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Lewd Kanji  photo
Lewd Kanji

Atlus listened! Persona 4: Dancing All Night gets sexy Kanji DLC


Atlus doesn't shrug
May 20
// Steven Hansen
I've heard Atlus shrugs, but not this time. I was pretty vocal in my disappointment with Atlus' choice to have a ladies pack of swimsuit DLC free with pre-order of Persona 4: Dancing All Night (and purchasable down the line)....
Samurai Warriors photo
Samurai Warriors

Samurai Warriors 4-II and Chronicles 3 are coming westward this year


The latter is for 3DS and Vita
May 20
// Chris Carter
Are you ready for more Samurai Warriors? No? Too bad! Koei Tecmo has just announced the localization of a pair of games from the series.  Samurai Warriors Chronicles 3 is up first, which will be available exclusivel...
PSN sale photo
PSN sale

Sony's Extended Play Sale makes it worth it to wait on buying DLC


Sorry day one suckers
May 19
// Robert Summa
For those that generally loathe the idea of DLC and season passes, Sony is offering quite the incentive to jump on the extra content train. Set to run until May 25, the Extended Play Sale is marking up to 80% off for what is ...
High fashion photo
High fashion

Danganronpa: Ultra Despair Girls gets limited edition


Want to rock a game tie and eye patch?
May 19
// Steven Hansen
Danganronpa Another Episode: Ultra Despair Girls is coming to North America and Europe this fall. It's a weird little third-person megaphone shooter with light puzzle elements set between the first and second games in the mai...
Gust RPG photo
Gust RPG

Atelier studio's new JRPG looks dark and wonderful


Introducing Yoru no Nai Kuni
May 17
// Kyle MacGregor
Koei Tecmo subsidiary Gust is best known for its work on Atelier, a series of role-playing games with an express focus on alchemy and crafting, but the studio's latest creation appears to be something else entirely. It's call...
Dancing photo
Dancing

Atlus shows off Persona 4: Dancing All Night swimsuit gameplay


Still disappointed, Atlus
May 15
// Steven Hansen
I already wrote about why I was disappointed in Atlus over this swimsuit DLC for Persona 4: Dancing All Night, but I know not everyone shares my overbearing principles* and would like to see the swimsuit trailer, so I will do my civic duty and post it here, on-line. *my overbearing principles involve seeing Kanji in a speedo. How the hell does he not get a swimsuit costume?
LEGO photo
LEGO

LEGO Jurassic World releases alongside the new movie on June 12


Walk the dinosaur
May 14
// Jordan Devore
Jurassic World opens on Friday, June 12. I'm skeptical, but I'll probably wind up seeing it anyway for the trained raptors. TT Games' LEGO Jurassic World, which spans the four films, releases the same day for all major conso...

Review: Not a Hero

May 14 // Steven Hansen
Not a Hero (PC [reviewed], PlayStation 4, PS Vita)Developers: Roll7Publisher: Devolver DigitalReleased: May 14, 2015Price: $12.99 BunnyLord, a rabbit from the future, is running for mayor to prevent humanity from some sort of possibly bee-related extinction on a campaign of hunting down and murdering various crime bosses. His mayoral bid starts with his campaign manager, Steve, and gunman join the cause with rising poll numbers. The health bar shared by Not a Hero's nine playable characters is only a few ticks. It regenerates rather quickly when you're not being shot, but you're often being shot, and one bad volley of enemy fire can kill you immediately. This frailty, which feels more "retro" than the pixel art in and of itself, is mitigated with a cover system, the crutch of the contemporary third-person shooter. Movement here is just as key as shooting, so there is a slide button that you can contextually release before pieces of cover to snap to safety. Shooting while in cover automatically exposes you and enemies can still come head-on and give you a thwack lest you think you can reload in absolute peace. You can play sheepishly -- and cover is helpful when you're down to the last tick of the health bar -- but are not encouraged to. Shots at close range do critical damage while sliding into enemies will knock them out and allow you to perform executions. The result is a cover-supported game rather than a cover-based game. It's there to be used when you're not slide tackling and brutally stabbing folks to death room to room. Your tactics are as brazen as the boss' campaign, which includes perpetuating the war on drugs, rescuing pandas, giving bees to the children, and shooting a not-insignificant amount of police officers. Established trends voters are for. [embed]292134:58536:0[/embed] There are power ups and limited secondary weapon pickups to go along with the nine characters, all of which except the last two feel distinct from one another. There were some power ups I tended to avoid, especially after unlocking an assassin with a devastating, but slow to reload, double barrel shotgun. Coupled with the quick reload power up, the only one not limited to one magazine worth of ammo, it's hard to beat. That same character is quick with a rapid slide which did end in some undue-feeling fall deaths. When I had to jet down a descending series of rooftops, it felt about as precarious as playing a 3D platformer. You can change direction midair which is great for busting out of a window and then busting into one on the floor below, but occasionally I found myself careening forwards to death despite feeling like I'd moved the stick the other way. Having multiple buildings to flit between and different points of entry keeps every multi-floored stage from feeling like a Donkey Kong zigzag to the top, but running or sliding in between any open spaces that weren't perfectly in line with each other just feels a bit off. Additionally, there's just the three visually distinct areas -- the first two of which are even more similar outside of the color swap -- that fall in line with Not a Hero's general flattened action tropes and references. First, it's the Eastern European shipping underbelly. Then it's off to the "urban" (read: dark skinned enemies) area, in an apparent reversal of the first two seasons of The Wire. One of the player characters is Spanish, named Jesus. He wears bright pink, is in a permanent hip thrust animation, and sounds more like Al Pacino doing a Cuban accent in Scarface. Meanwhile the black guy pulls extra magazines out of his afro. On the other hand, the rest of the cast are regional UK in-jokes. The most visually distinct area is the Yakuza-boss-run, an Asian-themed one (much of it related to a sushi restaurant run by bossman Unagi) that also introduces one-hit-kill samurai and ninja, as well as triad folks doing combat barks sometimes not in English, sometimes with thick accents. It also introduces timed door locks which are antithetical to momentum and are often situated at hall ends, meaning you've already done all the murdering on the way there and are waiting for nothing to move on to the next level. And while BunnyLord makes for a unique employer, the extreme irreverence is sometimes amusing and sometimes feels like a forced @dril imitation. There's a bit too much, "Look, it's so random!" at times, like a deadpan presentation of Borderlands 2. More importantly, BunnyLord gives post-mission and pre-mission monologues back to back and to keep the comedic timing you can't just read the text boxes more quickly. It's either wait for the slow text crawl hoping for payoff or just skip it entirely and go shooting. I often went with the latter. Each stage has three optional objectives, too, that go towards determining BunnyLord's political station. Apparently mayor doesn't cut it. But while I completed most everything in the first two areas on my way up from mayor to prime minister to King of England to Global Megalord, I'm stuck as mayor overall. The third act ratchets up the difficulty a lot. I almost spent as much time in the last and third from last stages as I have everywhere else. And I still haven't been able to complete any of the side-goals in the last level, which is basically a boss fight followed by a level, with no checkpoint. It's a bit of a pain, but given how quickly I breezed through a majority of the game, perhaps those more challenging, borderline frustrating bits add to the longevity of what is a pretty lean little game. Translating cover shooters into 2D makes for a good  mix of contemporary and classic sensibilities. It's nice to play a shooter where avoiding enemy bullets is a bit more necessary and I like the tools Not a Hero provides with its slick cover system, mechanically varied cast, and constant chain of slide kicks and executions. [This review is based on a retail build of the game provided by the publisher.]
Not a Hero review photo
I can be your hero, baby
Roll7 has received much adulation distilling skateboarding into pixel-based 2D fun with OlliOlli so it's not surprising that the team has been able to do the same with cover-based shooting. But OlliOlli's pixels belie the pol...

Lost Dimension photo
Lost Dimension

Lost Dimension will launch on July 28 with free DLC


First character trailer released
May 13
// Alissa McAloon
It's a good news day for fans of the upcoming tactical sci-fi RPG, Lost Dimension. In addition to the announcement of a July 28 release date, Atlus has announced that $20 of DLC will be given away for free during the tw...
Deals photo
Deals

PlayStation TV price cut in half at GameStop


$39.99 "Vita" time?
May 13
// Dealzon
Remember when the PlayStation TV was selling for $99.99 back around its October 2014 release date? Well now it's all the way down to $39.99 today in a seemingly random half price deal at GameStop. PlayStation TV is $39....
Steins;Gate photo
Steins;Gate

Steins;Gate will arrive next month in Europe on PS3 and Vita


US date for Sony platforms unknown
May 13
// Chris Carter
As I've said in the past, Steins;Gate is a pretty fantastic anime that surprised me quite a bit. I don't want to spoil anything, but it involves a [kinda] mad scientist and time travel. The game is also great, and has be...
Color Guardians bossfight photo
Color Guardians bossfight

Learn why the Color Guardians final boss is so poorly designed


Spoilers: it's everything
May 12
// Darren Nakamura
In my review earlier, I wrote a couple of paragraphs talking about how the final boss fight is so poorly designed that it brings the entire experience down. It feels like the developer didn't playtest the fight at all, becau...

Review: Color Guardians

May 12 // Darren Nakamura
Color Guardians (Mac, PC, PlayStation 4 [reviewed], PlayStation Vita)Developer: Fair Play LabsPublisher: Niffler LtdReleased: May 12, 2015MSRP: $14.99 Color Guardians is a cutesy runner, but its manner of dealing with obstacles is what sets it apart from others in the genre. Each of the three playable Color Guardians can change color at will between blue, red, and yellow. Combined with the three lanes where the action takes place, players are basically choosing among nine different states to be in. Going from any one state to another takes only three button presses at most; often it is fewer than that. The reason for switching between lanes is obvious; sometimes there is a rock in one lane that needs to be dodged. Changing color is necessary for nearly every other interaction. To start, the color orbs littering the environments can only be collected by a character of a matching color. Over the course of the game, new objects and obstacles are added, most of which require a certain color in order to function or bypass. With that setup, one could imagine level design that requires finger gymnastics resembling the input of an old school cheat code, but it starts out more plainly. To ease players in, the first few levels don't require fast color switches and they don't even use yellow. It's a decent primer for what to expect, but it takes too long to get to the good stuff. [embed]291885:58487:0[/embed] To make up for that, some extra mechanics are thrown in so that the early levels aren't totally mundane for those who catch on quickly. To get full credit for collecting a color orb, the Color Guardians not only have to be that color, but they also have to be spinning, achieved by pressing the button that corresponds to that color. Additionally, points are awarded for switching colors or lanes, on top of the base points for collecting orbs. The theory behind these two mechanics is commendable. They allow for open-ended scoring. Even if one player spins into every orb perfectly, another can do that with an extraneous color change thrown in to score just a bit higher on the leaderboard. Risk switching to the wrong color before switching back, get rewarded with a better score. The high score on a given level is theoretically unlimited. Though it sounds like it could be tackled with elegance, in actual play it just leads to a lot of button mashing. With a string of red orbs to collect, one could treat it like a dance, rhythmically alternating between red and blue. It turns out to be easier and more effective to continuously smash both buttons nearly simultaneously, with the button for red coming just after the button for blue. It's not very satisfying. Thankfully, this is alleviated in the later levels by virtue of difficulty. Once things really start moving and the levels require constant switching between lanes and colors, there is less room for high score chasing. There are some clever sections that subvert expectations, like where players want to switch to an off color in order to intentionally miss a jump. Color Guardians is at its best toward the late game when simply getting through is a challenge. This is all brought to a grinding halt by one of the most poorly designed final boss fights I can remember. Throughout the regular levels, success can be found through training. The levels are designed, so tricky situations can be navigated by building muscle memory of the same button presses. Turning that design philosophy on its head, the last level is basically Random Number Generator: The Boss Fight. Without going into too much detail about how the fight works, it puts players in a situation where even if they execute everything correctly, there is at best a 67% chance of landing a hit and at worst a 0% chance. Yes, not only is it governed by a random number generator, it also contains situations where landing a hit is literally impossible. To beat the boss, three sets of two hits need to land, where each set must be completed in quick succession. I could write an essay on how this fight is so poorly designed. I might actually do that. For now, I'll just say that the last fight alone took me around three hours to complete. The actual winning run was only about five minutes. It just took that long to finally roll all the right dice. When it comes to art design, I normally applaud the use of color. Color Guardians takes it too far, with its ultra-saturated primary color palette. It's almost nauseating. The uncanny perma-smiles on the protagonists faces don't help much either. I was prepared to give Color Guardians a solid "meh" at first. Its central concept is GOOD and it shines when it lets itself do that without any room for button mashing, but that only happens during the last third of it. Building up to that is a fairly dull experience, not without challenge but certainly without excitement. If it had ended just before the final boss, it would be a forgettable runner that underdelivers on a good idea. After that terrible fight, I actively disliked it. Play this if you like a challenge and have patience to get to the good stuff, but don't even bother finishing it. [This review is based on a retail build of the game provided by the publisher.]
Color Guardians review photo
Color me bad
I put a lot of value in elegance. Solving a math problem in an unconventional way using two steps is inherently cooler than doing it in twenty steps. A single shot from a sniper rifle taking down a faraway target is more impr...

Review: Final Fantasy X/X-2 HD Remaster

May 10 // Dale North
Final Fantasy X/X-2 HD Remaster (PS Vita, PS3 [reviewed])Developer: Square EnixPublisher: Square EnixReleased:  March 18, 2014MSRP: $39.99 The original Final Fantasy X was and still is a great game. It took the franchise to a new place with its fully voiced scenes, strong storytelling, and visual flair. Its story, which follows summoner Yuna on her journey across the world of Spira to fight Sin, is one of Square Enix's best. Likable characters with memorable outfits, a fantastic musical score, and a powerful ending made this game one of the best role-playing games of the PS2 era. All of these positive aspects hold their value even today in this remake, though some other parts of the game haven't aged as nicely. While it was fully engaging so many years ago, Final Fantasy X's turn-based battle system now seems a bit simplistic compared to more recent JRPGs. Its true turn-based nature leaves the player open for careful decision making, it pales a bit when put up against even other newer franchise games where action is the focus. That said, there are still some great battles to be had in Final Fantasy X, and those that favor strategy over action will certainly enjoy this flash from the past. While Square Enix has spent a fair bit of time on upgrading the visual side of Final Fantasy X, they weren't able to change how cameras used to work in older RPGs during exploration. Set backdrops have the camera jumping abruptly between two scenes, which can be disorienting during exploration, and sometimes downright confusing when navigating dungeons. We're spoiled by modern RPGs where the camera will automatically pan and follow the character. But, current-day RPGs could learn a thing or two from Final Fantasy X. I appreciate that it wastes no time getting the player into real battles, and that it isn't scared to put some early pressure on players. Players are given full access to the game's systems, with little in the way of training wheels or babying. Its directness is somewhat refreshing, and its lack of complicated systems makes it seem more like a pure role-playing experience. One of its systems, the Sphere Grid, is open from the beginning for the taking. Using earned AP from battles to move through a sort of game board to collect abilities and increase powers is fun. This remake adds an Advanced Sphere Grid (from the international version), which brings even deeper levels of exploration and customization. Its navigation is more open and free, which gives the player more freedom to shape characters' powers. Final Fantasy X was always a nice looking game, but Square Enix's overhaul has added so much more visual appeal. I'm pleased to say that this isn't some quick upscale job. They took the time to upgrade backdrops, textures, lighting, user interfaces, and more, and it definitely shows. Spira has never looked better. If you've played Final Fantasy X more than a few times, you'll appreciate how it seems like you're seeing the game's varied locales for the first time. Details pop out, and foreground set pieces have been shined to a polish. Hats off to Square Enix for completely overhauling the character models of the game's main characters. A critical eye will catch that the new Tidus, Yuna, Wakka, and others still have some corners cut in places, but these models still hold up nicely when compared to newer 3D Japanese role-playing games. I'd bet that there's not a series fan out there that won't appreciate their reworking. The cutscenes have been revamped for HD resolution and look great. Some seem like they've been cropped to fit, but the scenes don't really suffer for it. They look and sound great despite being over ten years old now. But there's a slight downside to the visual upgrades in that they sometimes serves to highlight the smaller bits that have not received the upgrade treatment. While the foreground elements of scenes sport shiny new textures, pieces in the background are still made of lower resolution ones, making them look blurry in comparison. The shortcuts stick out, too. In one early scene, crowds of townspeople were made up of a mix of polygonal models and pre-rendered animations. They didn't blend, making this background detail a distraction. For the character models, while your eyes are drawn to their faces in close-up scenes, looking at anything else kind of ruins the magic. Some of the lower parts of the models, like their clothing or legs, appeared to use less polygons than their upper halves. The higher quality main character models never looked right up against second tier characters and NPCs, as other characters did not receive similar visual upgrades. Scenes can jump between a main character and a NPC, showing a high quality face one minute, and then another that looked to use one flat texture for a face. You can't help but feel that all the rest of Spira was cheated. While the HD resolution upgrade works against the whole on occasion, the improvements are mostly excellent, and greatly appreciated. The music has also seen an overhauling, though the changes might be less agreeable to fans of the original score. For the most part, the quality of sound has improved greatly, though some of the choices for certain instruments seem odd. For example, some of the more brassy instruments stick out of the mix against other higher quality sounds. However, most songs sound great. Final Fantasy X still has one of the greatest role-playing game scores ever created, so a few odd patches aren't that big of a problem in the end. It has been quite awhile since I last played Final Fantasy X. I forgot how challenging some of the battles are, how great it felt to acquire and use a character's ultimate weapon, and how high the random encounter rate was. I also forgot how strange this game is in places (Blitzball, thongs, swimming with boots on, an so on) and how much I loved some of the cutscenes. I'm happy to have been able to play Final Fantasy X again; it was a nice upgraded trip down memory lane. I enjoyed Final Fantasy X so much that I was sad to see it end. So when spin-off/sequel Final Fantasy X-2 came along, I was more than ready to jump back into the world of Spira. When I was finally able to play it, I was surprised to find that it featured a different tone, brand new systems, and completely different gameplay. Despite all this, it still ended up being one of my favorite games of the PS2 era. The sphere-hunting antics of Yuna, Rikku and Paine are as entertaining as ever in the HD remaster of Final Fantasy X-2. The mission-based gameplay is a departure from its predecessor's mostly linear progression, but there's plenty of fun to be had in exploring Spira. The new visual upgrades and gameplay features easily make this the best Final Fantasy remaster yet. The battle system of Final Fantasy X-2 holds up well, though it is still too easy to create a powerful class combination to breeze through just about any battle. By my measure, the balance is off; smart players will be able to walk through this game after earning the right equipment. Still, even with the broken balance, X-2 manages to entertain. The Dressphere job system spin-off is still great after all these years, and the mid-battle magical transformations are just as funny as you remember, though they look much better now with their upgraded visuals. Some new dresspheres have been added to the mix; their transformation and attack animations are hilarious and worth seeking out. New Garment Grids have also been included. Final Fantasy X-2's remaster brings along with it the international release gameplay additions. The new Creature Creator is pretty good fun for fans of collecting. Enemies can be captured and trained to be used in battle, but I found that capturing NPCs was even more enjoyable. It's like a complete game within another game with the full ability to customize creatures with different skills. Properly collecting and leveling enemies and NPCs gives you more story bits and sometimes even character-specific endings. Last Mission is a separate game mode that has the heroines working through a tower crawl and a series of bosses to reveal new story elements as play rewards. This game ditches X-2's free customization and open exploration for straight-ahead gameplay that requires careful choices and smart strategy. Last Mission definitely speaks to me as a fan of rogue-likes, but it may not have as much appeal to fans of your typical Final Fantasy game. Compared to the Final Fantasy X remaster, X-2 HD seems more inconsistent. While the upgraded character models are even higher quality than those of Final Fantasy X, the NPCs look even worse alongside them. Close-ups of these NPCs are pretty rough in cutscenes. Background textures are also inconsistent; it doesn't take much sleuthing to realize it. But, when it looks good, it looks really good. The character models seem to sport even more polygons than they did in the remaster of Final Fantasy X. Faces are more filled out, eyes move more realistically, and mouth animations look spot-on. The girls appear to have more makeup on, too. The lighting and spell effects in particular are great, making X-2 look like a current-gen JRPG at times. Oh, and I forgot how great the X-2 opening cutscene was. This J-Pop video of laser beams and hot pants is one for the ages, so I'm really glad it got the remaster treatment. I still think that Final Fantasy X-2's soundtrack is delightfully dorky with its action themes and singers though. It holds up nicely today and fits the game's tone perfectly. Unlike Final Fantasy X, it doesn't sound like they changed much other than a bump for the sound quality. Overall, I think Final Fantasy X-2 looks and feels better than Final Fantasy X. But, unfortunately, it also does not let you pause or skip cutscenes, and there are times when voice and animation synchronization gets off track. The game's frame rate would dip in some dungeons, though never to a terrible number. Admittedly, X-2 is a bit of a hot mess, but I've always loved this game. This remaster has made it even more enjoyable with its new look and content additions. It's not as lovingly crafted as Final Fantasy X is overall, but it makes up for that in pure entertainment value. As far as videogame remasters go, Final Fantasy X and X-2 are at the top of the list as far as quality is concerned. It's clear that Square Enix put a lot of time into both of these beloved titles, and as a series fan I really appreciate that. They've made both of these great games even better with this remastering, and any fan of either should definitely check them out.
Final Fantasy X & X-2 photo
Praise be to Yevon!
Y, R, P -- in position. It's showtime, girls. 

Review: Tokyo Twilight Ghost Hunters

May 09 // Brittany Vincent
Tokyo Twilight Ghost Hunters (PS3, Vita [reviewed])Developer: Toybox Inc. Publisher: Aksys GamesReleased: March 10, 2015 MSRP: $39.99 You're the newest transfer student to have enrolled at Kurenai Academy, and as such the game wastes no time in getting you to provide your own personal information to give you the impression that the protagonist is little more than an imprint of you. From your height to your blood type, it's all about fitting yourself into the player character, which ties into a decidedly different yet very refreshing branching dialogue system upon which a good portion of the game is built upon. I'll get to that later, but know that after you've customized your character properly, you're embarking on a brand new career with a high school ghost-hunting establishment. After meeting up with a shy young woman named Sayuri Mifune and nondescript male student Masamune Shiga, you're quickly whisked away to join the Gate Keepers, or Kurenai Academy's version of, for all intents and purposes, a ghost-hunting club for after-school mischief. The Gate Keepers meet in a stereotypically crowded club area daily to take on new clients, all of whom are being haunted in some way by wayward spirits who haven't yet passed over to the other side. When you take on a new client, it's as if you're starting a new episode of an anime series, complete with its own opening credits and ending, which ends up lending a refreshing lilt to content that may otherwise feel alien in the visual novel-laden segments of the game. You and your teammates tackle each assignment by delving into dungeon-styled arenas that conjure images of the classic Shin Megami Tensei games, where you're essentially playing a modified strategic grid-based game of Go or Chess. After choosing the gear you'll need to ward off specific ghosts (salt for keeping ghosts at bay and other equipment) you and your team are thrown into a grueling game of remote ghostbusting. Each chapter prefaces the capture of the ghost of the moment (think "magical girl" anime "demon of the week" format) with bit of story told in the typical static background, slightly animated character, and accompanying text style of visual novels. The characters themselves are given gorgeous, beautifully-detailed portraits that swap as they speak, despite how dry the script can be, and their accompanying environments are great-looking as well. These segments take up a bulk of the game aside from "dungeon' exploration, though I didn't have enough for my tastes, especially given the wheel that allows you to interact with other NPCs. It pops up seemingly at random when you're engaged in conversation with others, and contains two different tiers of options to select in order to respond to others. You can choose from a happy face, sad face, confused face, handshake, and an angry face. It's easy enough to decipher -- this denotes the type of response you're going to give on an emotional level. The second wheel corresponds to each of the five senses: eyes, nose, ears, hands, and mouth and the senses they represent, obviously. The game doesn't do an excellent job of communicating to you what these wheels do, but it's fairly simple to figure out. Where the game missteps is by serving up options and actions that don't always correlate with the emotion you want. For instance, if you wanted to be friendly you might choose a loving face and a hand to touch someone, right? The game might not see it that way. It may instead spawn a completely opposite reaction, which can alter your interactions with other characters in a very frustrating way. Perhaps I was going about it incorrectly, but after consulting the official video from Aksys Games that talked about it in length and referencing the manual, which did little to explain it, I realized I just needed to go with it. So I did, resulting in my character becoming some sort of bizarre lecher who used his tongue way more than I feel like he should have. Luckily, there's a diverse and interesting cast of characters to spend time with, and much like the Persona series, each have their own strange little quirks. So you won't have to feel so out of place when you use your hands or eyes in situations where you really shouldn't. The bulk of the game, however, isn't driven by emotion or intent. It's a cold, calculating exercise that's both vexing and challenging at the same time. For each ghost you're setting out to catch, you're given a stipend for supplies, which you'll purchase and set up before each episode. There's a chess-like board upon which you'll set up moves to attack and change positions, though all of the avatars on the board (viewed isometrically) will move at the same time. Most of the time, you'll have no idea where the ghost is, so as the timer ticks down to nothing, you're constantly forced to think about how to best push the ghost to you. Do you put down salt to ensure the ghost can't escape a certain area? Do you push all of your teammate to corner it? What happens when you finally corner the ghost? You get a good look at the ghost of course, as the action switches to first-person a la Shin Megami Tensei: Soul Hackers or games of that ilk, and you see your party landing hits and doing damage. Defeating the bigger boss ghost of each episode wraps up the chapter, and it's done, done, onto the next one from there. It sounds very simple on paper, but it's likely you won't immediately understand any of this. There's a tutorial section at the beginning of the dungeon sections that you can turn to, but after that you're basically thrown to the wolves. I had to spend hours perfecting the system, and even after putting weeks into the game I'm still a little rusty. I learned the ins and outs and peculiarities of the system, but I still feel as though I could have done better. The game should have taken more pains to explain itself, especially since it's such an alternative style of play. But that's what makes Tokyo Twilight Ghost Hunters so entertaining. It won't hold your hand or force you through a million tutorials. There's a hint of unpredictability that you just don't get from most games anymore, even the niche titles, and that's the main reason I pressed on even when I got frustrated. That's also one of the reasons you'll be spending plenty of time with the game, aside from the fact that there are several side missions, a board game in the hub area, and other surprises to engage you. There aren't as many secret weapons or awesome-looking ghostbusting tools as I would have hoped for, but such is life. Tokyo Twilight Ghost Hunters is certainly one of the most unique titles the Vita has seen or will see by far, and while it can take an astronomical amount of getting used to, it's absolutely worth investing time in. What other game is going to let you bite someone's nose in error when you meant to make a friendly gesture? I rest my case.
Tokyo Twilight photo
More Vita goodness
Whenever the Vita's library expands, I always get unreasonably excited. Double excited if there's a new IP to add to the fold, because I'm seeing a lot of sequels these days. That's why I was ecstatic to hear that Toybox Game...

Review: Hyperdimension Neptunia U: Action Unleashed

May 08 // Chris Carter
Hyperdimension Neptunia U: Action Unleashed (PS TV, Vita [reviewed])Developer: TamsoftPublisher: Compile Heart (JP) / Idea Factory International (EU, US)Released: August 28, 2014 (JP) / May 19, 2015 (US) / May 22, 2015 (EU)MSRP: $39.99 Once again we are whisked away to the parody-filled world of Gamindustri, where the main characters of Neptunia will get into all sorts of wacky antics. Since this isn't a typical RPG, the story is tangential to all of the killing you're going to be doing. You're free to bypass part or all of the story with very easy to enact button presses, skipping ahead to dungeons and gear management at will. The dialog is cute and the voice acting is presentable, but the silly nature of the plot almost always circles around the same feud of "who is the best CPU or journalist in the Gamindustri," and it ends up getting old after a few hours or so. The action of course, is the highlight. Neptunia U's engine looks incredible, especially on the Vita's OLED screen, and more importantly, the framerate and camera are top notch. I simply adore the cel-shaded style. Everything on-screen looks wonderfully detailed, whether it's a faraway landscape or an up-close shot of a character. Each combatant has access to strong or weak attacks, which function just like the Dynasty Warriors series with simplistic combos that trigger new abilities. Characters can also double-jump, dash, and call forth stronger powers (limited by a mana gauge), as well as transform and unleash mega attacks. There's plenty of options like camera tweaking and display settings to ease the clutter of the UI, and a toggle for Japanese or English voice acting is the cherry on top. [embed]291761:58476:0[/embed] For a hack-and-slash the combat is surprisingly deep, even if you won't have to use half of its tricks to best the AI on the standard difficulty setting. Action Unleashed also has a costume break mechanic, where if you use too many strong attacks or get hit too often, some clothing will tear off. Yep, some characters will occasionally bare their underwear, so if you mind that sort of thing, you probably shouldn't play it. What this boils down to is the realization that Action Unleashed is a magical girl Dynasty Warriors, which I am totally ok with. Uni is a personal favorite of mine, as her main gimmick is a rapid-fire rifle that offers up some melee attacks, often melded in the same combo. All 10 playable characters (including series newcomers Dengekiko and Famitsu, based on the popular Japanese culture and gaming outlets) have their own signature style and are fun to play in their own right. There is a snag in terms of pacing, though. Early on, enemies don't put up enough of a fight to put your skills to the test. While their models are great (aping tropes like Dragon Quest's slimes or Pac-Man's ghosts), most of the foes you'll face in the first few hours are cannon fodder, and it isn't until you reach the boss fight in a particular dungeon that you'll really have any sort of a challenge to square off against. Additionally, it must be said that while the mechanics do match up to the Warriors series, the actual flow of a level feels more confined, akin to the Senran Kagura games. Instead of sprawling battlefields with multiple objectives to worry about simultaneously, Action Unleashed's dungeons are linear by comparison. It's a lot less focused on exploration and more-so on constant fights, with a hefty amount of gates -- some levels are just sole rooms with dedicated arena battles. Despite this, it's still a lot of fun to blast everything in sight and try out new styles of play. Once you clear the first few missions and the game opens up, there's a lot more to do in general to keep you interested. You can opt to watch additional scenarios and hang out with the cast of the game to unlock extra scenes, fool around with your current loot and try out new gear combinations, or adjust your bonus abilities, unlocked by killing a certain amount of each enemy type. Neptunia U is ultimately built on replay value, counting on players to repeat missions for better scores, gear, and the goal of reaching max level with all characters. There's also a new difficulty and extra arena mode unlocked after completing the game. Maybe it's just me, but the videogame industry parody theme that the Neptunia series is going for fits with a faster-paced environment -- especially when a better developer is involved. As long as you can deal with a little skin and a silly plotline, Hyperdimension Neptunia U: Action Unleashed is a fun little action romp.
Neptunia U review photo
Compile Heart didn't develop this
Over the years, I've developed a cautionary approach to Compile Heart projects. As a fan of Eastern games in general I'm always receptive to the idea of them, but as a development studio, they don't always follow through as w...

Rise of Mana photo
Rise of Mana

Rise of Mana, that free-to-play mobile title, is coming to Vita this month


In Japan
May 08
// Chris Carter
Earlier last year, Square Enix shocked the world by announcing another title in the Mana series, a long-cherished franchise in the eyes of old school gamers. Then quickly shocked us back into reality by stating that it was go...

Are you satisfied with the price you paid for your PlayStation Vita?

May 08 // Chris Carter
What about you? [embed]291796:58475:0[/embed]
Vita satisfaction photo
Yep
This morning I was typing up a few Vita related stories, and surprise, they were both ports. It reminded me of when I started to realize that the system was in dire straits -- at one point after the portable's launch I looked...

Resident Evil photo
Resident Evil

Resident Evil Revelations 2 ships 1.1 million units


Europe, North America, and Japan
May 08
// Chris Carter
Across the PC, PS3, PS4, Xbox 360, and Xbox One platforms, Capcom has shipped 1.1 million units of Resident Evil Revelations 2 worldwide. Capcom apparently arrived at this number by calculating full Season Pass sales alo...
Hotline Miami photo
Hotline Miami

The Hotline Miami Story covers the making of this trippy series


Cocaine Cowboys and Neon Lights
May 07
// Alessandro Fillari
I still remember how the original Hotline Miami suddenly came out of nowhere and left an incredible impression on those who took a chance on it. It was such an unusual title. Its bright, vivid visuals, along with the overhea...

Review: Forgotten Memories: Alternate Realities

May 07 // Jed Whitaker
Forgotten Memories: Alternate Realities (Android, iOS [reviewed on an iPhone 6 Plus], Playstation Vita, Wii U)Developer: Psychose Interactive Inc.Publisher: Psychose Interactive Inc.Released: April 23, 2015 (iOS) / TBA 2015 (Android, PlayStation Vita, Wii U)MSRP: $4.99 Rose Hawkins wakes up after being shot in the face, only remembering that she was searching for a missing girl named Eden. She doesn't recall who shot her, how she is alive, or where she is.  Upon exiting the room Rose is greeted by a hallway formed in red curtains, the kind you'd find at any theater. An antique dictation device is waiting for her, and a message plays automatically from a woman named Noah who has been waiting for her. Noah knows Rose by name, and promises her more information on Eden if she can free her nurse friend from the asylum she is about to enter. Rose comes face to face with Noah in a throne surrounded by mannequins one last time before entering the asylum, Noah still talks through audio dictation for some reason. This is the kind of tone you can expect from Forgotten Memories. [embed]291661:58457:0[/embed] Like any psychological survival horror game, the story is deep, twisted and leaves a lot of questions unanswered. Most of the lore you'll come across in case files, notes, and a couple of cutscenes. Forgotten Memories is very old school in this regard, but still manages to have an engaging story worth searching for. Old school is a  word that can be used to describe most parts of the experience, for better or for worse. I almost didn't finish the game due to how difficult the game is, just because the developers felt the need to shove in old school mechanics for old school sake. Saving the game requires tracking down a computer and using a floppy disk, an item that is extremely limited in the game. While classic survival horror games used this save game mechanic, most notably the original Resident Evil series, it sucks for a game on mobile, especially when the game is brutally difficult. Forgotten Memories' app store description originally warned prospective buyers to only purchase the game if you are a hardcore gamer due to the level of challenge involved. They weren't joking -- I almost didn't finish it to how quickly and often I'd die. Luckily I must not have been the only one as the developer quickly released an update that included an easy mode. It provides players with unlimited saves, more ammo, easier enemies and more medkit pickups, among other tweaks. Even with this easy mode I found myself in situations with a sliver of health, no medkits and some distance between myself and the nearest save point.  Touchscreen controls were a mistake, plain and simple, and hopefully they don't carry over to the Vita and Wii U versions of the game. The left side of the screen controls character movement, while the right side controls the camera and aiming. The first place touched on the left side of the screen acts as a center axis, and Rose will move in the direction of your fingers position in reference to said axis. Camera and aiming control seems inconsistent on how much movement there is, often times leading to needing multiple swipes just turn around. On the right side of the screen are also icons that allow you to run or go into an aiming mode with your flashlight or weapon. With a weapon drawn tapping anywhere on the screen will cause Rose to attack. The pipe, the only melee weapon I found in my playthroughs, can be used three times consecutively to perform a powerful combo attack that pushes enemies backwards. Since this piece of junk is your main weapon, combat boils down to letting enemies get close enough to attack, performing the combo, rinse repeat. It leaves a lot to be desired. Shitty controls aside, Forgotten Memories nails the survival horror atmosphere unlike any game I've played in years. Haunting violins can be heard as you search for clues and keys, pounding drums mixed with noise play during combat, and the intro music is haunting, a mainstay of the Silent Hill series. I found my heart beating in my chest with my breath held as I ran past enemies to escape rooms. Hearing distorted singing coming from a shadow-like child that is just down the hallway where you need to go is fucking horrifying. While it is indeed a horrifying affair, it ends all too abruptly at just under an hour and a half on my first playthrough.  Having been in development for years, Forgotten Memories feels like it was purposely cut short to allow for sequels or download content. That being said, the pacing is tight and there is no filler whatsoever, but it still feels like the first chapter of a longer game. Aside from the brevity, awful controls, and dull combat, the game is easily recommendable for those looking for that Silent Hill feel. Though only the desperate should pick up the mobile version, or those that have a compatible controller, otherwise wait for the console and PC releases sometime this year. While the graphics are some of the best I've seen on mobile, they can only be better elsewhere. Forgotten Memories: Alternate Realities is about the best you can do for survival horror currently, if you can stomach the control scheme. [This review is based on a retail build of the game provided by the publisher.]
Forgotten Memories review photo
Horror-ible controls
Survival horror has always been one of my favorite genres, with Silent Hill being the absolute king. When I heard about a game inspired by and with voice actors from Silent Hill 2, arguably the best in the series, I was ...

Tecmo Koei photo
Tecmo Koei

Koei's Ar Nosurge resonates on PS Vita this July


Gust is at it again
May 06
// Kyle MacGregor
Gust's Ar nosurge Plus: Ode to an Unborn Star is on its way to PlayStation Vita this July. The role-playing game originally debuted on PlayStation 3 late last year, but as anyone familiar with the developer might expect,...
Mega Man photo
Mega Man

The Misadventures of Tron Bonne out now on PSN


Rare PS1 gem now widely available
May 06
// Kyle MacGregor
Good news, everyone! Just as we anticipated, The Misadventures of Tron Bonne is indeed coming to PlayStation Network. In fact, it's already arrived! Instead of spending a small fortune on a PS1 copy, you can now get the Mega Man Legends spinoff on PS3, Vita, or PSP just $6. The Misadventures of Tron Bonne [PlayStation Store -- Thanks, Patrick]
Binding of Isaac: Rebirth photo
Binding of Isaac: Rebirth

Edmund McMillen wants to improve The Lost in The Binding of Isaac: Rebirth


Plus some new Afterbirth content
May 05
// Ben Davis
In this week's update for The Binding of Isaac: Rebirth, Edmund McMillen publicly acknowledged the existence of the super secret character, The Lost, and announced that he'd like to alter the character in a way that would bal...
Planet  X photo
Planet X

SoundShapes vet back for PS4/Vita/PC ryhthm defense Loud on Planet X


Tegan and Sara and Metric!
May 05
// Steven Hansen
A bunch of Canadian hepcats, including talent from the lovely SoundShapes, have teamed with a bunch of indie bands (one of 'ems called "Fucked Up"!) for a Plants vs. Zombies tinged rhythm game, Loud on Planet X. It's already...
Guacamelee photo
Guacamelee

Celebrate Cinco de Mayo with a few of the craziest references in Guacamelee


You might recognize a certain green robot
May 05
// Chris Carter
What better way to celebrate Cinco de Mayo than remembering Guacamelee, one of my favorite platformers in recent memory. Alongside of solid Metroidvania action, DrinkBox Studios created a memorable world that will stay with y...
Kodoku photo
Kodoku

PS4, Vita horror game Kodoku still looks as creepy as ever


New trailer
May 05
// Chris Carter
Every time I see an update for Kodoku, I want to partially look away. Not because it looks bad, mind, it's just filled with incredibly creepy imagery. For months we've been looking at stills in a mostly visual novel-like sen...

Review: Cosmophony

May 05 // Darren Nakamura
Cosmophony (Android, iPhone, PlayStation 3, PlayStation 4 [reviewed], PlayStation Vita, Wii U)Developer: Bento StudioPublisher: Bento StudioReleased: May 5, 2015 (PlayStation systems)MSRP: $4.99 The setup is about as simple as it gets. Fly/glide/hover/whatever down a seven-lane tube. Avoid smashing into obstacles. Optionally shoot black triangle "enemies." That's about it. There are a couple of different measure for success. Getting through a level without dying is enough to unlock the next level. Doing that while destroying every black triangle along the way is worth a full rating. Each level can be played in Practice Mode or Normal Mode. Aesthetically, Practice Mode takes out the color and some visual effects, but the big difference is that it allows the use of checkpoints and gives the ability to fast-forward or rewind to replay tricky sections. Normal Mode is the real deal: make it through a level from start to finish; any mistake means restarting from the beginning. [embed]291451:58420:0[/embed] Cosmophony's unique hook is that it functions as a rhythm game, but the reliance on rhythm is hidden at first. In the early levels, there is a lot of room for error. Firing a shot at nothing carries no penalty and timing is irrelevant as long as moves are made before crashing. Often I would take out enemies before they were even on screen by spamming the fire button knowing which lane they would be in. That changes by the third level. There is still a little bit of leeway allowed for certain decisions. There is space to overshoot, moving three lanes left instead of two. However, after playing and replaying the same sections a few times, it dawned on me that every button press corresponds to a musical element. It's not just the shooting, but also the movement. Once that became clear, I was able to reach the zen state of concentration where my fingers were doing what they were supposed to be doing before my conscious brain could tell them. So few games hit that sweet spot, where the sound and light and difficulty all come together to create an intense mental experience. Level three of Cosmophony does that for me. Sadly, that falls apart for me at the fourth level. The difficulty ramps up consistently across the levels, but it goes too far to be enjoyable. Where previous levels allowed room for minor error and contained lighter sections for the player to refocus, it turns into a relentless exercise in rote memorization and execution. I was no longer finding my happy place where time slows down; I was only finding frustration. Cosmophony is like a firework. As it's flying up and sending out sparks, interest builds. Once it detonates it's an awesome show of color and sound. After that it's over and everybody goes home. It's short and intense, but it stops being interesting once it oversteps the line between fun and frustrating. I played it and enjoyed it until it felt unfair, and now I probably won't ever touch it again. [This review is based on a retail build of the game provided by the publisher.]
Cosmophony review photo
The difficulty sure ain't phony
I had been lulled into a false sense of security. I finished the tutorial and the first level of Cosmophony with a perfect rating in about 15 minutes. "Four more levels of this?" I thought. "Child's play." Cut to an hour and ...

Yumi on Vita photo
Yumi on Vita

Sayonara Umihara Kawase+ is a great Vita port that comes with the original SNES game


And a few more stages
May 04
// Chris Carter
Roughly a year ago, Yumi's Odd Odyssey, a localization of the latest game in the Umihara Kawase series, hit the 3DS. Like its predecessors it involved the simple premise of guiding a young girl across a series of pi...






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