(Not so) Special Edition

One of E3 2019’s biggest stories was the new footage of Final Fantasy VII Remake. Expo-goers seemed to love what they saw and much frenzied fanboy whooping and cheering ensued. Hitting the videogame news outlets a little more quietly was the information on several special/collector’s editions that will be available when the game releases in 2020. The most premium of these editions will include a statue of Cloud astride his Hardy-Daytona motorcycle and be available exclusively available at Square’s online store. It’s also going to be very expensive. If you want the details then I suggest you check out Strange Girl Gaming’s blog since that’s where I learnt about it.

But I’m not here to talk about this particular special edition specifically. This pricey collector’s piece is simply the inspiration that I’ve needed so that I might collate my thoughts on special editions in general and put my opinion out there. You see, in the past, I would have been all over a product like the FFVII 1st Class Edition and making sure that I slapped that pre-order down before it was too late. Times have changed however because the 2019 version of me doesn’t lust after collector’s editions anymore.

In fact, I think the majority of them are just garbage. There; I’ve said it.

The market for special editions wasn’t always this way of course but you have to cast your mind back to a time when special editions were the exception rather than the rule. Younger readers amongst you might not remember but most games prior to the PS3/360 generation only shipped as standard copies. Special editions were unusual and the ‘special’ in the designation actually meant something. They were actually limited (today’s “limited” editions have pretty big print runs in comparison), difficult to find and came with bonus items that actually had some thought and money put into them.

There were two examples that immediately sprang to mind when I first started thinking about the evolution of special editions and how the older examples were simply much better. The first was The Last Ninja 2 on the Commodore 64. Here, the special set came with a real shuriken (imagine that being permitted now!) and a wearable ninja mask/hood. The other was the Ecco the Dolphin boxset for Sega’s Mega Drive. Manufactured in tiny quantities, proceeds from the sale went towards a real dolphin in the London Aquarium that had been named ‘Ecco’ as part of the tie-up.

[Source: ebay]

But somewhere along the line, publishers realised that they could charge a small premium on top of the standard RRP of a game by placing the regular game case within a flimsy card outer sleeve and including a non-comprehensive artbook and sometimes a soundtrack CD (again, non-comprehensive and usually more of a sampler CD). JRPG’s were the first genre to frequently receive this treatment in the PS2 era and while nobody can deny the appeal of some nice extras, the problem for me was that if you enjoyed the art of the game THAT much, then there would usually be a ‘complete’ artbook available to buy from Japan which included ALL of the concept art. Likewise, a complete version of the soundtrack would be available in a standalone CD set.

The trend wasn’t so bad when confined solely to JRPG’s though. After all, JRPG players are more likely to be collectors in general so a pretty boxset that offered a little more than the usual retail release was a welcome option. But then the concept spread to pretty much every other genre and by the time of the PS3/360 era, seemingly every game had a special/collector’s/limited edition. Steelbook editions became a widespread trend as did packing games into oversized boxes with massive figurines or statues. Some games had multiple special edition variants exclusive to different retailers and then came the ‘Day One’ editions of games which usually included a voucher with some free DLC on it (did you feel ‘special’ buying those ones?). I seem to remember one of the Call of Duty games going a step further and shipping with a ‘Day Zero’ special edition.

The JRPG side of the PS2’s library regularly featured boxsets like this Ar Tonelico II special edition of mine that I recently sold.

The reasoning for all of this was actually quite simple. Videogame publishers were losing money thanks to the a) the pre-owned market b) retailers slashing prices within a week or two of a game’s release in order to be ultra-competitive with their rivals and c) the ignorant, entitled consumer expectation that they should receive incredible gaming experiences and pay nothing for them. Eliminating manuals, reaping extra revenue through DLC and selling season passes were methods employed to recoup some of the profits they were losing. Exploiting the materialistic magpie in us was another.

Some of you may be thinking, “Well, the contents of the special editions would cost more to produce in the first place so the publishers wouldn’t make that much money on them.” It’s a fair point until you consider that a great chunk of these collector’s editions were packed with cheap tat that really wouldn’t have cost that much to manufacture. Outer boxes were flimsy for example. Many steelbooks were produced from cheap tin, as evidenced by how many older ones are rusty or corroded at this point in time. And the bundled statues were cheap, low quality efforts that paled in comparison to dedicated releases from specialised figurine/toy outfits, trading on their eye-catching size rather than finish.

And as I touched on earlier, the vast majority of these so-called premium variants were not as limited as many believed. Some were still readily available from major retailers months after release with heavily discounted price tags to encourage buyers to take these hunks of plasticky shit off the hands of stores. The Duke Nukem Forever ‘Balls of Steel’ edition for example was far cheaper than the RRP of the standard game in no time at all. I too got burnt when I bought the special set for Driver San Francisco, only to discover that the bundled Dodge Challenger model was nowhere near as good as I’d expected. Worse still, it launched for around £60 before tanking to the £20 territory.

Looked impressive but rapidly lost all value. [Source: Youtube]

Whichever way you choose to analyse the market for special editions, there is only one truth as far as I am concerned. That truth is that publishers saturated the market with this crap and forged a paradox where something ‘special’ isn’t actually ‘special’ anymore. Take billionaires for example: we see them as extraordinary people with masses of cash that lead the kind of lives we can only fantasise about (unless you, valued reader, are a billionaire too in which case I feel a little honoured by your presence on my blog!) but if everybody was suddenly to become a billionaire then none of us would be extraordinary. In fact, we all be extremely average and ordinary. Boring, even. It’s a similar thing that has happened to special editions.

To put it another way, you EXPECT there to be a some form of limited/special/collector’s/ultimate/Day One/Day Zero/steelbook/exclusive (delete as applicable…) variant of any new release these days. There’s no surprise anymore; no value. We all could have safely bet next month’s paycheck on Square unveiling a lavish special edition for the Final Fantasy VII Remake but the odds on such a bet would have been incredibly low because we’d all win that wager.

I very rarely show interest in special editions anymore. Partly because of what I’ve discussed so far in this post but there are other reasons too. Storage space is one. These big boxsets take up a lot of room and when you are buying a lot of special editions, that space is eaten up rather quickly. They also cost a lot of money and investing both space and money into piles of cardboard and plastic that is often never used or displayed (just stored in boxes, cupboards or attics for the sake of ‘having’ it) is not something I see much logic in doing. For me it is just straight-up materialism and I am personally attempting to move away from materialistic personal values. I want a more minimalist, rooted approach to life where I own a few things but not excessive amounts of products that don’t enhance my life.

You might be wondering if there was a specific tipping point or collector’s edition that broke the camel’s back and you’d be correct in asking that question. For me, it was the Soulcalibur VI collector’s edition on the PS4. I was hyped for this game and pleased to say that the end product surpassed all expectations I had – SCVI is fantastic. Unfortunately, that hype led to me pre-ordering the collector’s edition which I consider to be one of my biggest wastes of money.

The big draw was the large Sophitia figure that takes up most of the box. Sophie is my favourite character in the series and so I was enticed by the prospect of owning a decent model of the Greek warrioress. Unfortunately, the actual figure felt cheap and unimpressive once I had her in my hands (I’m sure the real thing – if Sophitia wasn’t just polygons and code – would be less disappointing!). If I’m being generous, it was extremely average and not something I was happy with.

Looks good from a distance and in pictures but up close, I wasn’t impressed. [Source]

To add salt to the wound, I then discovered that we’d been utterly shafted here in Europe by Bandai Namco. Our soundtrack was a download voucher rather than physical as in the North American version of the collector’s edition. Also, we didn’t receive the artbook or steel case. The Euro version of the SCVI CE felt like a cheap, watered-down imitation of the American counterpart. Worse still, the pre-order price for this (incomplete) edition was £130. At the time of writing this article, that translates to $163.41 which is an utter joke when you consider that the US equivalent launched for $149.99…for MORE extras.

Right now, the Euro version of the CE is still available from Amazon for just under £80. So…it’s still in stock and cheaper than it was when idiots like me pre-ordered the fucking thing. Thus proving my earlier observations that CE’s are over-priced, undesirable and nowhere near as exclusive as made out.

All I had to show for my purchase in the end was the game and bundled season pass (which has proved to be great in fairness). I struggled to sell the figure, soundtrack voucher and box on ebay for more than £25 so had to take a massive loss on the chin and learn a valuable lesson. I won’t be buying any more special editions in a hurry, that’s for sure.

What is your opinion on special editions? I’d love to read your comments/thoughts on the subject.

Review – Marvel Nemesis: Rise of the Imperfects [Playstation 2]

Release Date: 2005   |   Developer: Nihilistic Software   |   Publisher: EA Games   |   Also On: Xbox, Gamecube, PSP, Nintendo DS

Gather ye round, little ones and listen to this old man’s tale. Once upon a time there was a fantastic wonderland known as 90’s Gaming. It was a time of great change, innovation and colourful arcade games that made everybody go deaf and blind such were the booming audio and bright visuals. Today, we live in a second gaming wonderland with access to all of the old goodies plus huge, immersive experiences that previous generations of gamers could only fantasise about. But in between these two ages there was a dark age. It was a time when everything had to be moody, brown and uber-violent to pander to the teenage boys locked in bedrooms with closed curtains and crusted, very soiled socks hidden beneath beds. Games had to be brutal and gangsta and feature women with enormous breasts and blank, “sexy” expressions. Because reasons.

And games that had no reason to get serious were affected too. If – like me – you were a massive fan of the magnificence that was Marvel Vs Capcom 2 then you could have been forgiven for feeling the hype when EA announced Marvel Nemesis: Rise of the Imperfects. After all, it was a 3D Marvel fighting game backed by the might of EA. It was going to be huge! Holy shit! And it was huge…a huge fucking disappointment that has been lost to the mists of time. Nobody talks about it and very few remember it. here’s why…

Devoid of imagination

For some reason, I had always assumed that Marvel Nemesis was a 3D fighting game but no, I’m an idiot. It’s a 3D action game where you move about arenas/stages defeating enemies in a beat ‘em up fashion. The game’s story mode opens with The Thing walking along a bridge when aliens suddenly attack New York City. Your job in this first stage of the game is to defeat all the enemies on the bridge, punch through some blockades and that’s it. The next stage demands that you defeat all enemies on the streets. The third stage is back to the bridge again with the task of (guess what?) defeating all enemies. Okay, there’s a time limit this time but it isn’t anything taxing. Then it’s back to the streets again to…you get the idea. These opening stages with The Thing really show you what Marvel Nemesis is about. All of the stages in the game are essentially identical. Some have time limits or other conditions including handicapped health but the underlying requirement is always to beat all enemies or destroy a certain number of objects. The level descriptions sometimes almost attempt to disguise this mundane exercise but others can’t be bothered and simply state “Spiderman must defeat all enemies!” or “Daredevil must defeat all enemies!”

There’s nothing inherently wrong with this set-up because – as you may be eager to point out – even the classics such as Final Fight have the same paper-thin game structure. The PS2 has its own collection of competent 3D beat ’em ups such as Urban Reign and Beatdown: Fists of Vengeance so the formula could still work back in the mid-00’s. It has to be interesting to play though and aesthetically appealing on some level. Marvel Nemesis could only dream of being these things.

Spiderman vs some bloke that nobody cares about. With added brown for that gritty effect.

There’s very little challenge for example with most of these ‘missions’ finished in a matter of minutes. Honestly, I felt like I was looking at loading and saving screens more than I was playing the game. Some of the missions are just plain embarrassing too such as the one where Wolverine must “navigate the traps in the Avengers mansion and defeat all enemies”. This translates to bypassing one set of security lasers then clearing a single room of enemies. Big mansion, huh? The character bios in the manual make mention of the ‘New Avengers’ so why the hell is the Avengers mansion even here? Anybody who reads Marvel comics knows that the mansion was destroyed before the New Avengers were formed. Obviously I’m nitpicking on a dangerously nerdy level here but that’s what happens when you play Marvel Nemesis; you get so bloody bored that your brain exits stage left and goes for a wander.

The graphics do a supreme job of reflecting your mood when playing this game. Everything is dark, muddy and desperately dull in a game world that barely manages to look much better than a PS1 title. The music is similarly complementary in that beautifully forgettable ‘stock music’ fashion. The soundtrack isn’t criminal but you won’t remember it thirty seconds after shutting the game off. I’ll let you decide whether that’s a positive thing or a big fat neg.

You’d expect the controls to be rotten as well wouldn’t you? Well you’re wrong! Shockingly, the controls are actually functional here; one analogue stick controls movement while the other offers generous manipulation of a reasonably compliant camera. You have buttons for attacking, blocking, grabbing/throwing and jumping so there’s very little to get wrong. Holding R1 while attacking allows for some more powerful moves (such as Storm’s lightning or Daredevil’s club) while doing the same with L1 allows for bigger jumps or some characters i.e. Human Torch and Spiderman to fly or swing.

Complimenting the controls is like trying to apply a tiny plaster to a massive, gaping wound that is gushing blood from a main artery however.

Marvel Nemesis shouts about having fully destructible environments but this really boils down to having arenas littered with projectiles such as cars, furniture and oil drums. As suspiciously numerous and carelessly abandoned as these drums are, they swiftly become your best friend in the whole wide world because most tight spots and boss battles can be negotiated by simply spamming drums and throwing them for big explosions – a tactic that remains effective no matter how far you get into the game. Stand in the wrong place when an enemy is throwing a drum though and you can instantly lose over half of your energy in one massive blast when getting caught in a chain reaction of exploding drums and cars. Well, you gotta take the rough with the smooth. Swings and roundabouts and all that.

Surely this cannot be visually appealing to anybody?

I said that the game is really easy but there are ways for your ass to be handed to you in no time at all, the aforementioned random explosions for example. Like all poor 3D beat ‘em ups though, you can also get caught between multiple enemies and trapped in a loop of hits that will leave your character with hardly any health. Boss fights too swing from pathetically easy to being extremely cheap. The boss battle against Storm for example saw me getting hit by a bolt of lightning before I had the chance to move then stuck in a cycle of follow-up hits, leaving me with no energy and open to a finishing move in seconds. After many copy/paste starts to the battle, I finally won by jumping around and…throwing oil drums…sigh. The only way to overcome some of these battles is to fight fire with fire and be cheap by abusing oil drums or ranged attacks. Other times I have witnessed boss battles end instantly thanks to the opponent graciously walking themselves off the edge of the stage and to a ring-out defeat.

With the gameplay confirmed as tedius, poorly designed and possessed of stupid difficulty spikes and a severe lack of fun, what about the playable characters? You need to remember that Marvel Nemesis was released in the mid-2000’s so the roster is a good reflection of the pre-MCU era of Marvel cinema and who was popular as a result. There’s Spiderman (complete with Tobey Maguire era costume), Daredevil, Elektra, Iron Man, Wolverine, Storm and Magneto to name a handful. There really isn’t much more to say but I can’t avoid discussing Elektra.

For some reason, Elektra is the only character to have been given a visual revamp by EA and her new outfit looks like a bra/thong set from a racy lingerie catalogue with the red trousers from the crappy Jennifer Garner Elektra film thrown in for good measure. Oh and a spiked gothic choker. She looks nothing like Elektra should other than being garbed in red and her model is just plain fugly. All of her attacks seem to be accompanied by sexual moans and groans and even sans super-powers Elektra can still rip parking meters out of the ground and smack enemies about with them. Who needs the Thing?

Worse still however are the ‘Imperfects’, the foes of the game. The Imperfects are humans modified with extraterrestrial technology by the game’s alien villain so that they can do battle with Marvel’s finest and capture them for their powers (it’s a really crap storyline) but EA’s villains receive no injection of originality and appear to ape the powers of existing Marvel characters. Can you guess what sort of superpowers the likes of Solara, Fault Zone and Johnny Ohm (good grief!) have at their disposal? Asking these characters to stand next to Marvel characters is like you or me going back in time to when Arnold Shwarzenegger was still on the body building circuit and being asked to compete on-stage next to him. It would be a competitive massacre and the same applies here in Marvel Nemesis. I think I can say that Stan Lee didn’t lose sleep over being beaten to creating Johnny Ohm.

Conclusions

In hindsight, this game had all the ingredients of a disaster but we were naïve and could not have known that Marvel Vs Capcom 2 would remain the definitive use of the Marvel license until Capcom came riding in to save us in 2011 with MvC3. Likewise, it’s only now that we can look back on EA’s mid-2000’s output and realise just how many shoddy movie tie-ins, licensed trollop and relentless yearly updates their logo ended up being slapped on. If I had paid £40 for Marvel Nemesis: Rise of the Imperfects then I would have been absolutely devastated. Thankfully, I chose other games back in 2005. Aside from functional controls and the almost perverse desire to go back in time and experience shit games, I can’t come up with any other legitimate reasons to recommend Rise of the Imperfects. If anything, it shows just how far Marvel has come and you can’t imagine that precious money-printing license being permitted to associate with garbage like this game in the same way that films like the 2003 Hulk or Jennifer Garner Elektra would never happen in 2019.

Summary

The controls work at least

Repetitive, non-imaginative gameplay

Miserable visuals and forgettable music

Original characters are unispired and uninteresting

Random cheap deaths and chaotic gameplay

 

 

Why Dead or Alive 5 was great

It seems like a long time ago now that Dead or Alive 6 was first announced but guess what? It’s finally here. At the time of writing this however, I still haven’t picked the game up nor had the time to watch any footage of it in action so I’m still sceptical about Tecmo’s promise to tone down the titillation and how this will affect the series. That and Sony’s recent shift towards tighter censorship for games appearing on Playstation platforms. Don’t misunderstand me though: I have no doubt that DOA6 is a superb fighting game (and one that I WILL eventually buy) but for me, the silly sexualisation and appealing female characters are a traditional part of the series.

And I enjoy it so shoot me if you disagree.

Obviously there are pros AND cons to adjusting Dead or Alive‘s DNA. Tecmo clearly want DOA to be taken as seriously as the likes of Tekken and Street Fighter at a competitive, e-sport/tournament level, an ambition that can only go so far when many of the characters’ outfits in the outgoing DOA5 are banned from being selected. Also, as much as I personally approve of skimpy alternate outfits and being able to play around with breast physics in the options menu, these aspects no doubt restrict DOA‘s audience to the faithful core of loyalists, doing nothing to change the outside opinion that DOA is “just a game for pervs” (a real-life quote from somebody I know).

With all of this in mind, I thought it would be timely to take a quick look back at Dead or Alive 5 and why it was so good. After all, if 6 does decide to be a bit too serious then it’s comforting to know that we can always break out our copies of DOA5: Last Round.

The Guest Characters

These days, guest fighters from rival games (or even completely unrelated genres) are a standard feature in fighting games but this doesn’t necessarily mean that they always fit right in and compliment the roster (Noctis and Negan in Tekken 7 for example). DOA5 quietly got it so right though. The four Virtua Fighter guests feel right at home and retain their familiar moves whilst also seamlessly slotting into DOA‘s fighting system. It has proven to be one of my favourite fighting game crossovers of all-time, even if CPU Jacky and Sarah sometimes seem suspiciously difficult to beat.

Even better was the signing of SNK’s Mai Shiranui. After all, who fits a Dead or Alive game better than a loosely-garbed female ninja with huge boobs? The best thing about this specific guest appearance however was that it seemed like the kind of thing that fans of fighting games would have been asking for in their dream scenarios. Mai looks fantastic in DOA5 and comes with her signature special moves from KOF while learning some new combos to help her ‘work’ in her new, 3D environment (KOF Maximum Impact doesn’t count as prior experience…). Happily, she was recently confirmed as part of DOA6‘s roster.

The New Characters

New characters in long-running fighting game franchises are always a tricky one. The developers must:

1. Come up with a distinctive and unique fighting style that hasn’t been done before in the series.
2. Design a visually-appealing character that isn’t too similar to existing characters

Get it wrong and you end up with clones or characters that are simply uninteresting to play as. With DOA5 I feel that they mostly succeeded with the new characters as far as the overall fanbase and reception was concerned. I wasn’t personally a fan of all of the new challengers but I’ll get to that in a second.

I really liked Mila for being a more rough ‘n ready fighter with an MMA-inspired style of fighting and slightly more realistic look that wasn’t all about the supermodel looks and massive boobs (although Tecmo ensured that she put up an ample fight with the latter). Then there was Rig who looked really bad-ass and brought Taekwondo to the series. The last of the new characters that I liked was Nyotengu who I just think has a really cool design and interesting fighting style.

The other new characters have all been successful for Team Ninja but aren’t personal favourites of mine. Phase 4 was a Kasumi clone that I couldn’t really get that excited about and Honoka was a typical archetypal schoolgirl with mountainous breasts and a fighting style that I didn’t really think that much of. Finally, there was Marie Rose who – despite being classed as 18 years-old – always struck me as uncomfortably young in appearance given the game’s inclusion of swimsuits and sexy attire. More importantly, I don’t care for her fighting style either.

On a commercial level however, all of these characters were a big success for Tecmo and Team Ninja. Honoka and Marie Rose for instance became immediate fan favourites and the cover stars of Dead or Alive Xtreme 3 as a result.

The Cinematic Look

Before I played the OG version of DOA5, I have to admit that I was pretty apprehensive about the game’s big action movie approach with cinematic set pieces and dynamic, multi-layered stages. After all, being able to deal extra damage by booting an opponent over the edge of a rooftop or launching them into a piece of interactive stage scenery seemed to break the rules of fighting games to me. True, we have seen this sort of thing before but it looked like it was going to be more heavily-promoted this time and moved front-and-centre.

Truth be told though, I actually ended up really enjoying it all. It gave DOA something unique and a little more interesting and definitely contributed to the excitement of the fights. A particular favourite of mine was one of the city stages where you can kick an opponent off a collapsing rooftop just as a fuel tanker crashes and triggers a massive explosion. Thankfully, you can turn this stuff off if you prefer to be a bit more traditional but on the whole, I don’t think it interferes too much at all anyway and it’s worth remembering that while you can suffer “cheap” damage, you can also win rounds yourself by taking advantage of a stage’s hazards.

Also, the additional battle damage detail such as the dirt, realistic perspiration and the water-related wet effect were nice touches that made a battle seem just a touch more realistic after it was over and your character struck their win pose.

The DLC

Now this one is a double-edged sword. DOA5‘s DLC was certainly too expensive and far too vast, prompting many of us to reach the not-unreasonable conclusion that Tecmo were simply abusing the fans and the marketing force that is “sex sells” by releasing an endless stream of outfits that grew progressively more outrageous as time went on. The online store was (and still is) an utter mess with outfits difficult to find, certain packs not working unless you downloaded compatibility “catalogues” and DLC from previous versions of the game not working with the updated releases. Other outfits simply state that they are not available to purchase for no apparent reason and making people pay for DLC characters that were later included on the disc in Last Round felt a bit shitty.

On the flipside, the constant stream of DLC did at least mean that there was always something to keep the playerbase playing. Very little of it was conceived prior to release so it was a good example of a developer constantly providing for owners of the game as the years passed. Obviously, the cynical motives behind the overall DLC strategy will be impossible for many to ignore and there’s no denying that the pricing and organisation are unforgiveable BUT if you can look past all of this, then DOA5 is a game that endured. You also need to remember that just because a DLC strategy rubs you up the wrong way, doesn’t mean that you are being forced to purchase any of it. I personally enjoyed the DLC and was only really aggrieved by my downloads from the base version’s collector’s edition not working with Last Round, causing me to piss about for ages downloading compatibility packs etc. Ultimately, I’m still playing the game today and a small part of that is because there are still a great many bits and bobs that I can still buy from the store.

Parting Thoughts

All of these reasons aside, Dead or Alive 5 was simply a great game. Many like to poke fun at the series and call it a “game for pervs” and there’s no denying that there is some truth in that viewpoint – let’s not embarass ouselves by spouting airs and graces. However, DOA has always been a fantastic fighting game in its own right. Fast and fluid with organic combos that are easy to learn for button-mashers and difficult to master for pros, DOA is a unique game. The hold system separates the amateurs from the learned and there are endless ways to link moves together.

Additionally, DOA5 (in any incarnation) looks utterly fantastic. The graphics and character models are impressive and the detail with regards to things like sweat and dirt only help to enhance this.

By the time DOA5 reached it’s Last Round incarnation, it was truly one of the great fighting games of the last generation. The roster was filled out and very comprehensive as far as the series’ legacy goes, the available DLC was enormous and there were some very nice special features available such as being able to customise the soundtrack with tunes from previous DOA entries. Add to that the collaborations with other videogames/anime for interesting DLC and the guest characters that I talked about earlier and it’s not difficult to see how DOA5 lasted for so long. Yes it has its flaws and the titillation will not be for everybody but it was a great game and always will be.

Review – Spyro Reignited Trilogy [Playstation 4]

I’ve been gaming for a hell of a long time now and so you’d be forgiven for thinking that some of my viewpoints on modern gaming are somewhat cynical and the unfortunate victim(s) of rose-tinted vision. For example, I am about as interested in remakes and remasters as I am in that scene in Terminator Genisys where Emilia Clarke gets naked but the smart troll-ish 12-rated camera work denies you a glimpse of the goodness. Either I have no enthusiasm for retreading old ground in HD-o-Vision or I get all old-man grumpy and ignorantly presume that the developer will remix everything too much.

However, that has all changed very recently and my attitude towards a remake has softened a little. The game responsible for this shift is Spyro Reignited Trilogy, a full remastering of one of my favourite videogame series’ of all-time (pre-Enter The Dragonfly of course). Younger readers or newer gamers might not understand the big deal but I had the originals on release and still regularly play through all three most years. I adore these games and no amount of mowing down hookers in GTA (after purchasing their wares of course) has succeeded in dulling my enthusiasm for whimsical fantasy worlds and cutesy characters.

The games look amazing now, all without any alterations to level layout or loss of the original charm [image: forgetoday.com]

As you might imagine then, I was gravely worried about what Activision and Toys For Bob might do to my childhood memories when Reignited was first announced but I needn’t have been concerned because the boys ‘n girls at ‘Bob did good and managed the near-impossible task of impressing this old-school gamer with a remake of all things. It isn’t all good news but the positives definitely outweigh the crappy stuff so I’ll talk about why this is such a great remake first and foremost.

My overall feeling is that Spyro Reignited Trilogy is a totally authentic and – more importantly – sympathetic remake. Everything from the level layouts to the word-for-word script is as I remember it. The individuality between games has also been retained i.e. the designs of the treasure chests, the shapes of the gems and the extra life systems. Immediately, there is nothing on a basic level to offend the traditionalists who demand the most minimal of changes and this is nice because Toys For Bob could have easily decided to bring each game in line and go for a uniform approach. The only big alteration to the trilogy as a whole is that the sideways roll feature that was originally canned for the sequels has been carried over to Gateway to Glimmer and Year of the Dragon for the remakes. This is actually a welcome change because many fans bemoaned the way that Insomniac took the roll away back when these games were first released. Now though, you can showboat to your heart’s content while avoiding enemy attacks.

One for the ‘Furries’ out there. Bianca looks a lot foxier this time which ironic since she’s a rabbit [image: Youtube.com]

Then there is the all-important music, originally composed by Stuart Copeland of The Police and adored by fans ever since. The soundtrack of the first game in particular is especially good since each level has a distinct sound influenced by the theme of its home (or ‘hub’) world but the same set of instruments used throughout results in a very cohesive OST. The mix in Reignited is extremely gentle and in all honesty, it didn’t need to be dramatic anyway; the original OST was fantastic as it was and in some respects was ahead of the games themselves and what the technology of the time allowed them to do visually and technically. So it sounds very similar to the original tracks but with a bit of added depth in places. There is an interesting ‘dynamic’ effect too which alters the tone of the music when underground or in tunnels/caves. Stand stationary for a few seconds and the tone will shift to a more ambient, trippy chilled-out zen-like sound that I really enjoyed. You can switch the dynamic mode off and also revert to the original soundtrack if you wish so everybody should be satisfied.

All of that important preservation work acknowledged, we come to the new stuff. Most obvious are the brand-new visuals which really are beautiful. The dragon worlds and Avalar now look utterly sumptuous with so much more detail than was possible before. Obviously we cannot say for certain but this is perhaps what Insomniac would have wanted their games to look like if the technology had been available at the time. On the Playstation, they had to make do with simple colour schemes and basic textures to simulate the real things and define a level’s identity. Not so in Reignited. Flat greens are now proper grass with long blades that sway in the breeze, water looks good enough to drink and the smudgy, minimalistic backdrops now have some detail. It really was a joy to take my time exploring the familiar while absorbing the new.

Some levels in the sequels look like they have been revamped more than others but that’s down to their original designs. After all, some (especially in Year of the Dragon) felt a little uninspired back in the day and a retread of previously-utilised themes.

The revamp is dramatic yet respectful [image: silconera.com]

The dragons have all been given unique, detailed looks and personalities too which is a massive upgrade over the original designs. Some of these look a bit too comical and over-the-top to me but otherwise it is a nice injection of variety and individuality which wasn’t present before. As mentioned earlier, the dragons still retain their original speech so it’s a nice little compromise between old and new in my opinion. Overall on the graphics front, I felt that Reignited had an almost Pixar-esque quality to its aesthetics and all three games were just so enjoyable to play through for that reason alone, let alone any others.

Obviously the only issue with these remakes being so authentic and true to the originals was that I absolutely caned them and literally had to impose play time limits on myself in order to refrain from completing them too quickly! The original trilogy was released between 1998 and 2000 and I’ve been playing them on and off via my original PS1 discs or the digital versions from the Playstation Store ever since so I know all of the secrets and solutions. Handily, Toys For Bob did attempt to add a little extra longevity with ‘Skill Points’. Skill Points first appeared in Spyro 2 and rewarded the player with an extra life for completing bonus tasks such as flaming all of a specific object within a level or beating a boss while taking no damage.

Similar challenges await in Reignited but this time around, many of the ‘flame all of X object’ Skill Point requirements have been replaced by new targets for variety’s sake. These include burning hidden objects (some of which are genuinely difficult to find) in the first game, completing three perfect laps of the supercharge circuit in Spyro 2‘s Fracture Hills level and beating the course records for the skateboard parks in the third game. Each game features two pages worth of challenges and these are worth doing to unlock the concept artwork which I quite liked the look of. There are trophies too of course and I assume that the Reignited Trilogy will be a relatively easy platinum. I achieved around 80% trophy completion without trying for example.

Speedways look awesome and provide a nice challenge as usual but the controls feel a little off to me [image: gamepressure.com]

So as a remake of a fan-favourite set of games, Spyro Reignited Trilogy is a resounding success that managed to make me feel rather moist in a sexy way. Perfection is an impossible destination to reach however and so I must now – regrettably – lower the tone and talk about some of the what I didn’t like as well as what nobody will like.

The first collection of criticisms will probably only be relevant to those of us who played the original games and it’s to do with controlling Spyro and some of the hit detection. To me, Spyro felt more difficult to control at charging speed with slower rotation and a less compliant turning circle as opposed to the super-sharp handling in the OG games. Flames don’t seem quite as wide-reaching as before (feels like you have to be just a touch closer to actually make contact) and – most frustratingly – the gliding felt “off”.

It’s difficult to describe properly but I noticed that many of the glides between platforms were now more strict. I wouldn’t have thought twice about these glides in the original games but now it’s almost as if they are only just possible and on the very edge of Spyro’s capability. It’s almost as if he loses altitude that much faster and it’s only really a big issue in the first game which wasn’t equipped with the hover ability that afforded Spyro a little extra reach in the sequels. I experienced many annoying deaths in this way but I will admit that a lot of this was probably down to my instinctive behaviour (learned from years of memory-mapping the originals) being challenged by the remakes. I’m not sure if newcomers or those who didn’t play their PS1 copies into oblivion over the last two decades will feel the same but I thought it was worth noting.

Flight in the ‘speedway’ levels also felt a bit weird and not as tight as before. There were many times when cornering or making a sharp turn that Spyro felt like he was drifting wide or ‘sliding’ in the air like a racecar would when drifting around a corner, causing me to miscalculate and miss a target. Again, it’s no disaster and just took a little getting used to but even so, I’m not sure that understeer and a loss of traction is possible in mid-air…

There are a few other niggles with fiddly controls in some of the third game’s many unique missions/mini-games, some of which used custom mechanics and viewpoints. Skateboarding is one of the biggest culprits with the occasional bizarre collision detection and the game failing to register some of the more complex tricks. The other example that immediately springs to mind are the hideous controls for the speedboat in Seashell Shore which seem to continuously change depending on which way the boat is facing.

Excuse the language but fuck the controls of this boat. Seriously. [image: gamepressure.com]

The game has also fallen foul of the need to be a little more politically sensitive in order to achieve a family-friendly age rating to slap on the box cover. The enemies in Twilight Harbour no longer resemble guerrilla fighters for example and their machineguns have been exchanged for comical paint guns; their grenades for explosive barrels. Guns were also taken away from the enemies in Spyro 2‘s Scorch level and replaced with catapults. Lastly, the fairies and various female characters are a lot less busty and sexualised this time around, particularly noticeable in the third game’s Desert Ruins level where the Lara Croft-imitating character of ‘Tara’ no longer has the titantic breasts to match her inspiration.

These alterations are not really “negative” changes that should affect your feelings towards Reignited but they stood out to me personally as a staunch anti-Political Correctness kind of guy. Other little differences that I wasn’t so excited about were Hunter’s new voice actor and a tiny portion of the updated soundtrack for Year of the Dragon. A few tracks sound very different (not bad just less recognisable vs the majority of Reignited‘s mixes) and I feel that Bamboo Terrace – one of my favourites – loses something without the chilled chanting in the background.

These are trivial moans that won’t apply to everybody. The universal gripes that should unite all players are the glitches however. It’s worth mentioning that I was lucky and managed to complete all three games without any major issues but looking around online, many have complained about game-breaking problems that render levels impossible to complete amongst other horror stories. Personally, I encountered some dodgy collision detection and occasional (but dramatic) framerate drops as well as a glitch at Lost Fleet’s skateboard race where crossing the line didn’t trigger the next lap (I had to keep trying and eventually I overcame it).

The blame for all of these technical issues can be levelled squarely at Activision and their insistence that the game be on store shelves in time for Christmas, pushing Toys For Bob hard in the process. They had already intended for Reignited to be released in September 2018 before pushing the date back, don’t forget. It’s the same reason that Spyro 2 and 3 don’t even ship on the physical disc and have to be downloaded as a 20GB+ “update”. My internet is perfectly fine for regular web browsing but too slow for fat-ass downloads like this and so I had almost completed the first Spyro before the rest of it had finished downloading in the background (it took FOUR DAYS). Worse still, there are (at the time of writing) no patches or word on forthcoming fixes for the bugs in this game.

All of which is a massive shame because Spyro Reignited Trilogy did pretty much everything right for me and was the first game in a long time that I couldn’t pull myself away from. To have such a good thing slightly spoilt by bugs and a game disc that may as well be a download code on a piece of paper is like enjoying a particularly tasty sandwich only for a seagull to swoop down and snatch the last mouthful. Shame on Activision and their pushy policy but much kudos to Toys For Bob for reviving a much-loved series in such an accomplished manner.

Final Fantasy VII Remake isn’t going to live up to expectations

When Square-Enix revealed the long anticipated and much demanded Final Fantasy VII remake in 2015, they finally put their fanbase out of their misery and sent the community into meltdown mode, especially as the same expo saw the announcement of Sega’s Shenmue III. Things have gone decidedly quiet since then however with only the occasional reassuring statement to let fans know that development is still on-track.

[Image: wccftech.com]

This isn’t a post about how I have concerns for the project’s progress though. This is going to be me exploring why I believe that the FFVII remake – no matter the eventual quality of the finished product – will fail to satisfy expectations. This isn’t just baseless doom-mongering and negativity on my part but a stance inspired by videogame history itself which has shown that remakes and sequels to beloved games/franchises have such a microscopic sweet spot to hit if they want to please everybody.

Change too little and the new game can seem unnecessary and can even come off as a quick, lazy money-spinner for a publisher. Alter too much and the developer risks alienating fans of the original products. With the FFVII remake, it is my belief that Square could run the risk of the latter. I have no doubt whatsoever that the finished product will be a fantastic, polished game of high production value in its own right but in the process of thoroughly modernising everything and going down the episodic route it could lose too much of the original’s charm and ‘feel’. To look at one example, the FFVII community has been slightly split in the years following the original game with many not entirely happy with the realistic, sometimes ’emo’ mood that the spin-offs and – in particular – the Advent Children CG movie adopted. FFVII Remake is certainly going to look a truckload more realistic than the world inhabited by Popeye characters in the Playstation original but it’s important that Square don’t try and get all serious and gritty as with more recent Final Fantasy installments.

The game is going for a more action-based, realistic look this time around but will it put off stalwarts? [image: polygon.com]

Speaking personally, I can’t criticise the newer games because I haven’t played them but the battle systems and general gameplay have left me doubtful purely based on the footage I have watched over the years. Obviously, this could simply be me refusing to let go of the Active Time Battle system but on the flipside, I am one of millions of gamers who enjoyed the original on the PS1 and so a remake that behaves like many other action games will be off-putting. It looks a bit Kingdom Hearts-like thus far and while I had no issues with the battle system in those games, I also don’t have any overly fond or nostalgic memories of it either. Like it or not, people like me have to be catered for if you choose to remake a game that is as special as FFVII. Newer FF sequels…not really; they can do as they like and lean more towards the younger gaming generation. It’s called progress.

If you want to see some examples of remakes that succeeded in the black art of remaining true to the structure(s) and feel of the originals while also looking like fresh, modern experiences for newcomers then you need to check out the likes of Yakuza Kiwami, Pokemon FireRed & LeafGreen and last year’s Spyro Reignited Trilogy. All of these were brought right up to (the then) modern standards with minimal meddling with the original game design and mechanics.

Final Fantasy VII Remake is going to be an entirely different beast that will not resemble the original game that much at all and while I reiterate that it will be a great product, I also think it will simply be too different for those that adore the Playstation classic and still regularly embark on play-throughs of the game all these years later. This reasoning aside, it has also been too long, With all of the hype and anticipation that has built up over the past fifteen years or so (remakes were first talked about by Square in the PS2 era!), there’s very little chance for the remake to actually meet these sky-high expectations. This isn’t a damning prediction that I am levelling exclusively at the FFVII remake but at any long-awaited remake or sequel such as Shenmue III, Half Life 3 or Streets of Rage 4.

It doesn’t look like this segment will appear in the remake which is a shame. Direct your thanks to those who would find some way to twist it into an “offense” or social injustice…

You could say then that Square were foolish to even consider greenlighting such an ambitious project that has to be realised in a very precise and specific manner. On the other hand, a lot of the old guard amongst their fanbase have drifted away over the years anyway with hardcore fans who have been there since the early days of FF not gelling with the likes of FFXIII and the the recent MMO style sequels. In this sense, perhaps they don’t fear pissing off the loyalists as much as they might have done ten or fifteen years back. At the end of the day, it will be a great end product and it’s good to see a publisher committing money and manpower to a bring into being something that their fans have pleaded for.

Me personally, I would have opted for a much more mild remake that would have risked less consumer division and taken less time to produce. I would have kept the third-person perspective that they are going with for the town/overworld exploration but ensured that things don’t get too dark by careful use of colours and music. I would have retained the Active Time Battle system (regardless of how outdated it may seem) and given the music a sympathetic mix (i.e. not transforming the OST into the “badass”, techno and rock update that I fear will actually happen) with the option to use the original composition. I would have let the visuals, CG scenes, updated script and a few extra expanded areas here and there do the talking when it comes to the actual updates and new content.

But that’s just my view as a gamer who has a special place in his heart for the original and doesn’t wish to see radical changes that will alter the atmosphere I recall. The remake will be a big event, will be a good game and will likely sell by the bucketload so the opinion of a dusty oldtimer like me doesn’t necessarily mean all that much but there are a lot of us out there and I – sadly – don’t see us all being satisfied come release day. Pleasing everybody is impossible and that’s just a fact.

Conan [Playstation 2]

Note: This review is part of a series I am going to call “Resurrected Reviews”, essentially stuff that I wrote for previous (now deceased) blogs and review topics on various gaming forums over the years. I have dragged them kicking-and-a-screaming into the harsh light of the present day and revamped them where necessary. Some may say “Rehash” but I say “Recycling”.

Release: 2004 | Developer: Cauldron | Publisher: TDK Mediactive | Also On: PC, Xbox, Gamecube

“What does not destroy me, makes me stronger”

When talking about the videogame adventures of Robert E Howard’s legendary barbarian warrior, most will be more familiar with the PS3 game by THQ, a very average 3D adventure game that I personally found to be akin to a poor man’s God of War. The game that I will be talking about now (also titled simply ‘Conan’) came before on the PS2 and Gamecube and was published by TDK, developed by Cauldron. It’s completely unrelated to the THQ game but would it be better for it? Well…

Picture this: after a mere ten minutes of gameplay, I was staring dully at the TV screen with mental despair taking hold. I was thinking, why oh why are there no good Conan games? The PS3 game was an un-enjoyable slog to the finish after just a few hours of playtime and there are no others that I know of aside from the PC Age of Conan MMO which I can’t be arsed with as I simply don’t ‘do’ PC games. The only other Conan game I have glimpsed came in the form of a few screenshots for an unreleased Atari Jaguar side-scrolling beat ‘em up (the very definition of obscure!) so I was desperate for this PS2 effort to satisfy the Conan fan in me. But no, it just had to be another bitter pill of disappointment.

Why are there no decent Conan games? Why? The films were great (well, the first one was. Conan the Destroyer isn’t quite the same and the remake is just pointless) but the books were even better. I’ve read every one of Robert E. Howard’s Conan stories and they were brilliant. Between these and the movie adaptations, there is a world of resource and inspiration for some good Conan games so why…are…there…no…good…Conan…games? WHY? WHY? WHERE ARE THE GOOD CONAN GAMES?!?

Whew. That’s better. Talk about your pent up frustration. In the spirit of Conan himself, I persevered and so with pad in hand I asked Crom for the strength to beat this game and if he wouldn’t listen? To hell with him.

To give Conan some credit, the game is at least faithful to the source material when it comes to locations, weapons and even the characterisation of Conan himself. This isn’t Conan as played by Arnie but the real Conan from E. Howard’s books and – as a fan of those tomes – I really appreciated what Cauldron did to keep things legit and authentically presented. The ‘epic’ music is generic but a good fit for the game (nothing else to say about it to be frank).

Gameplay revolves dispatching enemies with various button combinations. You have light attacks, heavy attacks, grabs and a block button. These are utilised to pull off preset combos and by killing enemies the player earns points to spend on unlocking new, flashier moves – standard stuff. Movement however is really clunky and despite using a few different pads, Conan sometimes simply refused to move in the desired direction when changing course. It didn’t cause too many unnecessary deaths during my play-through but it’s pretty piss-poor when a game makes you question the condition of your controllers, especially when it turns out that they are all working correctly.

This screen is actually from the Xbox version but I’m not sure I care enough.

If you do run out of health though then Conan is transported to the realm of Crom where you must defeat enemies in an enclosed arena in order to be fully restored to the spot where Conan snuffed it. Sounds pretty sweet right? Especially when you consider that the feature has unlimited uses. It’s actually the opposite though because these arena battles are much easier than battles in the mortal realm making Conan’s resurrections assured and the threat of enemies neutered. If you can’t ever technically be killed then where is the challenge? Conan’s apparent immortality also makes a mockery of boss battles because you can be infinitely restored to the spot with the enemy’s life bar still depleted.

The only way that you don’t get a chance to fight for Conan’s restoration is by falling foul of environmental hazards such as holes or traps (apparently Conan hasn’t died as a warrior thus denying him the right to be resurrected) but this still doesn’t excuse the ability to ignore strategy completely and abuse this mechanic. Ultimately, I wondered if there was any point at all in trying to utilise the game’s full range of moves because you may as well repeat the same handful of basic sword combos while spamming this revival ability. It’s certainly possible to beat the game this way with little trouble.

You can switch between swords, axes and maces throughout the game but again, unless you need the mace for beating down armoured foes more effectively, there’s no incentive to bother. There’s also a running side quest to locate and assemble all four pieces of the Atlantean Sword but any exploration is voided by the fact that a) environments are incredibly linear and bland and b) only one of the pieces is easy to miss with the others all in plain sight or after beating a boss. The Atlantean Sword deals with enemies in one hit and shamefully, I even killed the final boss with one wild swipe! Who tested this shit?

Braving the harsh elements and wild animals. At least the feel of the character and setting(s) is there.

The main problem with this game is the clunkiness and just general, basic dullness of everything. It really is an exercise in getting from A to B by killing everything in between, pulling a few levers and avoiding pitfalls. Lots of games have adopted this approach in the past and have turned out really well but Conan is just so uninteresting to sit through with repetitive scraps that don’t ever offer something new or stylish to at least paper over the shortcomings. It does say something that my highlight of the game was the quick cinematic of Conan punching a camel in a marketplace, a reference to a humorous scene in the original Arnie film. It made me smile at least when nothing else did.

The sole reason I persevered to the end was because the authenticity to the original books was spot on and I still wanted to see what happened in the end. I can imagine a non-Conan fan playing this game and binning it after a few levels because as much as I appreciated the videogame renditions of stuff from the books, it was always a case of sitting down and saying “right, got to get this bloody Conan game finished so I can play something else” rather than enjoying the game. I’m bored just writing about it.

Now that I’m nearing the conclusion of this review, I’m looking back over my words and thinking that I haven’t really gone into much detail but the truth is, I just don’t have anything else to say. So…is this an angry rant ending on a mellow note? Not until I’ve gone over the game’s miserable save system! I knew there was something else I hated about Conan – must have blocked it out of my mind for a moment there. Well, there’s no use in burying my head in the sand so I’ll talk about it.

Conan needs to possess a crystal to save the game. You can save anywhere (good) BUT you can only carry four of the damn things at any one time (bad) and let me tell you: there’s nothing worse than trying to make your last crystal go as far as possible only to fall down a hidden pit or be killed by a barely-visible trap because it means slogging back through the whole unsaved section all over again, slaying the same boring enemies and looking at the same uninspiring scenery (extremely, diarrhoea-grade bad). Who thinks that weird save systems like this are a good idea? Fuck these people. A game this underwhelming didn’t need to be any worse but congratulations developers, you managed it.

Overall Thoughts

It’s a shame that the gameplay is so uninspiring and bland because the source material was treated really well with this one. Conan is at least authentic in spirit but that means little when you barely want to play the actual game. Another missed oppurtunity.

Onechanbara Z Kagura with NoNoNo! [Playstation 3]

Note: This review is part of a series I am going to call “Resurrected Reviews”, essentially stuff that I wrote for previous (now deceased) blogs and review topics on various gaming forums over the years. I have dragged them kicking-and-a-screaming into the harsh light of the present day and revamped them where necessary. Some may say “Rehash” but I say “Recycling”.

Onechanbara has always been a bit pervy but it does feel like the development team hit new heights with a new gen of hardware at their disposal.

When I completed Onechanbara Z Kagura with NoNoNo! (more on that nutty subtitle later) for the PS3, I contemplated reviewing this import curio but eventually decided not to bother. Why? Because it’s flippin’ tough to form a stack of paragraphs for a game that has the player hacking up zombies as girls in skimpy bikinis – that’s why. There’s scant room to expand on this paper-thin concept. Z Kagura is one of those games that you simply cannot sit on the fence with; you either feverishly imported a copy as soon as it was released OR are currently about to click away from this blog to go and read something more highbrow on a different site…a detailed analysis on particle theory perhaps.

What I will say however is that Z Kagura is by far the most enjoyable and accessible Onechanbara game I have yet played and I have tried them all aside from the Japanese-only PSP instalment and the gloriously-titled Bikini Samurai Squad on the Xbox 360 (a system I don’t own). The older games felt punishing and extremely bare-bones with excruciatingly sluggish levelling up systems and the less said about the hellish Wii waggle-a-thon controls in Bikini Zombie Slayers, the better. Z Kagura immediately struck me as easier to stomach for long periods of time and the game generally felt better presented with solid controls, a compliant manually adjustable camera and more fluid hack ‘n slash action than ever before.

(But wait; this is turning into a review after all isn’t it? Fuck.)

Otherwise it was business as usual and thanks to the greatly improved aesthetics and sense of progression (upgrades are much easier to afford and equip than in past games), it was certainly no hardship to be tasked with cutting down crazy numbers of zombies and other freakish abominations while playing as an unsuitably garbed heroine. You can switch freely between the buxom bikini-clad Kagura and her more conservatively dressed sister Saaya but thanks to the wonders of the customisation mode (or ‘co-ordinate’ mode as the game dubs it), you can stick Saaya in the same bikini as her sister for double the jiggly boobs and gratuitously exposed bottoms. Look; until there actually is a zombie apocalypse, nobody can say for a fact that these kinds of outfits aren’t suitable for a desperate battle against the undead can they?

Kagura had guys lining up to buy her a drink. Most non-interested girls politely decline but some reply with the business end of a massive blade. Life lesson: stay single; you’ll live longer.

Kagura can go to war against the zombies with either a pair of katanas or her long-reaching blades that she swings about on the end of a chain just like Kratos from the God of War series. Her sister meanwhile can flick between fighting with her fists and feet to using a chainsaw. It was nice to have a variety of weapons rather than another all-swords affair but I didn’t really gel with Saaya’s hands-on melee style or her cumbersome chainsaw attacks so tended to stick with Kagura. Her chained blades are useful when you need to fight from a distance and the katanas are just that much more speedy as well as visually pleasing.

The linear nature of the series hasn’t changed though. You still have to eliminate all enemies within set areas before moving onto the next zone and occasionally facing off against an ugly boss. Thankfully though, the combat itself was much more enjoyable this time largely due to the decent camera (manipulated freely with the right analogue stick) and easy to execute combos that devastate zombie hordes, sending blood spraying everywhere in a comically over-the-top fashion. The rampage state (induced by doing enough killing to fill a blood meter) is still here and you still have to routinely clean your weapons to keep them effective but somehow it all feels a vast step up from those earlier PS2 games which were fun playthings but ultimately too frustrating beyond the first few stages to properly enjoy. There are some brief cut scenes here and there but this is a Japanese import so don’t expect to understand any of it and certainly don’t expect an English-language release to become available because – y’know – this shit is just too weird for us over here apparently. That said, there isn’t much that a language barrier can do to complicate a hack ‘n slash game when all you need to understand are the concepts of swords, zombies and breasts.

There’s blood. Lots of it.

Speaking of weird, there’s that subtitle to address: Onechanbara Z Kagura with NoNoNo! That’s not the sound of the game’s heroines protesting as the developers dump them into a zombie apocalypse with bikinis for protection; it’s the name of Z Kagura’s special guest character, unlocked by completing at least five of the game’s ‘Quests’ (a screen of various targets to meet i.e. collect enough yellow orbs, use enough items in battle, clear missions without switching characters etc.). This is an Onechanbara game though so it’s no great shock when NoNoNo! turns out to be a blue-haired maid with ginormous boobs and a ludicrously round rear end that could only exist in such a smutty videogame as this where developers have sat at their workstations playing God when it comes to plausible anatomy.

NoNoNo! fights while cheerfully dancing about and shooting at zombies with some sort of sci-fi laser pistol and…yeah. Because Japan. I had a brief look online and couldn’t find out who this character was supposed to be. I can only assume that she’s some sort of Japanese idol or ‘vocaloid’ character similar to Hatsune Miku but as much as I love all things Japan, I’m clearly not Otaku enough to know the truth about NoNoNo! (searching on Google brought up a Swedish band of the same name). Anyway, I didn’t particularly enjoy playing as NoNoNo! over Kagura or Saaya so I did feel a little deflated after all that work for the unlock but there was at least her tasteful and conservative rampage mode costume, certain to please progressive gamers:

Obey the ‘CAUTION’ tape.

So it’s ridiculous, gory and sexy but there were some things that I have to grumble about. First and foremost are the numerous glitches. I experienced a few nasty ones:

• Getting stuck in the boundary fencing during a boss battle and being unable to avoid being beaten to death or fight back.
• Hitting a zombie through a boundary fence and being unable to clear all enemies from the area in question.
• Falling through some scenery and getting stuck inside before falling again into a horrible, blurry black abyss of glitchy hell.

All of these required software resets and generally gave me little faith in the game’s stability, leaving me waiting for the next game-ruining gremlin to pop-up. This wouldn’t really be something you could moan about too much on the older PAL PS2 games since they were cheap, budget affairs that didn’t warrant any sort of expectations. Importing is expensive though and Z Kagura was more or less the same price as a brand-new, full price PS3 game for a sealed copy so these bugs irked me more than usual. That said, expecting a lot of polish from an Onechanbara game is like expecting a Sharknado sequel to stand alongside Citizen Cane.

Another issue is that you won’t be able to access the game’s DLC unless you mess about with multiple PSN accounts. It’s not a strike against the game itself of course but it is a shame because Z Kagura’s add-ons include customisation parts, new outfits and even Aya + Saki from the previous Onechanbara games as playable characters. On a side note, a quick images search online shows that some of the DLC outfits are so skimpy that the player might as well sell their imagination on ebay because they likely won’t need it anymore. Who said DLC was cynical?

These few niggles aside however, I still stand by my decision to rate Z Kagura as the best Onechanbara game so far. I haven’t really criticised the linearity or simple nature of the game because to expect anything else by now would be foolish and it’s almost a part of the series’ charm in a crappy way. If a studio such as Platinum were given the keys then we might see something truly extraordinary but until then, this is bizarre Japanese budget gaming at its most enjoyable. My only advice would be to skip ahead to the sequel, Z2 Chaos, which received a worldwide release on PS4 and should be an even better game at a more affordable, non-import price. Unless you really must play as NoNoNo! of course…

Overall Thoughts

So rubbish, it’s amazing. That’s always been the Onechanbara way and it’s no different with Z Kagura. You already know if you will enjoy this so you really don’t need my seal of approval.

 

 

Soulcalibur VI is a miracle

At the time of writing this post, it is Monday the 22nd of October. Soulcalibur VI was released on Friday the 19th and quite honestly, I’m still getting over how impressed I am with the game. Obviously, I knew that the game was going in the right direction from all of the previews and teasers that showed off a more nostalgic character roster harking back to SC, SCII and SCIII but I deliberately held off on knowing too much which may be why I was so pleasantly surprised when I had the actual game in my hands at long last.

It’s great to see Tira back with her SCIII “sexy green rags” and even that decidedly non-15th century hair colour.

In short, this game feels a lot closer to SCII and SCIII as far as I’m concerned. More competitive players might feel otherwise but as somebody who has heavily enjoyed the series from the very beginning, I feel qualified to say that. I absolutely abhorred the reinvention that was SCV so it is absolutely joyful to discover that – Critical Edge ‘super’ moves aside – literally everything about that game has been chucked into the dumpster, hopefully in the most unceromonious way possible.

Gone are the new characters and descendants/disciples that nobody asked for in the first place. Gone are all the new gameplay mechanics that they introduced for SCV. Those super moves are still cinematic and damaging but this time, they don’t feel quite so decisive and the meter that governs their use appears to fill at a more sedate pace. There is also some single-player content this time in the form of a main story mode and a secondary story mode which involves some levelling-up, side-missions and attractive production value. I haven’t gotten anywhere near finishing the latter yet but it feels like it could take some time so that’s nice.

I’m also extremely satisfied to see the classic Guard Impact feature return with no restriction. SCV made GI a meter-dependant technique which (in my opinion at least) killed the gameplay. Guard Impact was always about mastering the timing and committing to that risk vs reward element just like with the parrying in Street Fighter III. It separated button-mashers from practiced players and was a staple of the series so it is fantastic to have it back in a free-to-use capacity.

The best way to die in battle (if you have weird, perverse ideas like me anyway…) returns thanks to the re-inclusion of Sophitia.

Overall it simply feels like the development team have poured a lot of love into Soulcalibur VI. I have read that this game NEEDS to do well at retail or Namco-Bandai may very well can the series once and for all. SCV wasn’t ‘supposed’ to happen after all and only saw the light of day due to internal resistance to the idea of the series being put away in storage. It then sold poorly so perhaps Project Soul were permitted to make this game more to their tastes as opposed to reinventing Soulcalibur again in accordance to the wishes of marketing men.

The only negatives I have to report so far are pretty minor niggles. ‘Soul Points’ (used to ‘pay’ for unlocking certain customisation parts) are pretty tough to earn offline and the 5000 Gold > 100SP exchange rate within the Libra of Soul mode is pretty rough. I have no doubt that Soul Points are easier to earn by playing online (it’s usually the case with any of these reward systems in modern fighting games) but as I don’t actually have a Playstation Plus sub, I can’t comment on that side of things right now. The other mini-moan is directed at the character creator mode itself and the fact that the bulk of the parts are exactly the same as those we have been using to build characters with for several generations of SC games now. Some fresh bits and pieces would have been nice.

Those small issues aside, I’m loving this game. It’s been great to leap back in with my ‘main’ – Sophitia – and instantly get back into the groove with all of her well-practiced moves. I intend to learn Zasalamel and Tira next since those are two more of my favourites, Zasalamel in particular being a character that I wished for pre-reveal but didn’t expect to actually see in SCVI given that this game takes place before SCIII (Zasalamel’s debut). I’m guilty of being a cynical old git when it comes to modern gaming so the fact that SCVI has exceeded my expectations and shocked me with how much it appeals to the SC series veteran in me feels like a small miracle, especially following SCV which I didn’t think I would ever get over.

Stay tuned and I will get some pictures up soon of the collector’s edition (European version).

Need For Speed Underground 2 [Playstation 2]

I have a strange relationship with EA’s Need for Speed Underground games. Despite always being a big car person (or ‘petrolhead’), I looked down on these games when they were current because they tapped into a street racing subculture which appeared far more glamorous in Japan or the US while here in the UK, it was associated with ‘ricers’ or ‘chavs’ building ugly, thunderous monstrosities out of Citroen Saxos or Peugeot 206’s. I was busier playing my intellectual JRPG’s and skillful fighting games while the masses were buying NFSU in droves.

There was also a stigmata associated with EA during the PS2 era if you ran in certain gaming circles. It was the impression that they only slapped their name on yearly cash-cow updates, average licensed fare and software that they could sell via cynical marketing which tapped into what teenage boys of the mid 00’s wanted. So football, loud cars and tits then.

It probably didn’t help that I eventually played the original Underground and wasn’t that impressed. However, I have been heavily re-involved with cars and the ‘scene’ over the last 6-7 years and in an ironic twist of fate, I now actually MISS the days of The Fast & The Furious movies, street racing culture and magazines like Max Power with topless models draped over ridiculous cars. Most of this has evaporated and with the constant droning message about road users needing to be responsible as well as the ‘lads mags’ being killed off (because sexism…whatever), the world feels like a more sterilised and straight place.

So I was ready to give NFSU2 a chance after snagging a cheap copy in a bundle of PS2 games. It is after all, one of the better-regarded games in the series with a bit of a following.

Urban cityscape and a nitrous-fuelled motion blur: welcome back to the mid 00’s.

The first thing that hit me was how good the game still looked. ‘Jaggies’ and outdated textures are pretty minimal and the car models are fantastic. As a petrolhead, I can safely say that all of the cars in this game are modelled highly accurately with a nice level of detail down to the correct badges and original exterior equipment. This was a nice surprise because I admit I was expecting worse from an annual EA update, perhaps a mistaken presumption that the game would have been blasted out by the developers in time for its intended release with a lack of polish. But no, the visuals and those cars look a lot better than many other racers of the generation and hold up incredibly well today.

EA added in a free-roam structure to NFSU2 as well and this really elevated it above the first game. Simply speeding about the city to different race events is enjoyable and even though the ‘free’ aspect is obviously limited by being stuck inside a car, it’s much more preferable to selecting races from a menu. Most circuit and sprint events use sections of the city too so getting familiarised with the many corners and shortcuts while in free-roam mode definitely helps when it comes to the races.

Race events are varied with circuit and sprint events joined by drift challenges (score more points than opponents), drag races and the new ‘Street X’ event which consists of small, tight courses that take place in car parks or (for some reason) building sites. These are more about acceleration, handling and taking the best racing lines. Finally there are the Underground Racing League events. These are the biggies that take place on proper race tracks and progress the game’s career mode. You are able to use a dyno and test track(s) to custom tune your car for each event, settings that are auto-loaded upon entering each style of event which does at least offer a bit more depth.

You have to start somewhere with cars like Vauxhall’s Corsa.

Progressing the career mode also means meeting the requirements of various sponsors that sign up to your cause. These demands are pretty straightforward and involve winning a set amount of events as well as sponsor races which pay out a lot more cash. You also need to get your car featured on a set number of tuning magazine and DVD covers and this is achieved by raising the star rating of your ride’s visual appearance until the call comes in for you to hightail it to the photographer’s location.

The only crappy thing about this aspect in my personal opinion is that it forces you to go all in and fit every conceivable modification possible such as neon underlighting, carbon body panels and hydraulics. So if you’re like me and prefer minimalism or a stock appearance then it ain’t going to cut it with the sponsors. It also means paying for components then having to continually replace them with ‘better’ versions down the line as parts are gradually unlocked, an artificial method of extending the game’s life but completely expected. I kept a separate Nissan 240SX that received the visual mods purely for this side of things then spent the rest of my cash on performance upgrades for my other cars that I could then ‘tastefully’ modify on the outside.

Still, the magazine and DVD covers made me smile and took me back to that period in time that I talked about earlier. They might look ‘laddish’ and chauvinistic by 2018’s easily offended standards but I like ’em.

If you remember these types of magazines with a fondness then you will definitely appreciate NFSU2 and the culture it represents.

It’s a shame that the game’s AI didn’t make me smile as much. If you want to take the proper racing lines and overtake opponents cleanly as you would have to in real life then forget it. Towards the beginning of the game this is entirely possible but later on as things take a turn for the challenging, you’d best forget it. Rivals launch themselves up the inside of your car kamikaze-style in the corners and pile into the back of you for braking zones as if this is a Destruction Derby sequel, not Need For Speed. Worse still, they have no qualms about punting you off the track or even utilising the police-approved PIT maneuver to spin you out. Cheating bastards!

I tried to race fairly because I hate winning in racing games by abusing a lack of damage modelling to bash my way to the front but unfortunately, you have to lower your standards with this game and fight fire with fire sometimes, especially since the game’s AI has another crafty weapon up its sleeve: the dreaded rubber band effect. Opponents seem a lot less inconvenienced by collisions with civilian traffic (whereas a single smash can ruin YOUR entire race) and can somehow take tight corners at impossible speeds, sometimes while using nitrous. You can leave them several seconds behind by getting out in front and driving perfectly but the game allows them to catch right back up to you on the last lap as if they have been handed a secret performance boost. This sort of thing makes sense in a game like Mario Kart but in a proper racing game involving real cars that have real performance figures and capabilities…well, it just sucks.

It also blew my mind to witness heavy muscle cars like the Mustang and Pontiac GTO leaving me for dust on twisty, technical circuits that should never favour such vehicles. Losing drag races to Vauxhall Corsas and Ford Focuses somehow capable of reaching near-200mph speeds was another mind-boggling development.

The game can also strategically place a taxi or van around a blind bend and this is unbelievably frustrating after investing seven-or-so minutes into a race, successfully keeping those shady opponents at bay for three long laps only to lose it all and have to start again because there was a unavoidable crash around the final corner. I’ve even experienced a white van speeding over an intersection right into my path as if God himself decided that I wasn’t allowed to win the race. Whether this was EA’s subtle commentary on the infamous “White Van Man”, I can’t say but I swore quite a bit!

Overall Thoughts

There is a lot to like about Need For Speed Underground 2 and thankfully, the good bits just about outweigh the rotten AI-related elements. There was of course the added bonus of getting a far more polished game than I was expecting but it definitely helps if you consider the racing to be more of an arcade game than a serious sim. For me personally though, I really enjoyed being transported back to that era of street racing and the JDM craziness inspired by what was happening in Japan and the Fast & Furious movies. NFSU2 perfectly captures that subculture – just don’t expect gentlemanly conduct from the game’s AI.

Lumines [PSP] & Lumines Plus [PS2]

When Lumines first arrived for the PSP back in 2004 (2005 for Western territories), did the gaming landscape really need another puzzler based around clearing rows of blocks? Arguably not but somebody decided that we did and so a brand-new puzzle series kicked off in earnest.

Yes, the object is to clear the screen of blocks and yes, it’s game over if they reach the top of the play area but thankfully, Lumines is a bit more than “been there, done that, got the T-shirt”. Blocks always come in two different colours and are cleared in 2×2 squares (as opposed to complete rows as in Tetris) for starters. Not crazy enough? Formations of the same colour can be linked together to clear lots of blocks at the same time and there is also a special block that – when forming part of a 2×2 – clears every single block of the same colour that is linked to that 2×2. As you can imagine, there are some huge scores to be had by strategically filling half of the screen with carefully linked blocks and then deleting the whole lot in one go with the special block, leading to everything else crashing down and forming loads more links for even more clearance and mega points.

But even that sounds fairly pedestrian and I’d totally forgive you for asking why you should even care about any of this. Thankfully, Lumines has a secret weapon and it’s the power of music.

The Time Line is your best friend and – sometimes – also your greatest foe.

The game sports a soundtrack largely comprising of the House and Electronica styles of music and each stage (known as “skins” in Lumines) that you play on has its own unique track. Score enough points and the stage will transition into a new one with a new skin and a new track. This keeps things fresh and interesting but the music is much more than that in Lumines. The ‘Time Line’ bar constantly scrolling from left-to-right changes speed based on the tempo of the music and only blocks arranged ahead of the bar will be cleared once it reaches the other side of the screen. This can either lead to a race against time to get your combos set up before the Time Line gets there or, when the screen is perilously full on a more sedately-paced skin, you will be willing the bar to get a damn move on and clear some space before waiting blocks overload the play area.

The sound effects for blocks dropping into place and being cleared are also unique for each skin and team up with the music to form an ever-evolving audio experience for the ears. When you are really in the zone and nailing massive combo after massive combo while the music ramps up, then Lumines totally clicks and it comes into its own as a unique puzzle game.

Honestly, the only reason I can see somebody not enjoying Lumines to any degree would purely be down to the type of music involved not being to their tastes. I described it above as House and Electronica in style so if you aren’t a fan then you may struggle to ‘get’ it. Otherwise, it’s a very addictive puzzler that actually offers a decent challenge and I always have the itch for “one more go” to see if I can get further in the single-player challenge mode and see some new skins. Better still, the game was a launch title for the PSP and as such is common-as-muck and easy to pick up for a few pounds. Bargain!

Versus mode (against CPU or a friend) is interesting. Clearing blocks pushes the boundary towards the opponent and reduces their playing area, applying serious pressure.

Fast forward a few years and Lumines Plus was released for the Playstation 2. Billed as an expanded version of the original, the game is already on the back foot purely for not being on a handheld. Lumines was a perfect fit for the PSP and on-the-move gaming…not so much for a home system. It might sound lazy but let’s face it, waiting for the disc to load up on the PS2 and then being tied to your sofa with a wired pad in hand doesn’t feel as “right”. Still, it doesn’t affect the quality of the original game and having a bigger display and (depending on your set-up) more capable speakers is an advantage for the Plus edition.

The main selling point of the PS2 version was the inclusion of a handful of new skins so in theory, Lumines Plus should be a definitive edition of the original game. Unfortunately, I noticed a few small niggles when moving from the PSP version to Plus. Firstly, there seems to be a brief two-three second pause during the transition of skins which leaves you in silence and interrupts the flow. Not ideal for a music-based game! Also – for whatever reason – the cool robotic voice that announces the name of the track as the music switches over, is completely missing from this version. Otherwise the game is a straight port with extremely minimal differences which I found to be a bit of a letdown. Even the menus and front end are indentical.

Ultimately though it’s the lack of portability that scuppers the Plus edition. If you don’t have access to a PSP then Lumines Plus for the PS2 is perfectly serviceable and still a great puzzle game. Otherwise, I don’t consider the additional skins to be a worthwhile trade-off for not having Lumines in its more fitting, handheld environment. Owning both versions is completely unnecessary and I only do so because I am some sort of batshit weird hoarder/magpie.

Overall Thoughts…

If you enjoy puzzle games (especially of the falling tile/block persuasion) or games with a heavy infusion of music then Lumines is a no-brainer. For the pitiful amount of currency that a used copy trades hands for these days, the risk to your wallet barely registers. Only bother with the Plus edition for PS2 if you don’t have a PSP or if you absolutely HAVE to play it on the big screen but you know, that’s kind of what those PSP-TV cables were designed for?