Alan Wake

Alan Wake Review: A Beautiful Nightmare by Remedy

Max Payne was revolutionary. Despite the numerous delays the game suffered, it fed into the frenzy of action/combat that had been crafted out by the Wachowski Brothers-Matrix phenomenon. The game also brought forward a unique style of storytelling narrative which combined noir sequences in a stylish graphic novel format to forge an alternative to a regular barrage of cut-scenes that were seen in most action games of that day and age.

After Remedy completed the sequel to their hit game, they started working on a project called “Alan Wake.”The game, many believed, would be the next step in evolution when it was announced in 2005. However, the numerous delays the game suffered mad

e one forget about the existence of the title t

ill it resurfaced at last year’s Electronic Exposition. So where does “A-wake”, as it is fondly dubbed, stand in a generation that has seen the horrors of the Locust Horde, Urobors and the artifact nestled in Ishimura.

Alan Wake does not suffer from insomnia for starters, the whole bit of him being A-Wake has been dropped to accommodate a regular survival horror story that is both satisfying and convoluted. The basic premise is that of a writer who models himself after Stephen King and his wife (Alice) visiting a place called Bright Falls. After a mishap Alice disappears from the cabin where they were put up and thus Mr Wake begins his treacherous quest to locate her. There can

not be much said about the plot in the review since it holds the ga

me together and it is clear from the onset that

Remedy has spent a significant amount of time and effort in crafting a rather intricate premise.

As beautiful and idyllic is Bright Falls under the glinting sun, it beco

mes a horror fest in the dark. Light and Dark is the basic structure that holds all the gameplay mechanics together in Alan Wake. All equations in the game hinge on these two primary

aspects which have been translated into gameplay mechanics. The town of Bright Falls has been engulfed by an entity called “The Dark Presence” and is slowly transforming its inhabitants into what the Alan terms as “The Taken”.

In true video game fashion, Alan Wake uses the light to exorcise The Taken scattered throughout the game and subsequently puts an end to their misery by using bullets to decimate the dark presence that has engulfed them from sanity. As mundane as it may sound, the game paces the enemies in quite an exhilarating manner. Not only does the variety of the taken keep improving as episo

des go by, the threat and fear that they are to instill during the playthrough also increases subsequently. The dark presence does not restrict itself

in engulfing human entities, there are a significant number of objects that are scattered through the game (tractors, bulldozers, giant mine carts, iron beams, cars) that also confront the player on numerous occasions.

To aid Alan’s quest, he is introduced to a flashlight, which

is used to weaken the physical manifestation of the dark presence of the Taken, then he uses his trusty arsenal (a revolver, flare gun or a shotgun/hunting rifle) to obliterate them from the face of the planet and what remains vaporizes into thin air. This is the basic gameplay mechanic that c

onstructs the action sequences throughout the game. Alan Wake also intersperses vehicular segments to add variety to playthrough experience.

These sequences also add the dimension of light and dark into it and mirror driving sections from any open world game. The difference lies in the utilization of the vehicle’s headlights to exorcise the Taken and crushing them with the brute force of metal. If most remember the initial gameplay structure whe

n Alan Wake was announced, it was designed to be an open world game with modules of exploration. The vehicular sequences, we assume, have been retained from that structure of the game and hence feel quite out of place. The reason why this is being emphasized is because the

re are numerous areas where the game breaks into cutscenes to emphasize on a driving section which could have been reconstructed into an actual gameplay sequenc

e.

The mechanic that is used to destroy The Taken is rather straightforward. The light beam is a replacement for the targeting reticule found in all action games, and focusing the light beam on the enemy is reminiscent of the pull back mechanism that has become a rather standard method in third person shooters. Though this may sound repetitive, the developers have added a few gameplay mechan

ics to ke

ep combat fresh, tense and be in line with survival horror.

The player constantly needs to keep reloading not only his gun but also his flashlight during combat by pressing keys. The reload mechanic is eerily similar to reloading a chainsaw bayonet from Gears of

War. Though the sequence is not timed, the player needs to constantly keep a check on the ammunition that he has and the state of the batteries that are being used in the flashlight. The flashlight’s battery is not utilized when Alan wake is moving about, but when the playe

r starts to focus on an enemy to exorcise the Taken it starts to deplete swiftly, the player needs to keep in mind both these gameplay mechanic during combat.

As episodes progress, the enemies also grow stronger and faster and both require a hefty amount of light mechanics to exorcise the darkness that shrouds within them. The enemies also vary from human beings from various walks of life, the regular ones are the easiest to exorcise and kill and as the game progresses Alan if faced by the cops, hunters and miners who are lunging to engulf him into the twilight zone. The ones that top this bunch are the birds that swoop down on Wake on numerous occasions and only a well timed flare can save him from being consumed by them.

The best part about Alan Wake is its method of introducing players to a narrative, since the plot is entrenched on the fact that whatever Wake has penned down is coming true. The player often finds himself collecting manuscripts that have been scattered across the game, these help in piecing together sequences that often are to occur in a game. During our

playthrough there were numerous occasions when we thought we were going to experience what we had discovered in one of the manuscript pages only to be confronted by something else and other segments saw us witnessing the horror that had been penned down by the deranged writer.

The narrative also relies on radio broadcasts to explain a similar set of pre and post occurrences of events through the game. It feels good to see a lot of loose ends being tied up in an episode, if the player actually has the patience to hunt for all the clues that are scattered all around. There is also a television show titled “Night Springs” (a doppelganger for Bright Falls) which is as eerie and bizarre as the plot of Alan Wake. Besides the show there are television segments that star Alan Wake himself and help to progress the plot. Though the method of delivering the narrative is strong and effective, the dialogue is generic and in no way represents the concept of a writer. Most of it is actually random and takes away from the immersion factor that has been built on during delivering the narrati

ve.

Alan Wake’s visuals are a mixed bunch, they are nice and crisp when the game is rendering in game cut scenes but this visual fidelity loses its ground during actual gameplay. The shadows that lurk in the dark aptly act as puppets of horror and often give players a thrill. These become more enticing in sequences when Alan has to cut across using no weapons. The chase that follows in the dark and gloomy forest showcases the beauty of the game at various levels. The visuals only seem to be hampered by the awkward animation mechanics in the game, since we have been spoilt by the likes of Uncharted 2 and its silky smooth almost human like transition during action, witnessing pieces of rugged sequences in Alan Wake look a tad bit disappointing.

The lighting effects are worth a dekko in the game, we can only go gaga over the moon glinting in the sky to the flares that illuminate the entire screen when they are used. These somber moments in the game are complemented by the soundtrack that plays in the background. However the main gripe that occurs with the sound is the fact that whenever there is bunch of enemies that are going to devour Wake, it switches tracks making it fast and furious, this often leads to a generous giveaway of being attacked by the player.

The Final Word: Alan Wake does not utilize any original mechanic, the episodic mechanic has already been witnessed in the latest version on Alone in the Dark. The utilization of light to weaken and exorcise enemies was seen in a game called “Obscure” that was released last generation. This coupled with the games random story and terrible short length makes it lose brownie points. However, Remedy polishes these mechanics and presents a wonderful package to its community that deserves applause in the world which is constantly being engulfed by the “shooter cum multiplayer phenomenon.”

Devil Summoner 2

The Japan of the mid to late 1920s was a unique blend of the old and the new as the island nation struggled to maintain its traditions in the face of rampant modernization. Shin Megami Tensei: Devil Summoner 2: Raidou Kuzunoha vs. King Abaddon uses this turbulent period of history to great effect, crafting a moody and atmospheric world to tell an intriguing and stylish story. Though the game suffers from inconsistent and sometimes confusing gameplay and a flawed exploratory camera, its engaging battles, addictive devil management system, and low price point make a solid case for role-playing game fans to plug their PlayStation 2 consoles back in to make a deal with a devil.

When the Yatagarasu, the shadowy organization that watches over the sanctity of Japan, has reason to believe an imminent threat is approaching Tokyo, it's up to Raidou Kuzunoha to step in and save the day once again. The young Raidou--the 14th person to assume the title of the greatest devil summoner--is dispatched to the capital to keep an eye on it and take what steps are necessary to avert disaster and maintain the balance of the supernatural world. Along for the ride is Raidou's chatty and often sarcastic feline companion-slash-mentor, Gouto, and serving as the cover for their operations once again is the Narumi Detective Agency, which is run by the carefree and decidedly dapper modern gent Shouhei Narumi. When a lovely but suspicious dame hires you to find a man named Dahn, what looks like a simple missing-persons case turns out to be anything but, and Raidou is thrust into the middle of a mystery that involves masked ninjas, giant insects, and a whole lot of bad luck.

As a devil summoner, dealing with the supernatural is Raidou's specialty, and with all the strange happenings in the capital, there's no shortage of it. While investigating for clues, he frequently stumbles across wandering devils that need to be put in their places, and calling in demonic backup of his own is where Raidou's talents really lie. Up to two devils can be summoned at a time, and by paying careful attention to your enemies' weaknesses and calling upon the right friends to take advantage of them, you can dish out some serious damage. Watch out, though, because your devils have their own weaknesses, and enemies won't hesitate to take advantage of them. You can't just let your devils do all the work, and thankfully Raidou is more than equipped to hold his own in a tussle. Getting up close and personal to show off his swordplay is his primary source of damage, and he's also a crack shot with a revolver, which hits for less damage but can stun rogue devils. Combat is in real time, and Raidou is surprisingly nimble on his feet, which makes dodging incoming hits as easy as dive-rolling out of the way.

Though pursuing the path of violence is fun with this battle system, it's not always the best course of action: sometimes it's better to chat up your enemies instead. Through careful application of the art of negotiation, you can recruit a devil to your side, provided it's in the mood and you satisfactorily answer its line of questions and comply with its demands. Constantly expanding your chthonian roster is important, because you grow as a devil summoner by gaining loyalty from your devils. Loyalty is earned by taking your devils into battle, which in turn increases the number of devils you can keep at a single time and grants Raidou higher ranks (which determines what side quests you can accept). It's also important to keep a diverse portfolio of devils, because each one has different field abilities that help with your detective work--the pagan Lilim, for example, can read minds, a power that helps you glean information that you would otherwise be unable to obtain.

When not sweet-talking or pounding on devils, Raidou busies himself by running around the various districts of the capital searching for clues. Despite the detective shtick Devil Summoner 2 has going for it, these are the weakest parts of the gameplay because your immediate goals often aren't well communicated, and there are often long stretches without combat. Furthermore, each area is displayed from a fixed camera location, and every so many steps the camera moves to a different spot. Seeing the same scene from multiple different angles can be disorienting, which makes even navigating around the world an exercise in frustration.

If you need a break from mundane story investigations, you can always return to the detective agency and pick up some of the extra case files that build up on your desk and gather dust. While most of these side quests are simple fetch missions, some of them send you to specific locations to track down and dispatch more powerful devils, and others reward you with new abilities you'll need in order to push on in the main game. You can also spend time in the dark versions of the capital to tame more devils to add to your collection, which can then be fused together two at a time to create entirely new ones in the laboratory of the Dr. Frankenstein-ish Victor, a quirky but friendly demonologist. Victor can also synthesize new weapons for you, and using either of his services can be fun and rewarding in and of itself.

Negotiations often take a turn in unpredictable directions.

The rich game world is brought to life with the Shin Megami Tensei series' trademark stylized designs and a jazzy, upbeat soundtrack. Unlike in the recent Persona games, which favored an anime look and feel for the characters, everyone in Devil Summoner 2 is rendered and animated in full 3D. Though Raidou and company look great, they're all suspiciously silent due to a complete lack of voice acting, which makes for some awkward moments during conversations. Nonetheless, the entire game positively oozes with style, which more than makes up for this and the slightly aged graphics produced by the PS2 hardware.

Though it suffers some missteps from the lackluster investigation sequences and poor camera, Shin Megami Tensei: Devil Summoner 2: Raidou Kuzunoha vs. King Abaddon is an engaging and suspenseful adventure through an atmospheric world filled with supernatural intrigue. Fusing devils or recruiting new ones is addictive, defeating powerful fiends is rewarding, and unraveling the story is entertaining. If you're looking for a quirky and fun game to slake your thirst for an RPG, Devil Summoner 2 may be just what you're looking for.

WWE SmackDown

WWE SmackDown vs. Raw 2009

In the WWE, it's not uncommon for seemingly vanquished superstars to return at random, handing out fresh beatdowns and earning back their former glory. After a disappointing showing last year, THQ's long-running SmackDown vs. Raw series has returned to the ring, having spent the year slimming down and focusing on its core strengths. The work has paid off: A lot of extraneous elements have been removed, the creation toolset is better than ever, and there are two new single-player modes that complement the multiplayer fun nicely. Though it's still hampered by a number of lingering issues, WWE SmackDown vs. Raw 2009 manages to recapture some of the glory of its younger years.

Hint: Don't let the muscle-bound man with 'The Animal' written across his briefs get on top of you.

The most notable improvements are in the single-player realm. The lackluster 24/7 mode has been ditched in favor of a lengthy Career mode and the scripted Road to Wrestlemania. In the Career mode, you choose a superstar (existing or created) and enter a bracket to make a bid for the title belt. Each bracket has five opponents, including the current champion, and you'll have to earn stars by winning matches to get a shot at the title. You win up to five stars for each match by earning points in three areas: match results, technical, and excitement. These categories encourage you to get into the WWE superstar mindset by rewarding you for both pummeling and mocking your opponent. At the end of each match, your attributes will increase, and your health will replenish automatically based on how the match went--no micromanagement here. You'll also earn amusing awards for things such as striking your opponent 35 times or breaking a barbed-wire-wrapped plank over his or her back. It takes only a handful of successful matches to earn you a title shot, which is great because it keeps your career moving along at a good clip. This action-packed Career mode is the perfect complement to the Create a Superstar mode, and winning belt after belt as you bulk up your created character is satisfying and fun.

The other single-player mode, Road to Wrestlemania, features six unique story arcs that let you play as various WWE superstars (including Chris Jericho and Triple H) and defeat numerous foes (and a few nemeses) on your quest for Wrestlemania glory. Matches are interspersed with story scenes packed with typical WWE action and voiced by actual WWE superstars, so fans of outrageous melodrama will be pleased. In keeping with traditional SmackDown vs. Raw strengths, the superstar models and entrances are excellent. Although the character animations are good (despite occasional clipping problems), the wrestlers still lack fluidity when maneuvering around the ring. This feels like a result of staying too true to the source material; though WWE wrestlers do often move slowly, it's not very exciting to actually plod around the ring in a video game. The muted audio only further detracts from the excitement factor. It dampens the supposedly hard-hitting action, and though the once-dismal announcers from years past have been improved, the sound design is in serious need of a shot in the arm.

Despite how it may sound, the action is indeed hard-hitting. It's easy to perform powerful moves using the analog stick and a few buttons, and the breadth of things you can do in and out of the ring is impressive. From removing the turnbuckle cover to slamming your opponent through a burning table, there's no shortage of satisfying ways to deal damage. Specific match types have their own nasty additions, from rubbing your opponent's face against the elimination chamber to the powerful hot tag, which allows a tag team partner to build up momentum so that, when tagged in, he or she will get the quick-time chance to unleash two unblockable attacks followed by a finisher. Enabling such a wide variety of moves is one of SmackDown vs. Raw 2009's chief strengths. Like previous games in the series, it too relies on relative position to increase your repertoire, and your wrestler is still prone to miscues as a result. However, missing a move because you aren't quite in the correct position is less frustrating than missing one because your opponent is in an uninterruptible animation. This usually crops up in matches with three or more players when one player is performing a move on another. In these realistic-to-a-fault situations, you get a good feeling for just how exciting it is to stand passively aside while other wrestlers battle it out.

Six-man matches can get pretty hectic.

In addition to the Career and Road to Wrestlemania modes, the competent AI and unique wrestler abilities make playing single-player much more appealing in SmackDown vs. Raw 2009. No longer content to stand around drooling, computer opponents will actively attack you, tag their partners (you included), and use environmental elements reasonably well. Though the Road to Wrestlemania and early stages of the Career mode will seem easy to experienced players, it won't feel like you're playing against brainless apes. Last year's fighting-style system has been removed, and in its place are unique wrestler abilities that existing superstars have and created superstars can earn. The effects range from attribute boosts (the ability to remove your belt in a ladder match more quickly) to enhanced abilities (the ability to regenerate a small amount of health). Although these abilities aren't particularly powerful, they can come in handy during tight matches.

Of course, SmackDown vs. Raw wouldn't be SmackDown vs. Raw without the still-impressive Create a Superstar tool. Once again, with a little time and a lot of patience (this mode is hampered by juddering slowdowns), you can create almost anyone you like, from famous celebrities to hideous abominations. You can then customize your character's move set to craft a fighting style, choreograph your ring entrance, and even create a finisher to decide how he or she (or it) will finish off opponents. The Create a Finisher tool lets you choose from a huge list of move parts and chain up to 10 of them together to create a finisher as quick and brutal or as long and painful as you want. You'll get a constantly updating preview of the move while you design it so you can easily tweak it to your liking. It's fun to experiment with all of the different move combinations, and this feature rounds off a formidable suite of customization tools.

WWE SmackDown vs. Raw 2009 benefits greatly by restraining its scope. You can still edit rosters in Career mode, but other than that, the menu-heavy GM mode has been fully dropped. The result is a game completely focused on action and on letting you customize and enjoy that action. Although some elements still need improvement, SmackDown vs. Raw 2009 is ultimately successful because it embraces the dramatic fights and outrageous showmanship that are the heart and soul of the WWE.

Ghost of Sparta

Ghost of Sparta spooks San Diego

n development started nearly two years ago, the overarching goal was to simply make Ghost of Sparta a bigger, crazier game than 2008's well-regarded

Chains of Olympus. After that game, the team felt that it had pushed the PSP to its functional limit. However, with Ghost of Sparta, Jan said that the team has literally pushed the PSP to its absolute capacity, having advanced the gameplay and art well beyond that of Chains of Olympus.

Jan also said that a primary goal for Ghost of Sparta was to offer a more comprehensive look at Kratos' backstory. As such, some of the mysteries surrounding the man--for instance, his iconic scar--will be illuminated in the game.

From there, it was on to gameplay footage. Jan noted that from the very first title screen, the amount of work put in on Ghost of Sparta will be apparent, as Kratos is shown with full facial animation and a tumultuous ocean churns in the background. The title screen transitions seamlessly to a battle sequence upon starting the game, as Kratos is immediately set upon by trident-wielding enemies as he and his armada draw within sight of Atlantis.

Jan said that one of the other technical advancements was cramming more enemies on screen, and Kratos is shown butchering a host of Poseidon's mermen. He also noted that Kratos will have a variety of new ways to dispatch his enemies, including methods to throw enemies into one another. Enemy hit detection will be primarily relevant for a new move, called the Hyperion Charge. Here, Kratos runs and tackles an enemy, where he can then either pummel that creature to death or toss it at another monster.

The demo then offered a look at Kratos' first boss fight, one that involves Poseidon's underling Scylla. Jan noted that the size of bosses has been dramatically increased in Ghost of Sparta, the smallest of which could fully devour the biggest enemy in Chains of Olympus. The Scylla fight involved Kratos dodging massive tentacles while also fighting off mermen. It ended with the series' hallmark gore, as Kratos manages to mount Scylla and stab her repeatedly in the face.

After Scylla retreats, Kratos continues on his way, reaching Atlantis by way of an underground passage. After dispatching a number of mermen as well as a minotaur, Jan shows off Kratos' new weapon, the Spartan's iconic spear and shield. The gameplay mechanic involves Kratos hiding behind the shield when he's on the defensive, while the spear provides a 360-degree attack. He can also thrust at enemies from a distance, as well as throw the spear outright, before it magically returns to his hand.

To conclude the demo, Jan skipped ahead to a point in the game when Kratos encounters King Midas in a mountain pass full of flowing lava. The man with the golden touch has been driven mad, and Jan shows how if Midas touches Kratos, the future god of war will turn into a golden statue and it's game over. To avoid being touched, players will need to successfully navigate a quick-time experience, and succeeding involves Kratos pummeling Midas into submission.

Once Midas has been essentially rendered unconscious, Kratos carries him forward for a reason that was not specified. Along the way, players will be harried by dogs, and Kratos will need to drop Midas to dispatch the dogs, occasionally smashing the king's face in (by literally pounding it against the floor) to keep him subdued. The demo ends with Kratos ostensibly tossing Midas into a flowing lavafall.

Quote: "If we said it wasn't possible on the PSP, we foolishly went ahead and tried to do it."--Dana Jan, on Ready at Dawn's mentality for outdoing Chains of Olympus.

Takeaway: Ghost of Sparta certainly maintains the God of War franchise's barbaric sensibilities. Ready at Dawn doesn't appear to be skimping on visual fidelity just because the game is coming out on the PSP, and the studio is looking to craft a bigger, more involved and complex experience than what was available in Chains of Olympus.

I Am Batman

With DC Universe Online’s November 2 release date firmly set and San Diego Comic-Con on the horizon, we had the chance to check out one of the last public demos of the game before it’s released into the wild. The ambitious massively multiplayer game, set for release on both the PC and the PlayStation 3, has made favorable impressions with both game players and comic fans since it was first shown off in 2008. The chance to create your own hero in the DC Universe and fight alongside the likes of Superman, Batman, Wonder Woman, and the rest of DC’s diverse stable of superheroes in locations taken straight from the comic universe has definitely contributed to the game's appeal. While we’ve seen quite a bit of the game over the years, Sony Online Entertainment’s Austin studio, which is in the final stages of polishing the game, has a few surprises left for those counting the days until the game is released.

The Comic-Con demo is designed to showcase a new feature being announced during the convention: the chance to play as the iconic heroes of the DC universe. The feature will be possible in the game’s player-versus-player arenas in the context of a “simulation” to fit the story. Functionally, this means you’ll be able to play as Batman, Nightwing, The Joker, Harley Quinn, and other notable heroes and villains. To top things off, some arenas will be based in fan-favorite environments, such as the batcave, which was playable in the show demo. Before you start making plans to have a lengthy career as The Joker or Batman, be aware that you’ll have to do some work to unlock this feature. The simulations will be unlocked by using currency you earn in the game's standard PVP modes. The bigger the name you wish to play, the more it will cost you, so plan on investing some time to earn the funds. That said, Batman will be a bonus freebie for those that preorder the game, so anyone with a fiendish need for some dark knight action will want to give that some thought.

Why so serious? The Joker and several other iconic DC Comics characters will liven up DC Universe Online's player-versus-player battles.

The demo we tried let us get a taste of what to expect from this feature, and we have to say it’s a pretty cool addition to an already-compelling package. The batcave map let us engage in a two-on-two match that pit The Joker and Harley Quinn against Batman and Nightwing. Each character had unique abilities that fit him or her well. The Joker was equipped with a jetpack and an assortment of zany firepower, while Harley’s attacks made use of an oversized hammer and explosives. Batman had a mix of gadget-based attacks and stealth, while Nightwing had a unique set of fast, acrobatic attacks--some of which resembled the combat style of his former teacher. While the dark knight and his former partner obviously have the home-field advantage in the cave, the arena featured plenty of interactive elements that could be used to deal with the opposition. Quick-thinking fighters can activate turrets that blast enemies, toss explosive barrels, trigger a health-regenerating effect within a specific area, set off freezing effects, and--our personal favorite--use robotic bat drones, which are powerful weapons that also look pretty cool in action.

The match we played lasted 10 minutes and focused on holding an area for the longest amount of time while fending off our foes. The capture location sat in the center of the area, which featured three different area levels. Between each area, we could move on our own volition or be smacked around by our enemies. Aside from the slick interactive elements peppered throughout the level, there were plenty of fan-service touches that Batman aficionados will appreciate, such as the dinosaur, the giant penny, and giant playing cards--artifacts that the caped crusader stores in his lair--in plain view.

The caped crusader himself, and many more, will make appearances in the game's PVP arenas…and more characters will be added to the game in later updates.

While we’ve been playing DCUO at least once a year for a while now, we have to say we’re still anxious to get into the game. The game’s art style fits its source material, and the gameplay seems solid and accessible. We also have to point out that the gameplay seems to have been tightened up in this most recent version. The addition of iconic characters in PVP helps fulfill one of the most common requests from fans since the game was announced, so it’s definitely a good thing. And we’re especially pleased to hear that this kind of content that draws upon DC Comics lore will only grow after the game launches as SOE is planning on making more available as downloadable content. DC Universe Online is slated to ship this November for the PlayStation 3 and PC. Look for more on the game, including coverage of the upcoming beta, on GameSpot in the months to come.

HAWX 2 Hands-On

Tom Clancy's HAWX 2 Hands-On

Tom Clancy's HAWX 2 puts you back in the cockpit of various modern or cutting-edge fighter planes, though this time the aerial combat is split across US, Russian, and British campaigns. The story isn't a direct continuation of the first game's mercenaries-versus-US plot, but it has "much more depth," according to narrative director Edward Douglas, thanks to its multiple international perspectives. Though the plot isn't laid bare in our demo, we gather it involves mounting insurgent activity in the Middle East and Russia. As the game begins, a nuclear missile has disappeared from a Russian military base, and in the tutorial mission Contact (described in our first look at the game), an insurgent convoy launches an attack on a US air base in a desert at the edge of the conflict.

Too close for missiles, I'm switching to guns.

The most obvious difference from the first game is the presence of takeoffs and landings, including taxiing to the base runway in the first mission; in 2009's HAWX, missions began and ended in the air, with your plane already cruising towards your waypoint. "We want to give you the full experience, from when the pilot gets in the plane to when he gets out again," said Douglas. "In HAWX 1, you spawned in in third-person view in the air, the missions ended that way, you never knew who you were or why you were there."

That fuller, more authentic experience of modern air warfare goes further than runways and landing gear, adding aerial espionage with unmanned aerial vehicles, stealth missions with night raids, and gunship missions to the mix, as well as midair refuelling and precision bombing. We jumped ahead in the campaign to Interception Course, set in southern Russia, where separatist leaders have been surrounded and pinned down in the Caucasus Mountains. Separatists, meanwhile, had captured a Russian military base and taken cargo planes and bombers and were en route to rescue their leaders.

As a Russian military pilot in a Mig-29 Fulcrum, armed with heat-seeking missiles and flares, we flew with our squad to intercept the rescue attempt. The basic flight controls in HAWX 2 are mostly unchanged, and the same first-person cockpit view and third-person view from just behind the tail are available, along with the "assistance off mode," which flips you into a remote perspective some way behind your plane and enables more advanced manoeuvres (though at the risk of stalling as you attempt them).

After lining up to intercept and then delivering a final warning to the separatists, our squad was ambushed by a swarm of fighter planes, triggering an all-out dogfight over the peaks of the snowcapped mountain range. This combat resembles the familiar patterns of HAWX before long--circling, air-braking, tracking targets to get a missile lock-on--but is occasionally broken up by more inventive enemy AI; in this mission, enemy pilots tended to get in close, making lock-on trickier, and tried to outmanoeuvre us through the steep-walled valleys. Unlike in the first HAWX, there's no system for issuing commands to AI wingmen, but the whole game will be playable in up to four-player co-op.

"We're really trying to make dogfights a lot closer, more personal," said Douglas. "The way the weapon system works will encourage you to fight at different ranges, different AIs will use different tactics… some will use flares more, [for some] you'll have to use cannons versus fire-and-forget missiles."

The rocky, mountainous terrain, partly obscured by clouds, looks good, as do the grass and trees further down the slopes; a low flyover doesn't expose the kind of blocky textures present in the original game. As in HAWX, though, the game maps draw on real satellite data, with some as large as 130km by 130km.

After taking down the separatist fighters, we were denied permission to return to base by a presumably soon-to-go-rogue Russian general, who bemoaned weak-willed politicians and told us to refuel instead so we could defend a Russian withdrawal from the region. This set our objective on a distant tanker aircraft, requiring that we match speeds and line up with it by flying through a green hoop in midair--an element of the augmented reality pathfinding Enhanced Reality System (ERS) left over from the original game.

The ERS is gone from the general dogfighting, however, meaning you won't be pursuing targets through a series of hoops. "We found the ERS was very helpful in the first HAWX to find other players and ground targets in dogfights," said Douglas, "[but] we found the air combat mechanics we developed for the second game got to a better level where… we didn't need nearly so many assists and handholding for the player. It's still there for landings and certain precise bombing targets, if you want assistance." With a five-minute time limit to refuel, we had to approach the refuelling craft with gradual acceleration and delicate, precise manoeuvring--a change of pace from the wild, wide loop-the-loops we generally navigate our dogfights with.

Jumping ahead again to another American mission, Oil City, we were back in the pilot seat of a US fighter, packing air-to-surface missiles and heat-seekers and launching from the deck of a US aircraft carrier. The mission, set over the ocean at sunset, had us defending friendly forces by taking out antiaircraft sites on oil rigs and shooting down enemy helicopters. This meant prioritising targets that were threatening friendly units, flipping between missile types, and picking off targets as the health percentage of our allies ticked down.

Make sure your seat and tray table are in their full upright position.

Once the helicopters were down and antiaircraft sites near the oil rig's airstrip had been subdued, the strip became available for landing. This meant lining up, adjusting pitch, and lowering landing gear for touchdown. There isn't the depth or complexity of a full-on flight sim, but we're told later missions will add further challenge to takeoffs and landings. We're told in the final game these will range from straightforward runway affairs to nighttime aircraft landings and emergency takeoffs under fire, and other missions in the game will allow for landing and rearming mid-mission.

Like the original HAWX, it seems HAWX 2 aims to combine arcadey accessibility with the sheen of Tom Clancy near-future military authenticity. And, between expanding the experience to refuelling, takeoffs, and the like, adding in mission types, and advancing the enemy pilot AI, it should do so with greater variety come September 3, 2010.

FF14 Interview

Final Fantasy XIV

Final Fantasy XIV will be the second Massively Multiplayer Online entry in Square Enix's revered RPG series. Amid the chaos of E3 we sat down with Hiromichi Tanaka, senior vice president of software at Square Enix, and online producer Yasu Kurosawa. Read on to hear their thoughts on the Guildleve system and the possibility of handheld MMORPGs.

Q: Can you tell us a bit about the game?

Hiromichi Tanaka: There are two unique points to Final Fantasy XIV. One is Guildleve – the lead quest that you tried earlier on. This guildleve system allows people to try out, or get rewards or level up certain skills they have, in a very short time – like 30 minutes. So even if you're a solo player, or playing in a small group, you can still manage your time very efficiently and level up your character in the way you like. In addition to that we have the armoury system, which allows the players to change classes by just holding a different piece of equipment, so that allows more flexibility for the players to enjoy the game. They can learn abilities during the process, and by combining different abilities you can customise and create you own character, and have your own game experience. Also, because this is a Final Fantasy game, you can of course expect a huge, deep storyline.

Q: From the demo it was difficult to get a sense of the size of the world. How expansive is the wider world of the game?

HT: What we have in the beta is like 20 per cent of the actual game contents, so it's five-ten kilometres across. It's about that size.

Q: Can you tell us a bit more about the character classes, and how they relate to the Final Fantasy games that we already know?

Yasu Kurosawa: This time there are four different categories: Disciples of War, Disciples of Magic, Disciples of the Hand and Disciples of Land. So, these are the four main categories, and in them are many different classes that we will be introducing.

HT: And by changing the equipment you can customise your own characters. So there are several classes in the game, and by learning different abilities you can make your class. Actually this time we purposely decided not to use the common job names we used in previous Final Fantasy titles, so you really have to make sure you combine the exact skills you need to become a White Mage of the future. It's really up to you how you develop your character.

Q: You mentioned an epic story that will run throughout the game. Obviously that's quite hard to do with an MMO, so how are you going to make the player part of the plot while still giving them the freedom they want?

HT: The main idea is the same as the package titles of the Final Fantasy series, so NPCs will be the key trigger of the game. By talking to NPCs, they will give you the storyline. The key point of the Final Fantasy XIV storyline is that you'll be experiencing what happened in the past, and doing that will involve the secrets of the world. If it's a package title, sometimes by following the story you can't do anything else – you just have to keep on following. But because this is an MMO, you're allowed to stop the story at certain points, and try out a different quest. So you have much more freedom. Also, by trying the quest that might sort of experience the further story. That's how we're going to bring the character into the mainstream story, and we've managed to do that because we had a lot of experience with Final Fantasy XI.

Q: Do you feel that the MMORPG is still coming of age? Are there a lot of places for the genre to still go to?

HT: Final Fantasy has been out for eight years now, and when you think about how long it was in development, it's been more than ten years. I've had 27 to 28 years in the games industry, and a third of my life in the industry has been spent on online titles. From that aspect, I believe that the MMO is a well established genre now. However, it will evolve in the future, it will keep on changing. As Final Fantasy XI did with certain version updates, the game can change really drastically. There are a lot of possibilities, and I think things will change from here on.

Q: What is the business model for the game, with regards to subscription fees?

HT: It's going to be a 30 day subscription model, and as for the price we are currently confirming the details. It should be announced shortly.

Q: When people play MMOs, they often play it exclusively and ignore every other game in their collection. Has there been any resistance from the platform holders in this regard? If a million people play FFXIV and don't want to play anything else, that might not be good for Sony.

HT: That's a very good point, and that's something that will be a concern as well! On the PS3, you will have to login to the PS3 [the PSN] to enjoy the game, so I guess that's how we're contributing.

Q: Do you think we could ever see a Final Fantasy Online game on a portable console – on the PSP or a future successor, for example?

HT: Yes, I believe it's definitely possible. The DS and PSP both have networking systems implemented, so it's definitely do-able. The CPU of mobile consoles are much lower spec compared to other consoles, or even to PC, so that could be a difficulty if you want to simply transfer a console-based MMO onto a mobile machine. But if it's built specifically for DS or PSP that's definitely possible, even on the current technology.

Dragon Quest IX

Dragon Quest IX Review
What do you expect from the next iteration of your favourite JRPG series? Better graphics? Improved voice acting? An innovative new battle system? Dragon Quest IX has none of these things. The reason for this can be traced back to a decision made before the game was even in development; the decision to bring the game to a handheld console. As with Square Enix's controversial attempt at westernisation with Final Fantasy XIII, the decision was made with the intention to open the franchise up to a wider audience. The question is: is this going to sit well with the diehard fans that have stuck with the series since day one? As I find myself loitering in that category of gamers (I'd need to be a few years older to have been there since day one), I decided to find out.


Before getting stuck in, let's take a moment to explain a few things. If Square Enix has succeeded in attracting a new audience, there could be people reading this who haven't the foggiest what the series is all about. Here's the history lesson, then: the first Dragon Quest game was released on the NES back in 1986, and over the next 24 years enjoyed the success and sales that other franchises can only dream of. Dragon Quest VIII: Journey of the Cursed King, the most recent entry in the series (and the first game in the main series to reach European shores) was released on the PlayStation 2 in 2006. It was a rip-roaring success, and all eyes were on the PS3 to play host to the inevitable ninth game. That 'next gen' Dragon Quest game will have to wait a while, however, because Square Enix has decided to launch Dragon Quest IX: Sentinels of the Starry Skies (DQIX from here on out) on the console with the biggest pool of potential players: the Nintendo DS.



Despite its newfangled four-player co-op (which I'll be addressing shortly) the game is incredibly traditional in the role playing sense. You'll wander from town to town, slaying monsters and helping out NPCs with whatever problems their poor little town is facing. It's the quintessential JPRG experience. A JPRG wouldn't be a JRPG these days without some form of item synthesis, and DQIX doesn't disappoint with its extensive alchemy features, allowing players to create more potent medicines and stronger weapons by combining existing items. Side quests can of course be found off the beaten path too, although I found the majority of these took the form of a thoughtless fetch quest. The series might have moved from the big screen to a little handheld one, but all the features you'd expect from a console RPG are included

The Dragon Quest series has always had a strong religious theme at the core of its narrative, and the ninth iteration of the series is no different. The silent protagonist (whom you create before starting the game) is a guardian angel; a 'Celestrian' - to use the game's lingo - who looks after a small town known as Angel Falls. After helping out about town and collecting benevolence from its faithful denizens, our winged protagonist returns to the realm of angels to offer the benevolence to the great Yggdrasil tree. The idea is that this will allow the angels to ascend to the land of God, but an unforeseen catastrophe throws a spanner into the works. After blacking out, our hero wakes up in Angel Falls stripped of his wings and halo, and his heavenly powers replaced with mortality. The adventure that unfolds involves finding out what happened, and reinstating your Celestrian status.

As we've come to expect from Square Enix games, the localisation is superb, and the script has a fantastic sense of humour. Story delivery on the whole is lacking, however, which can be attributed to the fact that none of your party members talk. For the most part, the plot is advanced through the vexatious monologues of Stella, a fairy that starts following your character around early on in the game. For the first time in the series, your party is comprised entirely of mute adventurers, all of whom are created and recruited by the player. The customisation features are basic, with but a few preset face types and hairstyles to choose from. Still, the game features such an extensive range of hats, gloves and suits of armour that this doesn't seem to matter.

Virtua Fighter 5

Virtua Fighter 5 Review

If you like beating people up then SEGA's Virtua Fighter 5 is the game for you. Developed by the black belts at AM2 (Fighting Vipers, Fighters Megamix), VF5 is a true gameplay showcase that deserves more mainstream attention than it will probably ever get. Then again, proper timing can make a big difference in a title's success, and with the PlayStation 3's void of compelling software since last December, Virtua Fighter's chance of grabbing North American eyeballs is better than ever.

And let's face it, our attention should be grabbed. After all, one of the universe's biggest mysteries is why SEGA's excellent franchise has never reached the same American commercial success as its competition. Soulcalibur and Tekken both, for example, are lucrative post-arcade endeavors that see strong sales and good word of mouth years after their release. Virtua Fighter, on the other hand, gets labeled as "the hardcore alternative" and sees most of its action at tournaments or in Asian markets (it's huge in Japan); domestic appearances are usually relegated to diehard neighborhood get-togethers and occasional competitions.

But you can blame us for that. It's a popular misconception among the press that Virtua Fighter's mechanics are too complicated for the laymen. That's a myth. What makes VF so compelling is that it's as multifaceted as you allow it to be. Two beginners can hook up and execute a minutia of combos with fairly little knowledge of the system, but pit those same players against an expert, and they'll see things they never thought possible. Therein lies the stumbling block of the media's (and as a result, the uninformed public's) view of Virtua Fighter -- a depth of gameplay that rewards skill is misinterpreted as "too complex" for general audiences. Hell, I'm no pro myself but I can still see how brilliant the system is from the very start.

Hopefully, Virtua Fighter 5 will open eyes and prove that VF is an all-access beast. As one of the few exclusive (at least for now) PS3 titles in the first quarter of 2007, it has the opportunity to grab consumers it wouldn't normally reach, and it deserves plenty of recognition. Why? Because though it isn't a huge leap over the PS2's Virtua Fighter 4: Evolution, it does offer a number of everyone-friendly improvements that make it the most accessible installment yet. Faster gameplay (think "DOA fast"), reworked combos (several of which chain more naturally), and hearty customization options should get people hooked and fast.

Virtua Fighter's satisfying gameplay can be attributed to one major factor: character balance. Unlike the competing 3D titles mentioned earlier, Virtua Fighter has done a stand-up job of giving users a legitimate chance with every last warrior in the lineup. Sure there are some overpowered moves here and there, but they're minimal at best and are easily recognized after a couple of matches. This means that 90% of the time, good Akira players match up well against good Pai Chan users and advanced Aoi users won't dominate advanced Vanessa players. From a mechanical standpoint, there's nothing more important in a fighter than that.

When playing against another human being, Virtua Fighter 5 is incredibly satisfying. Even when getting your ass handed to you by a superior player, the smooth controls and deep combat compel you to play more. Unfortunately, brawling with the AI isn't nearly as gratifying since the CPU is actually quite tepid. In fact, unless you crank the difficulty all the way up, the majority of your opponents are surprisingly lazy and offer little retort to a series of fists in their face. Constant hit-and-run tactics combined with quick rush/ throw techniques will take out most sub-elite rivals, and will still deal serious damage on even the heaviest hitters.

The weak AI is softened a bit by the inclusion of the addictive Quest mode which simulates the practice of traveling to various arcades and challenging the world's best players. It's surprisingly engrossing, throws hundreds of AI-powered foes at you and serves as the primary way to gain new items for character customizations. The sheer number of modifications that can be made to a single fighter are immense (specific items for 17 different characters with four outfits each mean plenty of unlockables), and the fact that you can save up to 30 unique characters per PlayStation ID means that you can expect an abundance of variety.
Despite my affection for Virtua Fighter 5's gameplay mechanics and customization, however, there are a number of design choices that still leave me scratching my head. The most obvious, of course, is the lack of online support (yeah, like you didn't see that one coming). Though latency concerns were probably this feature's biggest adversary, it's still baffling to see that a next-gen game of this magnitude (on a system built around the idea of network processing) doesn't support an option that several PS2 fighters have had for years. This is an especially painful reality when considering how weak the AI is. Why settle for a CPU-driven Quest mode when there's nothing stopping you from doing it for real?

There are a couple of other concerns I have as well. Versus matches have an abundance of arbitrary menus, for example, and unless you want to load your customized character before every match, you'll have to select "play without data" for each bout. Using a character ID is a bit of a pain too, because you can only save one character per name and don't have a "Master ID" that keeps track of a single player's performance with multiple combatants. The strangest hitch of them all, though, is that players can't take their characters to a friend's house and play against another created character. Plus, you can't save replays from every match type and the music and audio isn't very memorable.

But VF5's presentational elements aren't all bad -- the visuals are more than impressive with cool cloth physics, nice special effects, and some cool background views. The character models look pretty good too and even when running in 1080i (the box only claims 720p, but it goes higher), the animations are smooth and fast.

Closing Comments

Virtua Fighter 5 kicks a whole lot of MMA ass. It offers one of the most intuitive and robust fighting systems ever assembled and the customization options and quest mode are great fun. Granted, its AI isn't very good, it has a couple of interface issues and the lack of online is a major negative, but the mechanics here are so amazing, that it doesn't hurt the overall package as much as it would in other games. Grab a buddy (or five) and play it... a lot!

Another Take

from Hilary Goldstein

Virtua Fighter 5 is a difficult game to judge. The fighting engine is second to none. Just based on mechanics alone, it's one of the greatest fighting games I've played. The level of character customization is exciting and can lead to some very unique looking fighters. But everything else comes up a little flat. The interface is mediocre and the AI is unsophisticated. The environments, which lack good ambient sound and graphical flare, are a bit of a disappointment. So too is the lack of online play. The absence of the network aspects that made the arcade version so cool haunts the gameplay modes. This is a game that belongs online, and part of the overall experience feels hollow without network play. Virtua Fighter 5 gets a lot right and in the places it matters most. You won't find a more technically demanding fighter on any system. Virtua Fighter 5 is a great fighter, but with the dawn of the next-generation of gaming, more is needed to make for a true classic.

Calamity Trigger

BlazBlue: Calamity Trigger Limited Edition Review

Being a devoted follower of developer ARC System Works -- the folks behind the Guilty Gear series -- I was ecstatic when I first found out that BlazBlue was on the way. The oddly-named 2D fighter would serve as the (dare I say it) spiritual successor of the Guilty Gear franchise and preserve the developer's legacy for creating wildly imaginative, fast-paced fighting games with nice visuals. Although I was sad to hear that Guilty Gear might eventually bow out to the BlazBlue name, I was eager to get a fresh start. And now that BlazBlue is finally here, I couldn't be more pleased with the final product.

BlazBlue: Calamity Trigger is one of the most polished, fun fighting games I've ever had the pleasure of playing. Although the game will have a much more limited appeal than mainstream powerhouses like Street Fighter and Tekken, this gem of a fighter really needs to be played by anyone even remotely interested in fighting games. There's almost nothing about this game that rubs me the wrong way and ARC System Works has thought of every little detail a fighting game fan could want.

Limited Edition Content The initial run of BlazBlue: Calamity Trigger is actually pretty special, as there's no Standard Edition to be found. That's right: the first copies of BlazBlue will all be Limited Edition. You get the game in its fancy packaging, a two-disc soundtrack full of some fantastic music and a bonus Blu-ray filled with helpful tutorial information -- all for the price of a standard retail game. This really blows other Limited Editions out of the water, considering how both pack-ins are not only "free" but are actually worth getting. Eventually, BlazBlue will have a Standard Edition run which I will examine when the time comes. But for now, everyone buying BlazBlue gets a very nice package with some great character art on the outside. Inside the box is the aforementioned soundtrack, which spans an impressive 42 tracks across two discs. Composed by ARC System Works designer Daisuke Ishiwatari, these tunes are actually worth giving a listen. Lastly, the bonus Blu-ray is designed to be an introduction/tutorial to the BlazBlue universe. Although the menus and overall presentation might seem like they came straight out of Apple's iDVD software, the actual information presented is fantastic. Not only are all the game's basic battle systems explained, but BlazBlue experts are brought in to describe character-specific strategies and tips for beginners. If you didn't already figure it out, I'll summarize my thoughts on this run of BlazBlue: buy it. You can read more about my feelings on the game itself below, but getting all this Limited Edition content for the price of a standard retail game is a steal.

BlazBlue has it all: awesome characters, stunning backgrounds, sweet music, tons of unlockables and -- most importantly -- enjoyable fighting. Like the 2D fighters before it, BlazBlue pits two characters against each other in a battle that takes place on a 2D plane. Anyone even partially familiar with Guilty Gear will feel right at home when playing BlazBlue, as the game not only borrows heavily from Guilty Gear's aesthetics but also feels very much like the "evolution" of the Guilty Gear franchise. While certain fighting games (such as Street Fighter and Soulcalibur) emphasize ground combat and more pointed, precise inputs, BlazBlue places tremendous stress on fast action and dashing, as well as plenty of aerial combat. Unless you're controlling a slow character (I'm looking at you, Tager), be prepared to play this game at a dizzying pace.

One of the things I love most about BlazBlue is how straight-forward the basic fighting engine is. Yes, there is depth to be found and the advanced techniques can be intimidating, but at its core, BlazBlue only has four buttons to learn. Attacks A, B, C and D. The "D" stands for "Drive," which is a special, character-specific attack that is -- essentially -- the "easy way to look cool." Attacks A, B and C are just normal attacks of increasing strength. Besides these simple attacks, you use the D-pad (or an arcade stick) to move around, duck, jump, and block. That's all there is to it.

Watch our full video review.

Of course, that's just the tip of the iceberg in BB Land. BlazBlue also features a host of advanced techniques that ARC System Works fans should have come to expect. By pressing back on the D-pad and holding A and B (The attacks, not the 360 buttons!), your character will put up a Barrier, which is a more effective way of protecting your fighter. You can also hit A, B and C together during a move to Rapid Cancel, which stops the animation of your current attack and allows your fighter to execute another move immediately. This sort of technique drains your Heat gauge though, which is the BlazBlue equivalent of a Power/Super/Tension gauge. Besides cancels, the Heat gauge also governs your Distortion Drives (super attacks) and Astral Finishers (a flashy instant kill), to name a few. As you can see, there's plenty to learn in BlazBlue, but that's what experimenting in the Training mode is for.

If this looks like it's too much to handle, it's really not. BlazBlue is actually very beginner friendly, as basic combos can be executed just by hitting A, B and C in order. The Drive attack is a great way to perform a special move without any effort, and blocking soon becomes second nature. These are all one-button-press techniques, so I suspect that even beginners will have something to enjoy when they first start. Even when players do move on to bigger, better special moves, all the directional inputs are familiar: circle from down to forward on the D-pad, circle from back to forward on the D-pad, etc.

These responsive mechanics are complemented by a veritable sea of other gameplay elements that make BlazBlue such a fun experience. No fighting game is complete without a great cast of characters and once again the designers at ARC System Works have given us a memorable roster. Yes, these characters borrow heavily from their Guilty Gear predecessors, but they've been given a life of their own thanks to their very distinct personalities and their unique Drive attacks.

Positioned as the poster children of the BlazBlue universe, Ragna, Jin and Noel are arguably the game's star characters. The strangely adversarial relationship between Ragna and Jin echoes the classic tension between Guilty Gear's Sol and Ky. This time, however, the roles have been seriously reversed, as I'd say that Ragna (the successor to Sol) is the hero and Jin is the "villain." I love these characters and how fun they are. From the distinguished vampire girl Rachel to the over-excited ninja Bang, there's just too much personality for one disc.

Rachel and Bang face off.

The unique designs of the characters also affect how they function in the ring. These fighters all play differently and the majority of them have unique mechanics that must be learned outside of the universal mechanics. For example, Carl can control his marionette, Nirvana, while also fighting his opponent. Also, Rachel has a separate gauge that dictates how many times she can control the wind blowing through the ring. These abilities are usually tied to the Drive attacks, but coaxing the player into learning unique mechanics for each character adds tremendous depth to the play experience.

Supporting these characters is a well presented story (for a fighting game). Although things are quite confusing at first, playing through the game with different characters begins to reveal the plot of BlazBlue piece by piece. This is definitely a Japanese-style story, but it plays right into all my anime sensibilities and I think any anime fan will feel quite comfortable with it. If you're not big into anime/JRPG narratives, things will definitely feel bizarre, but I think the imaginative characters and beautiful art will keep you interested.

The overall structure of BlazBlue as a game is great. There's a Story mode, where each character has 3 branching pathways to follow, an Arcade mode, a Score Attack mode, Training mode, a Replay Theater, an extensive gallery for unlockables and -- of course -- multiplayer options. Every mode works really well and the attention to detail is apparent in nearly every facet of the game's design. Whether you're perusing the options menu to adjust HUD positioning, window transparency, message speed and countless other tweaks, or you're just admiring the drool-inducing emblems that represent each character in high-style, you can tell that ARC System Works went all out when developing this game.

One particular element of BlazBlue that prospective buyers might be curious about is the network play. Local multiplayer is a given, but how does a game like this work online? Although I haven't been able to see how BlazBlue performs when all the fighting game junkies have clogged the servers, all my play tests of BlazBlue's online component have been positive. There's usually some lag at the beginning of the match but things seem to catch up soon after.

Meet your new best friends.

This online functionality is made even sweeter when you realize that you can save match replays and watch them in the Replay Theater I mentioned above. Replays can be viewed at normal speed, sped up, or frame-by-frame, which is a great option for the hardest of the hardcore that want to study a troubling loss (or startling victory). The only problem with these replays is that you can't rewind them once you start -- you have to boot them up again. A minor complaint, but a complaint nonetheless.

The only other real issue I can call out in regards to BlazBlue: Calamity Trigger is the game's limited appeal. Although I personally think everyone should give this game a go, I know that the zany character designs and speedy combat might not suit everyone's tastes. For me, I was right at home the moment I landed on the main menu. For others, they might see the giant, disproportionate Tager and question the game's (lack of) logic.

Closing Comments

Honestly, there's no way I could describe everything I love about BlazBlue: Calamity Trigger because I would be writing a novella. All you need to know is that this has become one of my favorite fighters of all time and the level of polish and detail this 2D wonder has is amazing. The character designs are excellent, the fighting mechanics are top-notch and there are even extra animated scenes that feature chibi (super adorable) versions of the characters talking about the BlazBlue universe.

I know BlazBlue is only targeting a certain type of fighting game fan, but I think the mechanics are cool enough to entertain anyone even remotely interested in the genre. I'm sure that once the community gets its hands on this game, the true test of balancing will begin and issues I might have missed might come to the surface. With that said, there's no escaping the fact that I had a blast playing BlazBlue and I encourage everyone to buy a copy.

Oddball 90's

In the last installment of VGA, I blabbed about the strange side of PC gaming in the 90's. Much like the bizarre gyrocopters and wingsuits that came about when people were trying to figure out what could and couldn't fly, some creative and unique (if not successful or good) games were made before people settled on the "right" way to do things.

The article closed with an invitation for you guys to blab about particularly offbeat games from that era. I knew that a lot of you would have some interesting things to say, but it still came as a surprise to check my inbox and see it filled with so many death threats.

After a half-hour spent clicking "Report Spam" while sobbing, I was left with this stuff.

Harvester

Forum user DoombatINC writes:

"If you're looking for another 90's game, consider Harvester, the point-and-click adventure game that was also a serial killer training program engineered to progressively desensitize the player to killing and eating people. Here's a serviceable playthough, get some popcorn and someone you don't want to love you anymore and give it a watch."

Phil Salvador writes:

"It's not particularly unique because it's an interactive movie, but it has two interesting distinguishing features. Firstly, the plot takes place in a farm town where ritualistic/serial killings occur every harvest moon in accordance with an evil local cult. Secondly, it's disgustingly graphic. Modern games have absolutely nothing on this cutscene."

Liz Beetem writes:

"The best line of the game is "Can't nobody live without a spine, ain't nothing more natural than that", or something of that ilk."

Harvester is the thinking man's Phantasmagoria, assuming the man in question tends to think about how much better Twin Peaks would have been if it had been set in the 50's and crossed with Faces Of Death, and how John Frumpyflannel would make a better protagonist than Mary Sweatpants.

Come to think of it, a co-branded Harvester vs. Phantasmagoria 2D fighter in the vein of Mortal Kombat would have been a good idea. Or, at least, an idea.

Total Distortion

Evan Perkins writes:

"In a few words, you're a music video producer who used a dead uncle's fortune to build a media tower and teleport into the 'Distortion Dimension', a dimension formed around MTV style music. The main part of the game is a life simulator, where you record film and music in the dimension, then make videos to earn cash, which you spend on food, fuel, and a way back to Earth (teleporting costs money)."

Matthew Haines writes:

"TOTAL DISTORTION
TOTAL DISTORTION
TOTAL DISTORTION
A THOUSAND TIMES TOTAL DISTORTION

It is exactly what you are describing."

When you go to sleep, you are told that "The dreams are racing down the road. The winner will take over your mind!" Naturally, you must use a dream gun to kill the BAD DREAMS (their uppercase, not mine). This is strange for many reasons, the first being that I thought the entire game was a fever dream directed by our very own Jeff K.

Eastern Mind: The Lost Souls Of Tong Nou

Phil Salvador writes:

"It's an adventure game by Osamu Sato, a borderline insane Japanese video artist who received a grant from Sony Imagesoft to make whatever his heart desired. What he ended up making was a game about a man named Rin who loses his soul. He decides to borrow another one and sets sail for his soul's new home at the soul-swallowing island of Tong-Nou. Except Tong-Nou is a giant green floating head that vomits eyeballs, and the insides of his face are made up of endless landscapes covered in half-burnt candles, palaces made of solid gold, and weird abstract creatures that look like an ornamental Jell-O mold ate Mr. Potato Head."

Be sure to check out the playthrough videos that Phil provided to get an idea of what this game looks like in action. Eastern Mind featured a monochromatic bald dude with a piece of machinery erupting from his head long before Valve's logo guy, so by my calculations it should have sold at least as many copies as Half-Life.

Johnny Mnemonic

Ian D. Hepburn writes:

"It was a forgettable William Gibson short story that became a terrible movie that led to an even worse game. The poor graphics, lame fight mechanics, unresponsive controls, and instantly dated dialog guarantee that today this game would be gathering dust in a $1.99 bargain bin at Best Buy while all the other shovelware flies off of the shelf."

Henry Rollins was in the film version of Johnny Mnemonic, but he was not in this game. Henry Rollins was Mace Griffin, of Mace Griffin: Bounty Hunter. That might tell you something.

Omikron: The Nomad Soul

Stage Beans (probably his/her actual name) writes:

"There's no 'basically...' for this game. It's a bizarre, involved, goofy as fuck story about how some inter-dimensional demon-police-computer is pulling people into the Omikron game (so fucking meta ) and resurrecting them into different citizens that, with the help of a computerized David Bowie, can unleash the power of music to the citizens of the universe or some bullshit. I never beat it."

Brannen Huske writes:

"The controls in the game held me back, but the story was always absurd enough to make me want to finish it."

In a game full of people that don't really look like people, David Bowie plays two characters that look just like David Bowie. Sure, the controls were enough to keep everyone who wrote in from beating the game, but multibowie makes this a classic.

Obsidian

Will Greenwald writes:

"Imagine Myst after you just chugged a bottle of Dimetapp and have Terry Gilliam's Brazil playing in the background. Boom, you have Obsidian by Rocket Science."

This is perfect. I've looked at dozens of screenshots of the game and still have no clue what's going on. See that flyer with the fish? If someone put forth the effort to make something like that in a modern game, it would be plastered on every corkboard and littered floor you came across for the next six to twelve hours. In Obsidian it is used once, presumably in a puzzle that involves a ball of light and an ancient machine with lots of exposed gears.

Bad Day On The Midway

Yotam Wilson writes:

"the first thing I do is call my adventure games buddy to come and witness the awesome graphics that can only run on my 16MB ram powerhouse, we fire that shit up and... a 10 minute long opening movie in which the nobody speaks and a lot of shit happens to a very young boy that may be the protagonist of the story, but very possibly is actually a real live soul trapped inside the game through a satanic ritual"

As this feature progresses, it's becoming all too clear that souls were being trapped at an alarming rate in the 90's. While the biggest gaming threats in the 2000's have been terrorism, zombies, DLC and the mandatory registering of an account for every publisher/developer/multiplayer service in existence before you can play a game you just fucking bought, those could all be combined and wouldn't come close to the havoc unleashed by soul theft in the previous decade.

The Psychotron

a m (definitely his/her actual name) writes:

"I don't even know if I'd really call it a game. I mean, I guess it was interactive, but just barely."

In The Psychotron, the president wants you to recover a missing scientific device. The device's capabilities aren't clear, but I imagine they involve keeping jets and barns perfectly intact after high-speed collisions with each other.

MTV's Club Dead

Jeremy Lindemann writes:

"It had a quasi-industrial soundtrack that sounded strangely like Chemlab, really choppy FMV, and some PG-13 innuendo. You played as an ex-con living on borrowed time and posing as a cyberplumber [yeah...]."

Club Dead has one thing going for it - it brings to mind a time when random bits of decayed overlay graphics were totally awesome, whether they were on TV or product boxes. They meant something, dude, just like guys making angry faces or yelling (preferably while wearing goggles) REAL CLOSE to the camera.

By the way, the blurb on the box, the thing that's intended to entice people to buy the game? "The secret spa for cyberjunkies may also be your last resort."

The Neverhood

John Wallace writes:

"Created by Earthworm Jim creator Doug TenNapel, The Neverhood is basically third-person claymation Myst. It features beautiful art, brilliantly weird music and puzzles difficult enough to make you want to strangle a small child. It also features memorable animated sequences such as the one with a large, snarling monster that is called a 'weasel' solely because it chases the protagonist around what, according to the background music, can only be a mulberry bush."

This is completely unfair, but I always avoided this game because it reminded me of Clay Fighter. They're completely different genres and are leagues apart in terms of creativity, but... Clay Fighter. That sort of thing always bothers me, even if it shouldn't. I suppose that's why I could never get around to using that bar of gold I found in the backyard, the one that's rectangular like the Clay Fighters box.

The Dame Was Loaded

Maxim Ternosky writes:

"You play a first-person detective in the 1940s sent to investigate a missing person, but (naturally) the case turns out to be much bigger, involving murders, a diamond robbery, etc.

The voice acting (voice acting!) and music were surprisingly good, and the story and dialogue were pretty well written ("my hands were tied. I blocked the punch with my face."). However, the game suffered from obtuse-puzzle adventure game syndrome, and considering there were about a bazillion ways to die/get stuck/get caught/run out of time, the sort of creative thinking needed to solve those kind of puzzles was too risky, and the game was pretty much unplayable without either a walkthrough or unlimited patience. ."

See that screenshot? Those cards are SO unrealistic. I would have had a royal flush.

Armed & Delirious

Seth Paul writes:

"You play a pill-popping, hard-boozing grandmother whose family is kidnapped by mutant rabbits and are probably going to be subjected to medical experiments (I swear to God, I am not making this up). You get missed because you live in the attic of the house, and thus it's up to you to find and rescue the family (though considering they are all unlikeable, it makes no sense why you'd want to) and get your house returned from the limbo it has been sent to."

Naiomi Clewett writes:

"I remember at one point, your character comes across a cow that was, if memory serves, taking a shower. For no discernible reason I can recall, the cow let out a high pitched, Michael Jackson-esque squeal, tweaked its udders, and sprayed a stream of milk into the air. "

And that last quote, ladies and gentlemen, sums up PC gaming in the 90's. Thanks again to everyone that wrote in. I'm sure I forgot to include some games and quote some people because my soul was being captured by cyberspace as I put this article together, but I appreciate every letter that comes in.