Mr. Gilder - The Consummate Nerd

Film Review: Inception - A Dream for Dreamers

2010-07-22T12:32:00.000-07:00

I have long been a fan of director Christopher Nolan. When M. Night Shyamalan emerged on the movie scene, there was a wave of suggestion that he be gifted the title of this generation's Alfred Hitchcock; however this sentiment has fallen away with the waning quality of his movies. After having seen 2000's Memento, 2006's The Prestige, and now Inception, I believe that if anyone is worthy of so audacious an honor, it may well be none other than Nolan. Able to apply his craft to both original works, and licensed material (ie. his dark reboot of the Batman franchise), the director exudes a dedication to storytelling and unquestionable style that continues to evoke the long lost feeling of "movie magic" that is so sorely lacking in many films today. His latest work, Inception, is a lovechild that represents nearly twelve years of secretive writing and planning. On the heels of acclaimed 2008 hit The Dark Knight, the movie has some big shoes to fill; however, Inception manages to hit the mark in almost every respect. I have not left a theatre with such a feeling of satisfaction and wonderment since seeing the original The Matrix (1999) as a teen.

Inception is, at its roots, a classic caper film. The movie introduces us to a group of criminals, assembled by mastermind Cobb (Leonardo DiCaprio), with a truly unique set of talents. Cobb and his right hand man Arthur (Joseph Gordon-Levitt) are professional "Extractors." Using a special device, these men are skilled in the art of "dream sharing." By entering another's slumber, or pulling others into their own subconscious, Cobb and his allies comb the depths of their target's mind for carefully guarded secrets. In the competitive corporate world, this is a lucrative, though often dangerous career.

Cobb is a skilled extractor, but he is haunted by his past. Accused of murdering his wife Mal (Marion Cotillard), he is unable to return to the United States and be with his two young children. Furthermore, his deceased lover is a recurring presence that appears in his dreams. Growing progressively more violent, the ghost of his wife becomes a dangerous part of his subconscious that poses a threat to his missions in the dream world. With this in mind, Cobb accepts a job from energy magnate Saito (Ken Watanabe). The catch is that this is a mission of inception, and not extraction. Inception requires that an idea be placed in the subject's mind so that it will spread to affect their actions in the real world. This is a difficult task which, according to many who dabble in dream sharing, simply cannot be done. Saito wants Cobb and his team to convince rival energy heir Robert Fischer (Cilian Murphy) to break up the his dying father's (Pete Postlethwaite) company, and has offered DiCaprio's character a safe return to his family in the US as the reward. Unable to resist the opportunity to put his demons to rest, Cobb agrees, and his last job is afoot.

The cast of Inception is one of the film's greatest strengths. As is often the case, DiCaprio does not disappoint. He plays a lead that exudes the confidence of a skilled thief, while letting the audience view the gradually enlarging chinks in his armor as they become more relevant. As the appropriately named Ariadne, Ellen Page is the character with which the audience can most readily relate. As a new recruit to Cobb's team of experts, her training for the role of "architect" (the one who literally builds the landscape of the dreams) provides Nolan with the excuse to explain the rich fiction of the art of dream manipulation to the audience. She plays the part with the trademark precocious and adorable air that has made her famous. Ken Watanabe is also a welcome presence. His bit part in Batman Begins (2005) is far surpassed by his headstrong transformation from extraction victim, to insistent member of the inception team. Tom Hardy plays Eames, a "forger" with the ability to impersonate others in the dream world. His character's smooth charisma and nonchalance provides refreshing comic relief against Cobb's serious determination and Arthur's by-the-books attitude. Nolan's old standby Michael Caine also makes a brief, but pleasant appearance. Each member of the inception team is only given a first name. It is one of the few reminders that each of these characters is portraying a contract criminal out to destroy a man's livelihood. Their likability, when paired with their less-than-admirable goals gives Inception a unique dynamic. If I may lodge one minor complaint, it would be that as the ailing, and eventually deceased Maurice Fischer, Pete Postlethwaite's tremendous talent as a character actor is woefully underused.

(Gordon-Levitt's Arthur [Left] plays the proverbial "straight man" to DiCaprio's brilliant but risk-prone Cobb [Right].)

It is the complex nature of Inception's fiction that will make or break the film for many. Nolan has endeavored to render the art of dream sharing as detailed science. The first half of the film, as with many caper movies, consists of the planning stages for the job. Many of these scenes are used to explain the complicated rules behind invading others' dreams. It is easy to get lost in the web of explanations, and this lengthy exposition may be too much for some. For those truly creative minds who are interested in the realm of dreams however, it is this beginning portion, and not the action packed journey through Fischer's mind, that is the true star of the film. Anyone who has ever been fascinated by flights of fancy that their own minds have taken as they sleep, or bothered to investigate the possibility of lucid dreaming, will be swept up in the way that Nolan has engaged with many age-old questions. What happens when you die in a dream? Why is it that you can never explain exactly how a dream began? How does the mind populate itself with random faces to build crowds in our fantasies? Why does our body wake us with a jolt and the distinct feeling of falling? These questions all become part of the world of Inception and are cleverly made into matters of importance with which dream sharers must deal.

(The dream worlds of Inception are governed by a series of fascinating rules. Here a dreamer tumbles, and the world of his subconscious is sent into a disorienting spiral.)

In his review of the film Kotaku's Stephen Totilo related the world of Inception to the world of video games. I would be remiss if The Consummate Nerd failed to mention this connection. As Totilo points out, whether Nolan intended or not, the dream realm of the film, and those who operate within it, bear more than a striking resemblance to the video game industry. I would expand this parable to cover the film industry as well. The creation of these worlds, and attempt to populate them, and make them immersive, resembles the craft that developers and filmmakers engage in each day. As the movie's characters grapple with getting lost in dreams, and becoming ever more dissatisfied with what reality can offer, film buffs and game fans may find their daily sentiments eerily echoed.

As Ariadne first revels in the creative possibilities of the dream world, audiences will hopefully remember exactly why it is that sometimes they are so reticent to leave the mysterious realities that their subconscious creates each night. For me, Inception ended with the same distinct sense of loss that I feel when I abruptly wake from an incredible dream; complete fascination, with my mind unable to give up on milling over what it had just experienced. This is, in many ways, what going the movies is all about. In Inception, Christopher Nolan has created a true gem. By manipulating a classic form, and telling a story with love and dedication, he has made a dream for lifelong dreamers.

Film Review: Predators - Hitting the Sweet Spot . . . with a Chaingun

2010-07-13T19:14:00.000-07:00

With the tagline "Fear is Reborn" 2010's Predators makes its intentions clear from the very beginning. In an attempt to make amends for more than two decades of unappreciated sequels and crossover films, director Nimrod Antal, in collaboration with Robert Rodriquez's production company Troublemaker Studios, takes viewers back into a sweltering jungle for a Summer action thriller that manages to hit just the right combination of nostalgia and freshness to make for a satisfying distraction.

Predators opens to immediate action as Adrien Brody's character, the hardened mercenary Royce, awakens mid freefall from a jump he does not remember taking. After a nick-of-time parachute deployment, he finds himself in a thick, mysterious underbrush. Viewers are gradually introduced to the rest of the major players as they drop in from the sky. Alice Braga plays Isabelle, a talented sniper who serves as the compassionate foil to Brody's heartless cynic. Danny Trejo reprises his signature role as the "scary Mexican guy," and Topher Grace makes a surprisingly not grating appearance as a doctor with a mysterious part to play. As the team of eight survivors meets up, the pieces start to come together. A former US Black-Ops soldier turned mercenary, a trained sniper, a drug cartel thug, a death-row inmate, an African death-squad enforcer, a Russian Spetsnaz heavy weapons guy, and a Yakuza member. With the exception of Grace's role, each of these characters is a hardened killing machine.

It does not take the team long to realize that they are not on Earth, and that they have been assembled for a purpose. They begin their slog through the underbrush, and it is not long before their pursuers give chase, and their numbers start to thin. Like the 1987 original, Predators is short on exposition and long on action. The audience is left to discover elements of the story as the characters themselves make the realizations. Pacing the film this way was an excellent decision that is in keeping with the survival and light horror elements that the franchise is known for. Veteran fans will find themselves in familiar territory, while newcomers should be hooked from the get-go. The action scenes are particularly enjoyable, and few single encounters overstays their welcome. Giving more than a nod to classic Kurosawa films, Hanzo's samurai-style showdown with a claw-wielding Predator in a grassy field is particularly iconic. Royce's final, fireside battle with the largest of the alien creatures is also satisfyingly brutal, and is sure to be remembered.

(As the largely silent Hanzo, Louis Changchien faces his alien assailant in an battle of skill and honor. Easily one of Predators' standout moments.)

Antal makes clever use of imagery from the first Predator film throughout the movie in a loving patchwork. The jungle scenes, shot largely in Hawaii, have the same claustrophobic, bewildering affect that the South American wilderness did in the original. The heat and humidity is immediately palpable as characters continue to wipe sweat from their brows for the duration of the film. This familiarity is driven home within the first ten minutes, as Oleg Taktarov's Nikolai makes an obvious tribute to Jessie Ventura's classic performance by proceeding to mow down the vegetation with a massive gatling gun. Other nods to the original movie include series of boyscout style traps akin to those used by Schwarzenegger in 87', a soundtrack which includes Alan Silvestri's original Predator theme, and a credits sequence that no Predator fan will be able to endure without cracking a smile.

The first moments of Predators had me worried that by using too many references, the movie would forget to establish its own identity. This is luckily not the case. Braga's Isabelle, for instance, is stronger and more enjoyable female alternative to the largely useless Anna in the original movie. As Royce, Brody's acting talent also goes a long way in building a powerful lead that is far more than a one dimensional muscle head. Antal's film also makes some interesting contributions to the Predator lore that should shake up fan communities for some time. These new plot points include the introduction of spiny Predator hunting dogs, and the revelation that merciless hierarchy exists in Predator society.

(Royce and Isabelle are more dynamic characters than their 1987 predecessors)

Predators does make a number of missteps that are worth pointing out. Laurence Fishburne makes a brief appearance as a the crazed Noland. As a survivor of ten hunting seasons on the Predator's game planet, he is clearly meant to evoke the classic Heart of Darkness/Apocalypse Now Kurtz stereotype. Though a competent performance his scenes fall rather flat, and the metal walls of the abandoned alien craft in which they occur feel tremendously out of place in what is otherwise a rather wild, organic movie. The Predator dogs, though an interesting idea in the story, fail to produce any real feeling of threat. Their artificial CG appearance clashes with the natural jungle, and is not quite in keeping with the higher rubber and makeup standard of the Predators themselves. Finally, Brody sometimes sinks into using the forced, raspy tough guy voice that Christian Bale has unfortunately plagued the movie world with in Christopher Nolan's Batman franchise, and the recent Terminator: Salvation (2009). Whether this was the choice of Brody or Antal is unclear, but it is a disappointing move that does discredit to the obvious acting talents possessed by the star of The Pianist (2002).

All in all, Predators delivers on its promise of bringing forward a new franchise entry worth talking about. Director Nimrod Antal puts his excellent cast of stock action characters through their paces in what may turn out to be one of the best action films this Summer. By hitting the sweet spot between fanboy remembrance, and exciting new content, Predators manages to please on multiple levels.

First Impressions: Soldner-X 2: Final Prototype - Rings Around the Competition

2010-07-05T15:23:00.000-07:00

The original First Impressions article, written back in 2008 was about a little known indie shoot-em-up (aka. shmup) game for the PC that had the good fortune of being upgraded and ported to the Playstation 3 as a Playstation Network download. The original Soldner-X: Himmelsturmer was a fun and stylish effort on the part of young developer SideQuest Studios. It was impressive given the small scale of its development, and sported some genuinely innovative gameplay mechanics in what tends to be an otherwise stagnant genre. SideQuest's love for the horizontal shooters of yesteryear is apparent in every inch of the original Soldner-X, but this nostalgia alone could not save the downloadable game from a number of unfortunate flaws. Upon dying, new player ships have a tendency to respawn directly inside dangerous level hazards, which resulted in a second, arbitrary death. The game's powerup and weapon system also tends to pigeonhole the player into sticking with only one type of weapon. Today's edition of First Impressions, however, is about SideQuest's newest effort, the May 25, 2010 PSN sequel Soldner-X 2: Final Prototype (SX2). With the exception of a rather bland redesign of the playable ships, the new title shows improvement on nearly all fronts.

Upon firing up Soldner-X 2, the player is greeted with a series of still-frame art resources backed by narration that details the game's story. The tale is standard sci-fi fare. Shaky galactic alliances are breaking apart, and a menacing, mechanical faction is at the heart of it all. Players take control of a prototype ship that is humanity's last hope against this threat. The true star here is not, however, the story. These still images showcase a crisp and attractive design that lies at the heart of the title. SideQuests visual style is a refreshing break from the Japanese anime visuals that quite often dominate the shmup scene. The shifting mechanical detail in every high-tech space cruiser, battleship and robot that confronts the player in each level of SX2 serves as a testament to the how proper use of today's console technology can keep this aging genre fresh, attractive, and most importantly, relevant.

(Enemies like this boss are detailed and feature numerous moving parts. SideQuest's unique mechanical style is brought to life vibrantly on the PS3)

The core gameplay element is SX2, as with its predecessor is a challenging system of chain combos. In the original Soldner game, players built chains by destroying waves of enemies without switching weapons. This consistency yielded weapon powerups, life restoring pickups, and other such benefits. Players were, however, often forced to continue using the same weapons for extended periods. Experimentation with different shots was discouraged as it could result in a broken chain. SX2 does not make the same mistake. SideQuest has done away with the old system, and replaced it with a mechanic that has players darting across the screen to collect glowing golden rings (ala. Sonic the Hedgehog) dropped by defeated foes in order to build up their combo. The chain bar on the bottom right corner of the screen gradually shrinks over time if no rings are collected. This new mechanic encourages players to be bold with their movements in each level. Acting somewhat safely, and keeping your ship in the leftmost portion of the screen may keep you alive, but you will not earn many powerups, and may find yourself severely lacking when boss time rolls around. In order to reach your peak in SX2, you have to duck, weave and dash across the entirety of the screen to pick up the "links" for your chain. It is a refreshing mechanic that forces shooter veterans to rethink their old strategies of conservative, stutter-step movements. Genre mainstays such as screen-clearing bombs and variety of different shots are also present. Each weapon in your ship's arsenal levels up to a more powerful state as it is used.

(Unlike the original Soldner game, SX2's chain system allows for players to experiment with different weapons more often. This change could not be more welcome, as many weapons in Final Prototype, such as this V-pattern shot, are flashy, unique, and fun to use.)

As with the first Soldner-X game, Final Prototype is a shmup developed for the home console and not the arcade. The result of this focus is collectibles, unlockables, and a slew of great features that encourage loads of replay. The original title's mechanic of allowing the player to progress as a pilot returns. Separate from each isolated session of play, SX2 keeps track of one's overall accomplishments on a separate screen. Defeating enough enemies results in the player "leveling up" as a pilot and being granted more continues and unlocking new missions in the addictive Challenge Mode. Reaching maximum pilot status can only be achieved with hours of dedicated play. Another returning feature from SX2's predecessor is locked stages. Upon purchasing Final Prototype players only have access to four of the games seven levels. To earn additional stages, the player must scour each area for hidden, golden unlock keys. These may be stowed away inside particular enemies, or stashed inside a destroyable piece of the level, such as a turret or errant meteor. Claiming four of the five keys in each stage will grant the player a new level. A total of twelve is needed to play the full adventure. Though frustrating at first (I wanna see all the stages now!), the key system serves the valuable purpose of extending gameplay, while encouraging the player to approach and re-approach each stage in different ways.

Challenge mode is another excellent feature of SideQuest's ambitious sequel. These outings put the player up against a variety of hurdles with goals or very specific rules. Challenges run the gamut from requiring you to beat the first four levels without dying, to collecting two hundred rings in a single stage, or leveling up a weapon to its maximum power before the end of level three. By progressing in the game, leveling up as a pilot, or beating already provided challenges, players can unlock a bevy of new distractions. Besting these special levels will grant new weapons, and new ships to add further twists to subsequent play-throughs. Some challenges are also linked to PSN trophies.

Overall, Soldner-X 2: Final Prototype is a worthy sequel to SideQuest's original love letter to the horizontal shooter genre. SX2 improves on its forbearer in nearly every way, while continuing the first game's tradition of style, copious replay value, and nostalgic charm. Its new ring-chain combo system subtly encourages the player to approach survival in the bullet-filled void of space with a fresh daredevil attitude, and the host of unlockables ensure the need to return again and again.

First Impressions: Shin Megami Tensei: Strange Journey - A Slow, but Satisfying Crawl

2010-05-18T17:40:00.000-07:00

Though Shin Megami Tensei (SMT) games have been available in the West since the initial 1996 Playstation release of the first Persona spinoff title, localized as Revelations: Persona, the series failed to garner much popular attention until the 2007 release of Shin Megami Tensei: Persona 3 (P3) for the PS2. Though the PS2 titles Shin Megami Tensei: Nocturne (2004), Digital Devil Saga (2004) and its 2005 sequel, were appreciated by a close knit community (which included myself), it was with Persona 3, that Atlus was able to truly assemble a following. The third title in the SMT franchise's sister series combined the time tested hallmarks of challenging dungeon exploration and addictive monster collection with an endearing pop-Anime aesthetic. Though P3 maintained the dark atmosphere and mature storytelling of its predecessors, it was by many accounts a more warm, welcoming, and accessible role playing game. This overall feeling would be pursued further for the equally well received 2008 sequel Shin Megami Tensei: Persona 4, and the DS strategy title Shin Megami Tensei: Devil Survivor. This edition of First Impressions, however, is about the series' newest entry, Shin Megami Tensei: Strange Journey (SJ) for DS. This fresh but seemingly regressive title is an odd step for the people at Atlus, but is no less enjoyable than its cousins.

In many ways, Strange Journey boldly abandons some of the alterations that lent the previous three series entries such broad appeal. The wide-eyed, stereotypical, Anime-style characters are replaced by the unique renderings of series veteran Kazuma Kaneko. For the music, versatile composer Shoji Meguro abandons the light hip-hop and catchy J-pop flavor that stood out in the previous three titles for a collection of truly dark, foreboding tracks that feature tribal drum rhythms and a disturbing chorus of unearthly chants. The most notable alteration, however, is SJ's return to the classic first-person perspective for its dungeon exploration and battle sequences. In many ways, this latest SMT title represents a nostalgic revisiting of the series' roots. The good news is that the challenge, style, and tight, addictive gameplay that has always been part of the franchise has not gone anywhere. Unfortunately this traditional and very bare-bones approach may not resonate well with those who first got on board with the pop-infused Persona 3.

(Strange Journey returns to the traditional first-person view)

For those unfamiliar with the SMT franchise, the pervading concept of nearly all of the games can be described as "dark Pokemon." The series is obsessed with mythology, folklore and demonology. Players are generally tasked with preventing or dealing with the aftermath of some sort of biblical scale apocalypse by taking advantage of their ability to communicate with or control a variety of demons that have been assembled from any number of legends and religions from around the world. These creatures are collected, and trained, and can be fused to create new, more powerful types. The themes of the games usually revolve around human civilization and the psyche, with the demons often resembling elements of the human condition of which the developers have a grim opinion. SJ distinguishes itself from its predecessors by filling its world with technology. This sci-fi setting, however, does not detract from the game's atmospheric accomplishments. I have caught my own heart racing during several play sessions in the past week. The bizarre music, the curious world around me, and the impending challenge of the next tough fight often fills me with a palpable dread.

Strange Journey introduces a future where mankind's reckless abuse of the Earth has caused a bizarre time/space anomaly called the Schwarzwelt to appear in the arctic. Players fill the role of a member of the scientific expedition sent to investigate this phenomenon, and stop its gradual, destructive spread. A special high-tech suit called a "Demonica" (which is a convoluted acronym for something not actually demon related) allows players to survive the harsh conditions of the Schwarzwelt, and eventually use special software to interact with its devilish inhabitants. Exploration, as mentioned earlier, takes place from the first-person perspective. Each level of the dungeon is explored step-by-step as a map is drawn on the DS's bottom screen. Missions from the expedition's AI computer and demons met on the field provide goals and allow for story progress. As the game moves forward, players can discover and install various "apps" to their "Demonica" that have a number of functions that range from providing essential codes to unlock previously inaccessible areas, to increasing the likelihood of gaining extra items or money from combat. Gathering these "apps" puts a unique Metroid like twist on an otherwise cut-and-dry RPG formula.

Battle in SJ is a standard turn-based affair. The screen displays the enemies as stylish, lightly animated sprites. If it is your first time encountering a type of demon, they will appear as nondescript blocks of code. The more a certain variety of enemy is fought, the more information, such as their elemental affinities, is gradually revealed about them. Players build a party of four that consists of themselves and three demons from their collected roster. One of SJ's unique characteristics, the "Alignment" system, is unfortunately one of my few complaints with the title. Taking advantage of a method of classification with its roots in classic Dungeons & Dragons rules, players and demons are given an alignment based on their characteristics (chaotic, lawful, or neutral). If an character deals damage that takes advantage
of an opponent's particular weakness, any other party members with a matching alignment will hop in and hammer the foe with a "back up" attack. The more similarly aligned members, the more opportunity to launch bonus hits. This system allows for considerable strategy, but I cannot shake the feeling that it is extremely limiting. SJ is a difficult and unforgiving title, and without resorting to grueling hours of grinding, it is almost impossible to win against stronger foes without taking advantage of "back up" attacks. As a result of this tactical emphasis, it is advisable to make alignments your foremost consideration when building a team. I am no longer able to use the demons I want to use, but am often forced to take particular creatures into battle simply because of their compatibility with the rest of my team. This system seems an odd choice on the part of the developers for a game in a series so often associated with free-range customization.

At roughly seven hours into the adventure, I can say that my first impressions of Shin Megami Tensei: Strange Journey, are positive. The scientific, tech-focused story is a fresh take on the long running franchise, and the step back to the classic first-person dungeon crawling formula is a welcome return to the series' hardcore roots. Those RPG fans who expect to pick up a title and play from beginning to end with little resistance, however, may want to beware. SJ is a harsh game that moves at a snail's pace and violently punishes the tiniest tactical mistake. The casual player, and those with short attention spans, should not embark on this particular journey. Even with my complaints about the restrictive qualities of the "alignment" system considered, the dedicated dungeon crawling enthusiast in me cannot help but give Strange Journey an enthusiastic thumbs up. Atlus's usual generous choice to include a soundtrack CD with every launch copy makes the recommendation all the easier. Those of us hoping for a Western release of Etrian Odyssey 3 will find many an hour of challenge here to keep us busy. Strange Journey slaps on a fresh coat of paint, and provides a slow moving but satisfying look at at the fundamentals of a long running, celebrated series. This approach is something that few role-playing enthusiast should have trouble getting behind.

Relevant Links:
Shin Megami Tensei: Strange Journey
Shin Megami Tensei: Persona 3 FES
Shin Megami Tensei: Persona 4
Shin Megami Tensei: Digital Devil Saga
Shin Megami Tensei Digital Devil Saga 2
Shin Megami Tensei: Devil Survivor
Shin Megami Tensei: Persona(an excellent updated port of the original Persona for the PSP)
Shin-Megamitensei Illustrations (Shin Megamitensei Posutaa Bukku) (in Japanese)(an attractive collection of Kazuma Kaneko's illustration for the SMT series)

Article Explanation - First Impressions

2010-05-01T11:24:00.000-07:00

It is common knowledge that there simply are not enough hours in a day. Between graduate school, work, and research I only have so much time for lighter pursuits. As a fan of film, collector of toys, artist, writer, miniature war gamer, and avid video game aficionado, my free time is often divided between any number of things. My philosophy has always been that I would rather experience and learn to play as many video games as possible. This approach to gaming, in combination with my penchant for long-winded role playing games, and my numerous other interests, means that I rarely get the chance to actually play a game in its entirety. As someone who wishes to write about games, this leaves me in a bit of a pickle. It is bad form to review a game that you have not beaten. A film critic, after all, would never venture to write up a critique if he had not watched a movie start-to-finish. Where does that leave me? I am left with two choices. I can either hold back from writing about games for the rare opportunity that I actually beat one . . . or devise a different strategy for talking about what I have played here at the Consummate Nerd.

"First Impressions" is my solution to this problem. Though I rarely beat games, I have played too many to count. I would argue that my knowledge of the industry is no less extensive for this. It is with this notion in mind that I will write about, and attempt a surface level evaluation of video games that I have played. None of these articles should ever be taken for a full review (as reviews will be labeled as such), but I will always play the game in question enough to understand its systems, aesthetics, and narratives. "First Impressions" will provide an overview of titles, and contain an initial recommendation, or condemnation based on my . . . well . . . first impressions. Hopefully these articles will prove as useful and interesting to you as they are fun for me to write.

First Impressions: Sakura Wars: So Long My Love - Hello My Dear!

2010-05-01T10:27:00.000-07:00

Sega's Sakura Wars (aka. Sakura Taisen) series has been a around since 1996. Those not acquainted with the Japanese gaming scene, however, would be unfamiliar with this long running, and respected franchise. Anime fans in the West have been treated to translated versions of the various OVAs and serial spinoff shows that the games have generated; however, Sakura Wars had yet to grace our hemisphere in playable form until March of 2010. The series' absence in the West should not come as too much of a surprise. The titles combine the conventions of the turn-based strategy RPG with that of the popular Japanese genre of the Dating Sim, which has never really permeated English speaking lands. Simply to say I had at least one game from Sega's unique franchise in my collection, I went as far as to purchase a copy of the limited edition of Sakura Taisen 2 (pictured to the right) for the Saturn back in 2002. With no knowledge of the Japanese language, and with the series' emphasis on narrative and verbal interactions, I was left with little more than an attractive shelf piece. The good people at NIS America, however, decided to take a gamble and translate Sakura Taisen's fifth entry, and make it available in the West for both the PS2 and, with help from developer Idea Factory, the Wii. I have been waiting a very long time to play Sakura Wars: So Long My Love (SWSLML), and I am happy to say that my First Impressions of this quirky, solid role playing game are extremely positive.

The fifth game in the Sakura Wars franchise is the perfect opportunity for the series to make its leap to the West. Whereas earlier entries took place across Japan, or in Paris France, So Long My Love transports players to the streets of New York City. The unique, imaginary steampu nk vision of the 1920's that the has been a hallmark of these titles remains in full force, and fans of this increasingly popular style will be pleased with the robot and vehicle designs found within. The characters that the player must interact with are a hilarious hodgepodge of American stereotypes that run the gamut from a brazen, red haired cowgirl who moonlights as a masked vigilante, a hard-nosed African American lawyer who obsesses over proper application of the law, and a buxom, flirtatious Marilyn Monroe look-alike. Such broadly generalized characters have been a constant staple of the Sakura games, and lean more toward charming and funny than ever breaching offensive territory.

The concept of the Sakura Wars world is bizarre and requires an introduction. Players take the role of a newcomer to a group of special defense soldiers who pilot chunky but powerful robots against threats to their respective cities. When not engaged in battle, the members of these special forces also perform as actresses in a theatre that serves as the staging ground for the operations. The theory is that through their performances, the characters enhance the morale of their city, and further develop their own skills and friendships. Players take the role of what is often the only male member of this team. Cultivating relationships with the members of the fairer sex becomes an important component of the game.

(The heroes of Sakura Wars are accomplished performers by day, and fearsome robot pilots by night)

Gameplay in SWSLML occurs in episodic format. The player character spends the beginning of each chapter interacting with the various characters. Activities range from going out on the town on dates, or running errands, to solving problems that occur in the running of the theatre. As these vignettes occur, players read through the sometimes voice acted dialogue, and make decisions on responses to questions and situations that emerge. Your choices to these prompts has an impact on your relationship with the team member accompanying you. It should be noted that these story moments are accompanied with beautiful anime images of the characters that are subtly animated in pleasant ways. It is refreshing to see a Japanese RPG that eschews the stale flat image that has become so commonplace by adding simple gestures, blinking, and mouth movement to otherwise boring images. The characters with whom the player forms the strongest bonds then receive added bonuses to their team-up attacks in battle. This is not unlike the way "Social Links" work in Atlus's popular Persona series; however, whereas the relationships in those titles merely form a component of character development, friendships in SWSLML are the sole means of increasing one's power. There is no leveling up in this game. Your reaction to social situations governs your prowess in combat. As it is impossible to please everyone with your answers, there will naturally be some members with whom you perform better than others. The branching nature of the in-game dialogue then provides for ample replay opportunities.

(Cute social vignettes comprise approximately half of the gameplay, and provide the basis for character building.)

Once the narrative adventure portion of each chapter ends, it is time for battle. Fans of Sega's critically acclaimed 2008 strategy title Valkyria Chronicles will immediately recognize the roots of that title's innovative combat system. Sakura Taisen V is by the same developer, and was originally released for the PS2 in Japan in 2005. Instead of constraining movement to a grid, players are given free range to move their units across the field. Each turn is dictated by a "Mobility" gauge that must be budgeted for the purposes of movement, attack and defense. Players simply move their robots as if playing a 3D adventure game as far as their mobility will allow. This more active approach is extremely engaging, and takes away some of the boring, hands-off feeling that many gamers cannot get past with other strategy role playing titles. The camera angles used in combat take a more close-up view of the action than other similar games. Players no longer observe as a god, overhead, but sit eye-level with the field. This is the perfect vantage point from which to view SWSLML's exciting, flamboyant special attacks.

(Combat occurs at a dynamic eye-level, where details and action are put on better display.)

The innovative combat continues when enemies take to the skies. The robots in SWSLML, dubbed STARS, are capable of transforming into jet fighters. Air combat has proven to be my favorite part of the game so far. These battles add a y-axis to the mix and require players to mind troop placement vertically as well as laterally. Fans of the Macross family of anime should be delighted to watch the transformed fighters of Sakura Wars dive around their foes and unleash volleys of missiles with streaming contrails.

(Air combat adds an exciting twist with some truly impressive, massive foes.)

Although I have only skimmed the surface of America's first entry in the long running Sakura Wars franchise, it is difficult for me not to gush about So Long My Love. With its charm and polish, it is hard to believe this game is actually five years old. The game's innovative take on strategy combat further surprises, and demonstrates many traits that are only now becoming popular within the genre. I can hardly recommend SWSLML to everyone. It is most definitely a niche title that will appeal only to the most dedicated fans of Japanese style role playing. Those who demand instant action will obviously be bored with the title's emphasis on text-based interactions. Those who are able to gain equal enjoyment from these quirky conversations as they are from battle, however, will surely find endless hours of entertainment here. It is with a satisfied smile that I can say "Hello my dear!" to So Long My Love. The opportunity to play one of Sega's Sakura Wars games, in a language I understand, is one that I have awaited for quite some time, and perhaps the most ringing endorsement I can provide is that, with all the hype I built up around this game, I am not disappointed in the slightest.

Relevant Links:
Sakura Wars: So Long, My Love
Sakura Wars: So Long, My Love Premium Edition
Sakura Wars TV: Complete Collection

MrGilder's Top 10 Video Games of 2009

2010-01-01T14:06:00.000-08:00

2010 is upon us. It is at this time that I take the opportunity to look back at the best games of the previous year. I present my "Top 10 Video Games of 2009." As I consider it silly to rate titles from various platforms and across a number of genres above one another, these games are not ranked in any particular order. Keeping in mind quality, artistry, innovation, and personal taste, I believe these are 2009's finest titles. Although I'm sure the wall of text is intimidating, I encourage you to read on. Knowing my obscure taste, you may learn something about a game that you may not have otherwise given a second thought.

Henry Hatsworth in the Puzzling Adventure
Platform: DS
Release Date: March 7
Developer: EA Tiburon
Publisher: Electronic Arts

Henry Hatsworth in the Puzzling Adventure (HH) was easily one of the most endearing titles of 2009. Even more impressive is that it was produced by a mere seven man team at EA Tiburon. Colorful, fun, and technically sound, HH is a love letter to old school gaming sensibilities. With attractive traditional sprites and tried-and-true 2D, side-scroller mechanics, EA's title manages to hearken back to the old days with respect and expert execution while innovating as well.

The best titles for the Nintendo DS are always those which manage to implement the system's unique capabilities (second screen, touch control, microphone) without stepping the line into the burdensome or annoying. HH serves as an example of how to do this correctly. In EA's game, a simple tile based match-three puzzle (ala Nintendo's Puzzle League series) is in constant motion on the bottom screen, as the 2D action is controlled up top. Players may switch between the screens with the press of a button. Wiping out certain icons in the puzzle will have beneficial effects for the top screen such as paralyzing enemies, healing the player, or charging up a meter that will allow Henry to rampage in his clunky, steampunk, robot armor when filled. Enemies defeated in the action game are also banished to the "puzzle realm" below. If players fail to juggle both games skillfully, foes whose icons reach the top edge of the bottom screen will reappear in the top screen to fight again.

A persistent sense of humor also makes HH a delight to play. Henry is a fun and consistently entertaining character who lampoons the classic stereotype of the British explorer. Die and he will shout "poppycock." Activating the "tea time" power-up not only summons Henry's armor, but also treats players with one of several stylish paper cut-out scenes of the protagonist enjoying tea with English dignitaries, Robin Hood, or Sherlock Holmes. In developing Hatsworth, the folks at EA Tiburon have done more than make an excellent game; they have created an endearing character that gamers want to see more of in the future.

Knights in the Nightmare
Platform: DS
Release Date: June 2
Developer: Sting
Publisher: Atlus Co.

Though only three exist to date. Knights in the Nightmare (KN) is technically the fourth game in developer Sting Entertainment's "Dept. Heaven" series. Following the tradition of its predecessors, Riviera: The Promised Land and Yggdra Union: We'll Never Fight Alone, Knights wowed fans in 2009 with Sting's trademark dedication to unique style and atmosphere that permeates every facet of the game down to its menus. The game boasts stylish art, a beautiful soundtrack, and an interesting story with roots in Norse mythology.

KN is a title that could only ever be on Nintendo's DS. Much like the other "Dept. Heaven" titles, it is not satisfied to merely be a typical RPG. Whereas Riviera melded traditional digital turn-based role playing with the sensibilities of point-and-click adventure games and tabletop book and dice RPGs such as Dungeons and Dragons, and Yggdra Union crossed its strategy play with a collectible card game, KN boldly couples its gameplay with an arcade style overhead shooter. Players do not directly control their soldiers on the field but rather a spirit, called a "wisp," that has command over a legion of deceased warriors. The game becomes one of strategic thought, resource management, and twitch skill combined. Not only does the player have to worry about issuing commands for attack as enemies come into range, but he must also use the stylus on the DS's touch screen to maneuver the wisp across the field and dodge a flurry of enemy projectiles.

Admittedly KN is a dense title with a steep learning curve; however, investing time in the tutorial will reveal a series of play mechanics that expertly balance challenge with fun. The collection and strengthening a tremendous roster of weapons and characters is sure to delight the gamer with a penchant for collection heavy titles. The melancholy of the story, and beauty of Knight's presentation is also a real treat for those who take pleasure in the not-quite-dead art of the 2D Japanese role playing game. Rumor has it that art resources have started emerging for the next entry in the "Dept. Heaven" series. If KN is any indicator, we have something fantastic to look forward to in the future.

Warhammer 40,000: Dawn of War 2
Platform: PC
Release Date: February 18
Developer: Relic
Publisher: THQ

Continuing in their excellent series of real time strategy (RTS) titles based out of Games' Workshop's grim, ultra-violent Warhammer 40,000 universe, Relic and THQ released Warhammer 40,000: Dawn of War 2 (DOW2) in the Winter of 2009. The game is a unique and well-developed RTS that has a great deal to offer, even to those unfamiliar with the deep history and constantly evolving lore of the classic British tabletop miniature game.

The Dawn of War series has always been different from the majority of other real time strategy titles by eschewing the traditional resource farming gameplay mechanic in lieu of a number of points on the map that need to be captured and defended in order to bring in the necessary materials to build new units. The folks at Relic took the opportunity in DOW2 to change up the formula even further. The game plays more like a combination of a dungeon crawling RPG such as Blizzard's Diablo and a RTS title. The emphasis has been shifted from building bases and amassing gigantic hordes of troops to controlling a collection of smaller, more skilled squads that persist throughout the campaign mode. These squads gain experience and level up between missions and learn new abilities. Greater customization is also available as new weapons, armor and accessories are acquired. The survival of each soldier, and the skillful management of their attacks, and use of tactical cover becomes important. The tried-and-true RTS strategy of sending hundreds of your least expensive unit to overwhelm your opponent no longer applies.

The multiplayer in Relic's 2009 title leaves a bit to be desired. With a small number of maps, and only four playable factions, it is difficult to get excited for any extended sessions of play. The most charming elements of the campaign mode, the item collection and character customization, are largely absent. In spite of this, Dawn of War 2 belongs on this list for managing to do something that few RTS title have in the past. Relic managed to make missions in the single player campaign feel more engaging, and less like a series of multiplayer skirmishes against artificial intelligence opponents peppered with scripted events. This represents a real accomplishment. The release of the title's first expansion, Chaos Rising is fast approaching in 2010 and will add the brutal Chaos Space Marines as a available faction. This March is definitely worth looking forward to.

Assassin's Creed 2
Platforms: PS3, XB360, PC
Release Date: November 17
Developer: Ubisoft Montreal
Publisher: Ubisoft

With Assassin's Creed 2 (AC2), the staff at Ubisoft Montreal made themselves a primary example of healthy evolution at work within the game industry. The original Assassin's Creed was a fun and groundbreaking game. Its open world, interesting focus on history, and parkour inspired gameplay were unique and impressive in 2007; however, repetitive mechanics and a host of mundane tasks ruined the experience for many. It was easy for the flow of the game to be broken, and for the gamer's attention to be lost. With AC2, Ubisoft took these criticisms to heart, and built something truly impressive. They enhanced what they did well the first time around, and hammered out new approaches where they failed. The result is a game that combines engrossing storytelling with astounding technical prowess to form a very complete package.

For those unfamiliar with the gameplay of the Assassin's Creed series, the concept is relatively simple to pick up. As an assassin, the player's character possesses incredible agility and dexterity. The focus of movement throughout the rendered cities of the game is to stay above the streets, and sneak about out of the line of your enemy's sight. Wherever there is a jutting windowsill or brick, the player can climb. Finding high enough vantage points allows the character to observe his surroundings and expand the scope of accessible territory. Stealth becomes a necessity as the combat mechanics are crafted to accentuate speed and agility rather than brute strength. Often the best course of action is to knock your opponents over, run, and hide. Unlike in the first Assassin's Creed, however, this can prove difficult. Enemy AI has been vastly improved. The addition of a new "notoriety" system, which forces players to tear down wanted posters, assassinate corrupt, lie-spreading officials, or bribe heralds to diminish the heat on their tails, assures that players think twice before ever engaging in overt action.

In AC2, the venue changes from the crusade-torn middle East to the bustling world of Renaissance Italy. The title picks up directly were its predecessor ended. Gamers do not technically play as assassin Ezio, but rather modern day bartender Desmond Miles as he plays out his part in a centuries old battle between the Assassin's and the Templars. Desmond is once again strapped into the Animus device, which allows him to delve into the past lives of his ancestors. The player is primarily in control of Ezio as he leaps and climbs across Italy to take out his high-profile targets. The story moves with fluidity to maintain interest. Real historical figures such as Machiavelli and Leonardo DaVinci play a part in the tale. Fans of Dan Brown novels will be tickled as the AC2 continues its series staple of religious flavored conspiracy theory to great effect.

Demon's Souls
Platform: PS3
Release Date: October 6
Developer: From Software
Publisher: Atlus Co.

From Software's Demon's Souls (DS) is a Playstation 3 exclusive that came completely out of left field to take the hardcore gaming world by storm. The game is a spiritual successor to the King's Field series. DS is a Japanese developed action role playing game created as a distinct homage to the notoriously difficult Western developed RPGs of yesteryear. Ask any gamer who has become fond of the title and they will all tell you the same thing. Demon's Souls hates you, and you will love it for that.

DS's reputation for brutal difficulty is 100% earned. The game is, however, never cheap or unfair. Every death, whether at the hands of a soul-hungry beast, or surprise pitfall onto a bed of spikes is an opportunity to learn and adapt. From Software's game rewards careful action and forethought, and punishes carelessness. Every victory feels like a life-affirming achievement. Build a character, choose their class (thief, knight, magician, etc), and outfit him with weapons, armor, and skills. After a tutorial mission, the player is set free to struggle for survival in the desolate kingdom or Boletaria at their own pace.

Demon's Souls is a true stylistic accomplishment. The world of From Software's game is the bleakest, loneliest place imaginable. The title's online multiplayer functionality is even designed to support this feeling of hopeless isolation. Adventurers can constantly see the ephemeral images of other players as they explore the same areas from all across the world. These white ghosts blur in and out of existence, but there is no way to interact with them. Those in need of assistance can summon other dead players into their world as blue souls. These allies are usually very helpful, as it benefits them to be so, but are free to come and go as they please, and have no means of communication other than a series of silent gestures. Players may also take on the form of black souls and invade another gamers' realms to do mischief and damage. The only sense of camaraderie comes from a unique message system. Adventurers can leave behind notes about hazards or treasures that lie ahead for newcomers to discover. The possibility for trickery, however, is always there. Even these messages must be taken with a grain of salt and be carefully scrutinized. The result of all of these mechanics is a clever fusion of classic medieval role playing with bit of the survival horror experience. Demon's Souls is one of these titles that will develop a following, and be spoken of for years to come.

DJ Hero
Platforms: PS3, XB360
Release Date: October 27
Developer: FreeStyle Games
Publisher: Activision Blizzard

DJ Hero (DJ) was an unfortunate commercial failure for publisher Activision. Poor sales figures, however, obscure a true quality game. DJ works off the familiar "rhythm highway" gameplay of the Guitar Hero series, with a number of obvious twists. A new turntable controller was created for the game that consists primarily of a scratching "platter" and crossfader. Where players would once hold a fret button and strum on their guitar controller, one hand is now responsible for holding down a button on the platter and scratching the faux record. The other hand is responsible for sliding the crossfader back and forth to control the balance between the tracks as the current mix plays. Only the dexterous need apply.

The music in DJ consists of a huge collection of original, party style mashup mixes built out of a number of licensed tracks. Aside from the setlists by the folks at FreeStyle Games, there are also a number of mixes created by well-known professional DJs such as Grandmaster Flash, DJ Jazzy Jeff, DJ Am, and DJ Yoda. Many of these artists also appear as unlockable characters along with Freestyle's original cartoon style avatars. Fans of French House legends Daft Punk were excited to discover that a setlist of original, exclusive mixes of the group's signature tracks is featured in the game, and that the duo would also be playable in all their robot-helmeted splendor.

Earning stars for your performance in DJ unlocks new characters, venues, setlists, and equipment. Like the money mechanics in Guitar Hero or Rock Band, the system gives you a reason to keep working towards new content. With the rewards tied directly to the quality of your performance in the form of a rating, returning to previous tracks for a better rating has a tangible award. When you combine this with a host of online and offline multiplayer functions that allows for compatibility with guitar accessories, DJ has a great deal going for it in terms of replay value.

Street Fighter 4
Platforms: PS3, XB360, PC
Release Date: February 17
Developer: Capcom
Publisher: Capcom

Capcom took a very special approach in crafting Street Fighter 4 (SF4). The company took a look at fighting games and noticed that over the years, as the genre aged, the titles became progressively more complex, and less accessible to many but seasoned tournament players. Although a masterpiece of the series, Street Fighter 3 served as a primary example. Although anyone could pick it up, the split-second perfection that was required to master the game's defensive parry system made it a mechanic that less dedicated fans barely knew about, let alone were able to employ. Capcom, however, was also not willing to simplify their hallmark franchise in such a way as to classify it into the growing casual games market. The decision was made to dial things back a bit and build a title that was reminiscent of a game that, in its heyday, it would have been hard to find a gamer that did not know about it, the classic Street Fighter2.

Although SF4 boldly made the transition into three-dimensional character models, the classic 2D spirit of the series was maintained without question. The developers employed a unique comic book like cel-shaded style that maintains a cartoonish quality to the fighters and their surroundings. Further hearkening back to the franchise's animated roots, splashes of ink fly off of characters as they charge up and strike out with certain moves. The fighters are large, colorful and expressive. Backgrounds are lively and interesting. SF4 is as much a delight to watch in action as it is to play.

The "Focus Attack" is the new technical mechanic for would-be fighters to master. Unlike the above mentioned parry system from the Street Figher 3, the focus system is far more forgiving and adaptable. Anyone can charge and employ a focus attack to counter an enemy's move by pressing the medium strength punch and kick buttons together; however, with multiple levels of charging, and the capability for a tricky dash-cancel, it becomes a move that the player learns day one, but explores further as his expertise expands. With a large roster of both new and classic characters, online functionality, and an in-depth training mode, there is little reason not to dive back into SF4 again and again to polish those skills.

Batman: Arkham Asylum
Platforms: PS3, XB360, PC
Release Date: August 25
Developer: Rocksteady Studios
Publisher: Eidos Interactive

Like most other comic book titans, Batman has seen his share of video game adaptations. With few exceptions (besides a personal favorite of mine, Hudson's Batman for the Japanese PC-Engine), these have been mostly awful. With Batman: Arkham Asylum (BA), the folks at Rocksteady Studios hit the nail on the head. The key to Arkham is that it draws largely from the comics as the source material. Unlike so many licensed comic book character games, it is not an attempt to capitalize on a recent film, television series or toy line. By employing veteran Batman writer Paul Dini, and hiring legendary voice actors Kevin Conroy and Mark Hamill to reprise their roles as the caped crusader and his nemesis the Joker, Eidos's title ensures as pure a Batman experience as one can get.

BA puts players in control of the dark knight as he attempts to survive entrapment on Arkham Island. The Joker springs a clever trap on Batman during the game's opening, and players must soon face off against not only a sea of criminal thugs, but several classic adversaries from Batman's infamous rogues gallery such as Poison Ivy, Bane, and Killer Croc. The Riddler also provides a number of gameplay extending challenges. Keeping with correct comic continuity, the wheelchair bound Barbara Gordon fulfills her role as Oracle, and provides Batman with constant intelligence backup. It is a real treat for fans to say the least.

With their unique "Free Flow" combat system, Rocksteady has ensured a smooth and enjoyable fighting system. Battle, however, is not BA's only focus. Realistically, Batman is extremely susceptible to gunfire. Instead of running headfirst into a brawl, players are encouraged to stalk the shadows and fight the way that the famous hero really would. Batman can use his grappling hook to perch high above his foes, then swoop down and pick them off one by one, or dangle upside-down like his namesake, and snare passersby. Eido's game also truly taps into Batman's reputation as the world's greatest detective. BA allows players to enter into "Detective Mode," which applies a colored filter to the game's world. This highlights certain items in the environment for investigation to advance the story, or monitors enemy positions for careful planning.

To build the world Arkham, the staff at Rocksteady put Epic's Unreal Engine 3 to fantastic use. The dark corridors of the asylum are clear and filled with a remarkable amount of minute detail. Character models are impressive and brimming with personality. On top of all its rewarding gameplay, BA is easily one of the 2009's most attractive titles. These qualities have not been ignored by the gaming media at large. Rocksteady took home Studio of the Year at Spike's 2009 Video Game Awards for their efforts. With a sequel now announced, gamers have more adventuring with the dark knight to look forward to from a group that finally knows how to handle him properly.

Little King's Story
Platform: Wii
Release Date: July 21
Developer: Cing
Publisher: Xseed Games

Little King's Story (LK) is quite possibly the best kept secret of 2009. Though a critical darling, it received relatively little press, and faded into obscurity quickly. Like most of publisher Xseed's offerings, it is a bizarre little Japanese title that really has to be played to be fully understood. LK, however, is not without a certain degree of impressive pedigree. The game is the brainchild of Yasuhiro Wada, creator of Natsume's long running Harvest Moon franchise.

Little King takes the building and resource management properties of a life-sim title like its spiritual forefather Harvest Moon, or Nintendo's Animal Crossing, and fuses it with a combat-lite strategy and puzzle game akin to the celebrated Pikmin series. What emerges is a bizarre title that is addictive as well as challenging. Players control a fledgling king as he attempts to raise his kingdom up from a collection of ramshackle hovels into greatness. He does this by venturing off into the wilds with a coterie of subjects at his heels. Townspeople are assigned job classes that then affect their abilities. For example, soldiers are good at combat, carpenters can build bridges, and hunters attack from a distance with bows. The player puts together a party of these citizens and attempts to fight monsters, retrieve treasures, and eventually battle rival kingdoms. Success results in expansion of the kingdom, and an income of wealth that allows for new buildings, expanded job classes for citizens, and courtship of a number of adorable princesses.

What LK lacks in visual prowess. It makes up for in style. Developer Cing attempted to give the game the feel of a charming storybook. The world's bright colors, and the camera's constant soft filter achieve this. The childlike appeal of the narrative is enhanced by the use of a soundtrack that consists largely of common domain pieces taken from classical music and opera. Although some critics decried this as a cop-out to avoid original compositions, I would argue that it was a conscious decision that acts to enhance the game's overall feel as an old school fairytale. Like many of Xseed's publications, Little King's Story enjoyed a very limited print. If it can be found, however, it would be a mistake to miss out on this charming Wii exclusive.

Muramasa: The Demon Blade
Platform: Wii
Release Date: September 8
Developer: Vanillaware
Publisher: Ignition Entertainment

Hot off the heels of their 2007 action RPG masterpiece Odin Sphere, Vanillaware released the gorgeous Muramasa: The Demon Blade in 2009. Following in the developers long standing tradition, the game is a two-dimensional feast for the eyes. Each of the environments, characters, enemies, and impressive bosses are produced by several fluid, hand-drawn layers that move with smoothness, grace, and personality across the screen. It would be no stretch of the imagination to claim that Muramasa is as much as piece of art as it is a game.

Borrowing a bit from the mold of Metroid, Vanillaware's game is an open-world action side-scroller with light RPG elements. Players take on the role of either ninja Kisuke or spirit-possessed princess Momohime and journey across a stylishly rendered ancient Japan. Travelling is broken up by randomly occurring, self-contained battles. After skillfully dispatching a group of enemies with an action combat system, players are rewarded with experience that powers up their characters, and money to purchase useful items. Borrowing from their previous title Odin Sphere, Vanillaware employed a food and cooking system in Muramasa. Eating restores health, but it also fills up the player's character. Because if this, care must be taken in between each instance of healing to actually survive. It may not be possible to restore oneself entirely without filling up your belly and preventing you from eating more.

The item collection enthusiast will also find a great deal to love in Muramasa. The title features 108 different demon blades which must be forged throughout the adventure. Each sword has its own statistics and unique, powerful, magical attack. Players equip three of these weapons at once, and must juggle between their use, as they wear and break in battle. With this collection element, two playable characters, and multiple levels of difficulty, there is definitely cause for replay.

Along with its visual beauty, Muramasa also deserves additional praise for its atmosphere. As with Odin Sphere and Princess Crown before it, Vanillaware's latest title possesses a truly unique feel that can only be described as light and ephemeral. Though all contribute, this characteristic does not lie in any single aspect of the title like its art, the way it controls, or its story. The strange sensation of playing Muramasa is almost Zen like, and pays simple homage to the lost world in which the game is set, and the folklore upon which it is based. Finally, special attention should be brought to expert composer Hitoshi Sakimoto's breathtaking musical work. The soft and rich pieces that play throughout the game compliment the above mentioned atmosphere, and cement the soundtrack's place as my favorite of the year.

Honorable Mention:
- Fat Princess (PSN)
- Shadow Complex (XBLA)
- New Super Mario Bros. Wii (Wii)
- Nostalgia (DS)
- Retro Game Challenge (DS)
- Half-Minute Hero (PSP)
- Phantasy Star 0 (DS)

Internet Fame Achieved? My Gandalf Keyboard Cat Video Makes it to the Big Leagues.

2009-12-03T16:45:00.000-08:00

It is a special day in any nerd's life when the first steps toward achieving internet fame are made. I am no different. Today the "Play Gandalf Off, Keyboard Cat" video that I made five months ago finally made the move that it was always intended to make.

This evening I popped on PlayHimOffKeyboardCat.com, the official blog/website for all things Keyboard Cat, and saw that my very own Gandalf video made the December 3rd, 2009 update. Savor the small things.

Here is a link to my Youtube channel, where the video can be found.

Here is a link to the video on the Keyboard Cat website.

Exemplary Openings: Wild Arms - A Promise of Adventure

2009-10-31T10:55:00.000-07:00

What is your favorite RPG on the original Playstation? Is it Final Fantasy 7? Perhaps it’s Dragon Warrior 7? These big-name titles were backed by a decade of predecessors. Their massive pre-installed fan base almost ensured tremendous sales figures. These games helped define Sony’s flagship console, and they have a rightful place on many gamers’ lists of unquestionable masterpieces. My favorite RPG on the PS1, however, strays just a bit from popular path.

In the Spring of 1997, Sony and developer Media Vision chose to release the first in their premier RPG franchise, Wild Arms (WA). The game launched in the US mere months after Square’s dystopian epic FF7. Compared to its competition, WA emerged already looking like an outdated relic. Without the benefits of unprecedented visual flair, a rabid fan base, and a massive advertising campaign, Sony’s little RPG-that-could was destined to meet less than stellar numbers.

Wild Arms possesses more creativity, uniqueness and spirit than its sales figures could ever indicate. That is why the title is the subject of today’s Exemplary Openings. WA showcases a fantastic animated sequence that serves as a primer to its special world. Watch the below video, and come to understand how easy it is to inspire life-long love with eight simple guitar cords and the whistle of a warrior:

For those unfamiliar with Wild Arms, the video should fill you in on exactly what makes Sony’s series so darn special. The gameplay features oldschool 2D map exploration backed by a fantastic tool-based system of puzzle solving that is not unlike that of the Zelda franchise. Battle sequences are rendered in 3D, and are fairly cut-and-dry. Where WA truly distinguishes itself, however, is through setting.

WA sports all of the staples of RGPdom; swordplay, magic, arcane technologies, lost civilizations, and headstrong princesses; however, the world that the story takes place in is something new entirely. The planet of Filgaia is a barren wasteland. This is integral to the story. Plants have trouble growing. Food and water are scarce. Survival is tough. Outlaws prey on the weak. The cultures of the more modern civilizations clash with the natural ways of the native Baskar tribes. This is a realm fashioned around the stereotypical American wild West.

The game’s intro sequence is the first true indicator of this inseparable link. Music is the first part of the equation. The video below is the opening credits from the classic 1964 Sergio Leonne film A Fistful of Dollars. Pay special attention to the movie's theme track.

It is clear how liberally WA’s composer Michiko Naruke borrowed from the musical school founded by Western legend Ennio Morricone. The whistling and guitar are classic constants of the cowboy soundtrack, and Naruke has done an excellent job of applying them to Media Vision’s RPG. Over the years, the music of the Wild Arms games has become one of the franchise’s most endearing hallmarks. A strange and enthralling blend of Westerns flair with traditional RPG fantasy tunes. This was all spearheaded by WA’s intro sequence.

Aside from music, another stereotype of the Western is the thrill of adventure. The notion of taming a wild unknown with ingenuity, skill, and force if need-be is key to the genre’s popularity. In this realm, the hero/heroine is a person of true strength and grit, willing to face impossible odds and brave innumerable dangers to accomplish what is necessary. The expansive wastelands of Filgaia recreate this feeling of exploration, wonder and adventure. The intro paints this picture perfectly. As blue-haired hero Rudy mourns over the grave of his father, the camera pans not from him to the jagged cliffs that the monument stands upon, but from starts in the valley and moves to him. Again, near the end of the sequence, Rudy struggles to climb up a crumbling face of rock. At the top, he is met by understanding smiles from his teammates.

These images reveal two related themes in Wild Arms. Isolation in an unforgiving wilderness, and the notion that a group of trustworthy traveling companions can provide a bit of comfort in a dangerous land. As exemplified by Rudy’s efforts to scale the cliff, it is through sheer willpower and determination that WA’s heroes can accomplish what they must in a decimated world that is an enemy in itself.

The last topic that makes WA’s intro sequence so special is how it provides with telling looks at each of the game’s three main heroes. Although thorough character development is a must-have feature for any well-crafted RPG, the focus that the Wild Arms franchise places on it is one of its marks of distinction. The original games in the series each begin with a screen where you select which character that you want to play as to start. You will play a small campaign with this character, and then be prompted to choose again.

These small, single-character introductions go a long way toward showing off the characters as individuals. You learn about their personalities and motivations. When all of the characters finally unite, you already have an idea of who each of your party members are, and what their past and personhood will contribute to the present adventure. Without revealing any spoilers, this unique trend of the franchise even extends into the games’ enemies. From the first WA onward, the series has made an effort to humanize even their most atrocious villains and provide the player with insight into their motivations. The way that you may find yourself attached or relating to a Wild Arms enemy at any point in time could surprise you.

(Artwork of WA baddie Boomerang from the 2003(JP), 2005(US) PS2 remake Wild Arms: Alter Code F. If you don't end up with a load of respect in your heart for this fellow by the end of the game, then I don't want to know you.)

In keeping with the game’s character-driven method of storytelling, WA’s sequence makes a point to introduce its three key players in ways that define them. In an interesting choice, the introduction actually shows some images that are pretty pivotal to the storyline. Through this, the scenes serve not only to rope in the new player, but also to hit back with heavy emotional impact for anyone who understands their importance. This assures that the WA fan can watch this sequence over and over again with equal zeal. As I already mentioned, the video shows Rudy in two situations that showcase both the emotional and physical adversity that he is forced to overcome throughout his journey.

Jack, the skilled swordsman with a mysterious past, is showcased only once outside of the sequence’s end. He walks alone and shoots a wry grin at his traveling partner, the wind-mouse Hanpan. His story throughout the game is one of learning to overcome the isolation that he forces on himself, and starting to trust in friends again.

The magic user, Cecilia is shown in two scenes that document her evolution from sheltered princess, to an independent woman of great courage and power. She stands on the edge of a cliff. As a symbol of her renunciation of the chains of royal responsibility, she has just used Jack’s sword to cut off her long, flowing hair. She then releases the strands to the wind. It is a fitting way to represent a step out of the lap of luxury, and into a rough-and-tumble world of danger. Next we see her as a fully realized master of ancient magic arts. She calls upon her pact with the mighty Earth Golem, and levitates an ancient tome to the sky while surrounded by eldritch energy.

(Jack, Rudy, & Cecilia. I love these guys)

When Rudy arrives at the top of the mountain, after his harrowing climb, the three comrades unite. This mirrors the way in which all three characters come together in the game, after their respective solo campaigns. Now that the player understands them as individuals, he/she can understand the ways in which they can contribute to the team in their own way.

In conclusion, the animated intro to Sony and Media Visions 1997 title Wild Arms is an exemplary opening. Through stellar music, and visuals of the harsh landscape, the sequence draws attention to the conventions of classic Western film that the series is inseparably tied too. By showcasing each of the characters, the video also serves to point out the unique focus on deep character development that has become mark of honor for the franchise. Though Wild Arms is often overlooked in comparison to big RPGs from staple houses like Square-Enix or Namco/Bandai, it has secured its own niche fan base. By showcasing its unique features, revealing its special world, and, most importantly, providing the promise of adventure, the first title’s intro video should show even the most skeptic gamer why.

*NOTE: This article originally appeared on my now dead Destructoid Blog on Apr. 5, 2009.

Exemplary Openings: Neo Contra - Badass at its Best

2009-10-31T10:28:00.000-07:00

In this first edition Exemplary Openings of , I am going to investigate the very definition of badass. If the two main points of a game’s demo movie are to, 1) Grab and hold the users attention, and 2) Show off exactly what the game is all about, then surely no title does this better than Konami’s Neo Contra (NC).

(The cover for Neo Contra, featuring art by celebrated American comic book artist Jim Lee)

NC launched for the Playstation 2 in 2004 to a mixed reception. Although it was considered a direct follow up to 2002’s Contra: Shattered Soldier, it mixed up the traditional Contra gamelay formula quite a bit. NC abandoned the series’ traditional, horizontal sidescrolling mechanics for an overhead view. This was reminiscent of some of the bonus levels in the earlier Contra titles and, dangerously close to 1996’s very filthy Contra: Legacy of War. That being said, purists’ concerns were largely ill founded. With NC, Konami crafted a tight, challenging, and ultimately fun shooter that easily belongs in the beloved Contra franchise.

The traditional series staple of almost necessary co-op play remains in tact. A new mysterious Samurai partner, Jaguar, for hero Bill Rizer also peppers up the formula by adding a risky but powerful close-combat katana weapon. Overall, NC encompasses everything that the Contra franchise has always been about. Over the top violence, massive, intimidating enemies, and brutal difficulty are all present in full force. The opening sequence for the game shows exactly that:

Images of Jaguar calmly meditating beneath falling water, or preparing his blade in solitude are quickly juxtaposed with Rizer in a room stuffed with ammunition as he loads up his trusty guns. It is a bit like a version of The Odd Couple for a new generation, only I doubt Felix and Oscar ever had to funnel rockets into giant phallic mutants with angry, pulsating baby heads.

The primary strength of this video lies in the way it hints at one of the most important facets of the Contra experience; co-op play. The initial scenes set up each of the lead characters, and showcases their personal styles. Rizer mows down hordes of grunts with a massive autocannon. In my favorite part of the video, Jaguar skillfully battles axe-wielding, mounted warriors in the pouring rain to defend an unconscious young girl. After that, however, the majority of the sequence showcases the two soldiers working together to overcome massive obstacles. Jaguar drives a jeep against heavy resistance so that Bill can take out an enemy weapons train. The two run side by side to escape as fire billows down a corridor. Finally the warriors work in unison to topple a giant robot with rocket launchers. Composing the opening in this way was pretty smart on the part of the developers. Instead of taking the opportunity to simply explain story or atmosphere (which is admittedly minimal in a Contra game), this FMV makes a statement about the title’s actual gameplay.

It would also be foolish of me to ignore how simply stylish and cool all of the action in the movie is. The sequence makes no apologies for what it, or the game that follows, is; pure, unadulterated machismo. Lets compose a list of some of the totally badass things that unfold (in caps lock, of course, as it is all very exciting):

- TWO MEN BLOW UP AN ENTIRE TRAIN + A BRIDGE!
- ONE MAN CUTS AN AIRPLANE IN HALF!
- FIRE!
- BEEFY HANDSHAKE!
- A GIANT ROBOT!
- COMPLETELY HETEROSEXUAL ROCKET RIDING!
- MORE FIRE!
- AT LEAST 2 INSTANCES OF SLOOOOOOOOW MOTION!

All of those treats, and more, are present. Simply put, if this video does not get you pumped to blow stuff up for the next hour or two, then I do not know what will. Of course, it’s important to understand that while Bill and Jaguar do not die at all during the movie, you will die a lot in the game. You will die a whole lot.

The last point I want to make is about the music. The opening cinematic (and indeed the entire game) for NC’s predecessor, Shattered Soldier, contained some fantastic heavy metal music. NC, however, takes a different route. The opening movie contains an original theme song for the game, complete with vocals. It is cheesy? Heck yeah. Video game themes are rarely anything but. The song is, however, pretty cool nonetheless. The portion that plays during the scene were Jaguar battles in the rain gives me goose pimples every time. I declare that it is a hard-hearted man indeed who does not get just a bit nerd-giddy whenever that woman belts out “NEO CONTRAAAAAAAAAAA.”

In conclusion, the demo movie sequence for Konami’s Neo Contra is action packed and fun. Through this, it does a fantastic job or representing the actual game that sits waiting afterwards. The sequence even hints at the quintessential co-op play that the title offers without showing actual gameplay footage. With its catchy theme, and stylish scenes, Neo Contra’s demo movie is definitely an Exemplary Opening.

*NOTE: This article was originally published on my now dead Destructoid Blog on Feb. 14, 2009.

Article Explanation - Exemplary Openings

2009-10-31T10:15:00.000-07:00

In my not-too-distant past, I put more than my fair share of time in video game retail. Four and a half of those years were spent working at, and eventually weekend-managing a small, independently owned store called Microplay in Whitehall, and then Allentown Pennsylvania (Microplay is technically a franchise, that was at one time pretty prominent in Canada; however, the United States stores were privately owned and relatively free of corporate puppeteers). During my time working there, unlike my time working at Gamestop, I was relatively free to set up any new games I wanted to demo on the store’s two TV sets. The owner was relatively clueless in regards to games, and relied heavily on his employees for actual knowledge of the product. Since I did not have to show off what head office told me to, and I did not really limit myself to showing off nonviolent E rated titles, I had a lot of freedom to attempt to drum up attention for some great, lesser-known games.

During this time, I quickly learned the power that a strong opening sequence has to sway a consumer over to a game that he or she may not have ever taken the time to look at before. Although opening sequences that showed gameplay were always a part of the equation during the cartridge generation, and provided many fantastic examples, it was when the industry made the transfer to disc based media, which allowed for the advent of the FMV sequence, that the demo video truly began to develop into an art of its own. Developers, and publishers (who sometimes changed things up for the a title’s Western release) took the opportunity to spice things up by combining gameplay footage, with clips from the games FMVs. Many games also feature a unique cinema exclusive to the opening. These videos often feature the best the game has to offer in terms of music, or even it’s own fresh theme song.

The film fan in me has a great respect for a well-executed opening cinema. Much like a game’s trailer, these sequences provide an opportunity for slick artistry and clever editing to really prove their worth, and showcase the best a title has to offer in a small window of time. In an age where game retail outlets are largely dependent on fake “shows” produced and distributed by head office that contain trailers, interviews, and pretty people with large plastic smiles for demos, it becomes ever more important to remember these fantastic mini-movies. This art form is by no means dead, but it has one foot in the grave. I hope that I can bring a smile to your face and stir some great nostalgic conversation, as I take a fond look at Exemplary Openings.

*NOTE - This article originally appeared on my now dead Destructoid Blog on Feb. 14, 2009.