooner was I not waiting on Shin Megami Tensei: Strange Journey to arrive from Play-Asia. This was one of seven(!) console and handheld games I ordered for myself shortly before the New Year. Then there’s Sonic Chronicles, purchased at Best Buy after Christmas, plus a not insignificant number of computer games purchased during Steam’s amazing Holiday Sale. All this plus my preexisting Pile of Shame adds up to a mountain of games to pick and choose from in 2012.
What have I gotten myself into? DX
My DS backlog has become particularly large with fourteen entries, at least half of which are RPGs. The Xbox 360 and PC piles have grown some as well, as has the Wii one, which was nonexistentthis time last year. The GameCube stack is unchanged, and the PS2 one has shrunken, but only slightly. All in all, the number of console and handheld games this year comes to thirty-five; add in PC/Mac, and it’s closer to fifty, which is more than double the tally from last year.
This growth, particularly on the DS side, was largely fueled by my wanting to pick up certain out-of-print games before they became impossible to find. There’s also the matter of my not being able to beat many games last year, thanks to certain real-life factors. Therefore, my goal this year is to beat at least twenty-five games, which would be a marked improvement from last year’s seventeen.
Here are my must-play games for 2012, in no particular order:
Shin Megami Tensei: Persona 3 FES – Now that Rogue Galaxy has been beaten (and thoroughly enjoyed), Persona 3 is the candidate best-suited to fill its shoes as the Game I’ve Had in My Backlog Since Forever That I Really Should Play.
Half-Life – As was the case with Halo, I feel that I ought to play this FPS.
Tales of the Abyss – I think I’m about due for another fun Tales experience.
Last Window: The Secret of Cape West – Yet not before replaying Hotel Dusk.
Soul Nomad and the World Eaters
Dragon Quest VI: Realms of Revelation
Professor Layton and the Curious Village
The Legendary Starfy
Going by previous backlog posts, I’ll probably end up playing somewhere between a third and half of this list, and one or two games will make repeat appearances on next year’s. We’ll see how it goes.
Just added Rune Factory 3 to the ol’ backlog this week. Can’t wait to dig into this latest localization in my beloved hack-and-slash meets Harvest Moon series, but it’s going to have to wait until I’m done with Etrian Odyssey II‘s main quest—which will be very soon, if all goes well. Maybe Eternal Sonata, too. Can’t be playing too many RPGs at once.
Even with the new addition, my backlog’s looking pretty good. Looking at the pic I took in January and comparing it with the current stack, it’s noticeably smaller: by eight game cases, to be precise. I’ve only beaten half of my 2010 Must-Plays, though, and will likey have room for just one more before year’s end; I’m currently leaning towards Tales of the Abyss to fill that slot. Then, there are all the games that have been/will be, coming out this season.
Rune Factory 3 was my last “must preorder” of the year, but there are many more I’d love to get at some point. Kirby’s Epic Yarn is chief among these, of course, but Epic Mickey looks really good, and recent positive press for Sonic Colors have renewed my slight interest in that game; on a similar note, Goldeneye‘s reviews have got me interested in that title at all. Even the new Super Mario All-Stars collection is pretty tempting. Strange that the Wii has so many top-notch games this holiday season, but the only reasons I have to complain are time and money. Otherwise, I’m happy to see all this Wii love.
Also, what's up with the SyFy Kids branding?
There’s not really anything left for me on the DS front until next year, when I’m looking forward to Ghost Trick, and awaiting US release dates for Ace Attorney Investigations 2, Dragon Quest VI, and (hopefully) Dragon Quest Monsters: Joker 2. The same goes for other platforms: Portal 2 (it would be crazy not to play this) and Duke Nukem Forever (it would also be crazy not to play this, but for obviously different reasons) on PC, Rune Factory Oceans on Wii, and… I can’t think of anything off the top of my head for 360. Then there’s the sequel to my favorite Wii game, de Blob: The Underground, which I only just learned recently is multiplatform like whoa, and have been, since its unveiling, incredibly skeptical about, for gameplay-related reasons.
de Blob 2‘s presence on non-Nintendo platforms seems to be a symptom of the motion control onslaught that’s been happening as of late. Sony’s PlayStation Move isn’t something I’ve followed all that closely, but I haven’t heard much bad about it. Kinect is a different beast altogether—even though I don’t plan on getting one, I have been curious about this controller-free device. Microsoft’s thrown a lot of money at marketing the thing, but at the same time, there’s been this caginess, first with the price, and more recently, with the review embargo, which was only lifted once it went on sale. Given the few reviews I’ve read, it’s not surprising: Kinect was made to be divisive. It does some things amazingly well, but lacks in other key respects, and the general takeaway is that it’s an amazing but unrefined bit of technology, plus you need a lot of space just to use the thing. Me, I’m still skeptical about what the Kinect holds in store for future games that aren’t Dance Central sequels. The Wii and the Move are both capable of sophisticated types of motion-enhanced gaming (my favorite being first-person games—finally, precision that can rival a mouse!) and can offer solid experiences with simpler ones because they involve controllers. Microsoft’s early investments have paid off very well before, but it remains to be seen whether this will be the company’s latest success, on the scale of Xbox Live.
In the meantime, there’s a shit-ton of games to play, catch up on, and keep an eye out for. Just like last year, it’s a great time to be a gamer, even with those ever-present backlogs.
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My lazy ass has taken up fanart again, hardcore. I haven’t drawn much in awhile, and needed to get back into it, so I dove into some pieces that I’d left hanging months ago. The three that I’m currently working on are coming along well, so far, and I hope that I can shake off the last remnants of rust from my skills by the end of the month. What are they? Well, all I’ll say at the moment is that they involve Final Fantasy VII (of course) and two games I beat this year.
Having an account (and running a decently-sized group) at deviantART, I see a lot of others’ fanart on a regular basis. However, my favorite bit of recent fanart I saw on a forum; it’s the one to your right, which, via the “Reaction Guys” meme, is an accurate description of what many Devil May Cry fans felt when the Ninja Theory-developed reboot DmC was unveiled at the Tokyo Game Show last month. To whoever drew this very true reaction, I salute you.
Yeah, I don’t like Dante’s new look either. I’m also a bit wary about Ninja Theory taking the helm of this game, which will be the latest in a series which is traditionally action-packed, combo-heavy, and charmingly cheesy. From what I’ve heard about Heavenly Sword, it wasn’t all that, and early impressions of Enslaved have me suspecting that although DmC might have the Hollywood associations that Ninja Theory likes to include in their games, it probably won’t have the Devil May Cry series’ tricky controller gymnastics. So far, the funniest, weirdest, and scariest thing about DmC is how much the “new” Dante resembles the lead developer. Egad.
To round things out, here’s some other recent articles, blog posts, etc. that I’ve found interesting. First off, it seems that Stephen Totilo and N’Gai Croal were at it again, asking developers to play their game “Canon Fodder”, the aim of which is to list the ten greatest games of all time. You might recall that I attended the first season panel at PAX East. It seems that PAX Prime 2010’s Season Two brought a lot of its own drama, especially since that stubborn Ocarina of Time was completely removed from the list. Good stuff, and I’m looking forward to Season Three come PAX East 2011 (hopefully). And speaking of PAX East 2011, registration is now open! Unfortunately, the hotel info isn’t up yet, but you can bet we’re booking as soon as it is.
Finally, some JRPG-related stuff. RPGamer posted a “retroview” of Final Fantasy VII that is honest and fair, though I don’t agree with the reviewer’s take on the field navigation. Meanwhile, Andriasang has posted some interesting and wonderful pics from Japan, namely a comparison between old-style Disgaea sprites and the new Disgaea 4 ones, and a drop-dead-adorable plush of Final Fantasy XIV moogle Kuplu Kopo.
I’m probably never going to play FFXIV, but I must have that moogle.