Demo Report – Asura’s Wrath

Demo Report Asuras Wrath
Swinging the many furious fists of an angry stone God can now be sampled on both the Xbox 360 and PlayStation 3, courtesy of a demo for CyberConnect 2’s upcoming Asura’s Wrath, which appears to pioneer the genre of Anime-Action-Space-God-Epic.

If you don’t find some mix of humor and awe in that bold new label, stepping into Asura’s heavy shoes may require checking a certain amount of reason at the door – this demo provides access to two separate chapters that are both heavy on chaos and light on narrative explanation. And as much as I favor firm narrative ground, there’s an abstract sense of sense to appreciate all the same here in addition to the ludicrous lengths the game goes to in order to tickle your “hey ain’t that cool” bone.

Both sample chapters also present breaks with title cards, as if I were actually watching an anime series on television – color me intrigued as to how that might play out further in the presentation.

As for the mix of gameplay offered – and it is mixed – there’s a definite sense of two streams converging into one enthusiastic hyper-thread attempting to build on existing real estate. That’s my way of suggesting that whilst playing, one certainly feels the Platinum Games’ philosophy of ever increasing moments of insanely impossible but irrefutably amazing feats, such as flinging a God into space only to have him return larger than the planet you just tossed his ass off of, or being stabbed by an extending sword that pushes you off one planet and into space only to then push you through the core of an entirely new planet. These things happen in Asura’s Wrath, presenting a new benchmark for ridiculous over-the-top action that I want to lamely label anime-approved-cool or some such nonsense.

But there’s also a bit of Ninja Blade’s determination to make something more useful of those pesky quick-time button prompts, which Asura’s Wrath also has plenty of – many of them attempting to draw a connection between cinematic styled sequences and your existence as a player versus a spectator, adding some ground by having you push the analog sticks to make Asura literally stand his ground during an attack for instance. There are also moments where you attempt to press buttons at the right time, mash buttons, and curse while rotating an analog stick in a fashion that seems to fly in the face of how normal humanoids hold controllers.

There are times when the experience is more traditional, dodging bullets from an overhead ship and getting in front of missiles for a chance to throw them back comes to mind. Boss encounters also present familiar patterns for dodging, with a bit of button mashing attached at the confrontation mark. But the rhythm is constantly shifting here, always looking for the next new plateau to separate the current action from a previous one.

The much shorter appraisal is that Asura is a God who spends a great deal of time being pummeled by other Gods until reaching his Hulk factor and filling the screen with explosive rage. How could you not want to break from listening to me and go check that out for yourself?

Oh hey and if you do, be sure to swing back around and let me know what you think.

Posted: January 11, 2012 at 4:13 pm By Jamie Love | View Comments

Sweet’N Low – Saving Eden

Child of Eden
With all the year-end articles that take time out to lament how the Kinect still lacks a single title that breaks the dancing and aerobics fixation, it has crossed my mind that I may have been playing Child of Eden wrong. And yet revisiting the title has confirmed that waltzing while shooting does little to raise my scores. It’s puzzling to say the least.

Returning to Tetsuya Mizuguchi’s Kinect-enabled title did offer me the chance to once again glide along a rail through a cosmic ocean though, cleansing red points of infection from particle whales moving along the same tide before eventually vanishing on the horizon that gives birth to a fiery phoenix. My right hand grabbed multiple targets before a flip of the wrist fired locked-on shots. The left hand fired a repeating laser stream into the wings of the bird, producing a sound that left me feeling as if I were running my hands across a harp.

Perhaps this is the point where touch, vision, and sound come together in a harmony that exposes an experience of subtle discovery – you could miss it entirely in the action of firing lasers and target tracking. The sensory experience provides a clean palette for sights and sounds to emerge, so many tiny pieces weaving together in response to the actions of your hands.

Child of Eden also makes an existing genre more accessible, and that open-invitation encourages the desire to perfect the play of the performance the Kinect allows me to conduct.

Playing the game with a standard controller offers a striking difference – not necessarily lesser, but more linear, and something I want to often compare to traveling along the trench of the Death Star. The Kinect alternative never feels like anything less than the absolute emphasis, offering players a chance to feel quite a bit like Johnny Mnemonic – minus the burden of having to be Keanu Reeves, of course.

Eden is a space and place where abstract concepts take physical shape, and symbolic logic builds a complex world awaiting agile hands. Perhaps the accomplishment was doomed to always be undermined by the want for an expensive peripheral to fully appreciate the offering, but the experience left a significant mark on me this year all the same.

Posted: December 29, 2011 at 12:18 am By Jamie Love | View Comments

Sweet’N Low – Difficult Loves

Shadows of the Damned
I’d like to suggest that no female videogame character suffered more in 2011 than Garcia Hotspur’s ladyfriend, Paula. Dragged to hell, desecrated by perverted demons, and paraded through the underworld in heels and stockings only to be torn apart again and again, I’m hard pressed to name another woman from any videogame that endured such unrelenting torture.

Cloaked in horror camp, Shadows of the Damned pushes plenty on the tongue-and-cheek train, but alongside the circus of comedic horrors, the perils of Paula serves as the centerpiece – the emphasis for Garcia’s demon stomping rampage. The game was certainly not content in presenting the iconic Princess in a gilded cage as the obligatory motivation.

Paula’s time within the game was split between playing the damsel in distress calling out to Garcia for help, being used as the white lace rabbit meant to lure him deeper down the demonic rabbit hole, and becoming the instrument of his destruction during chase sequences where a single possessed kiss from her lips ends his life.

What the player is often left with is a woman who falls into your arms while brandishing a knife, torn between whispering sweet nothings and cursing you for her suffering – and perhaps the familiar feeling that relationships are always a tad more complicated where Suda51 is involved.

While the comparison isn’t easy for the surface differences and thematic shift, I can’t help thinking about Travis Touchdown’s appraisal of Sylvia Christel from No More Heroes 2 -

TRAVIS:
Sylvia, I can’t figure you out.
SYLVIA:
You don’t like me?
TRAVIS:
I didn’t say that. But there’s a lot of things about you I don’t get: you lie, you’re greedy, you’re a fucking contradiction in heels.
SYLVIA:
You hate me?
TRAVIS:
Well, your personality kind of sucks.
SYLVIA:
So you -do- hate me.
TRAVIS:
…I’m fucking crazy about you.

Garcia uses the word crazy to paint a different picture of Paula, whom he is equally infatuated with while unable to question or comprehend the reasoning. Love is a many splendid things of course, none of which seem easy to explain.

I suppose a great deal can be written off given the agenda of infantile offence Shadows of the Damned pushes on the player. But it certainly sticks in my teeth while looking back over a year’s worth of releases.

Posted: December 28, 2011 at 1:22 am By Jamie Love | View Comments

Sweet’N Low – Tripping Wonderland

Sweet N Low Alice 2 Madness Returns

‘But I don’t want to go among mad people,’ Alice remarked.
‘Oh, you can’t help that,’ said the Cat: ‘we’re all mad here. I’m mad. You’re mad.’
‘How do you know I’m mad?’ said Alice.
‘You must be,’ said the Cat, ‘or you wouldn’t have come here.’

From the time I was first able to competently hold a controller, each year in gaming has brought a few titles that tempt my unbridled anticipation only to deliver disappointment. And while age hasn’t necessarily made me wiser in that regard, it has furnished me with the ability to move on quicker thanks to the divide between the child stuck with a stinker of an NES cartridge and the here-in-now that allows me immediate access to the next “big thing”. With that said, Alice: Madness Returns deserves a few words before the year draws to a close, because it’s a rather fascinating failure.

My anticipation for any interpretation of the source material forgave perceived expectations of simplicity inherent to the name American McGee – the shtick of twisting existing works, wringing Wonderland like a wet towel drenched with gothic tears. But my expectations were derailed by a convoluted narrative that fumbled in trying to do more – namely attempting to tie together the psychological deviancy of this dark Wonderland with real world suffering and a trail of breadcrumbs tripping around a tale of child abuse.

The result is truly strange in the attempt to bring reason to the madness, as if trying to provide the finality of definitive explanation taints the surreal magic of Wonderland. There’s more solid ground to provide rich soil for criticism, particularly the relentless tedium of the cookie-cutter platforming action. But what truly left me reeling was the divide between brilliance and confusion in a game earnestly dripping with creative energy.

The Walrus and The Carpenter, for instance, put on a show that uses lyrical charm and dark theatrics to bring the potential of the source material to life and nearly justify the grinding play required to reach the performance. But this is accompanied by awkward insertions of material, particularly the dollhouse world that grabs at a far more direct statement of intent and wants for the most ridiculous analogy about misplaced puzzle pieces possible.

The game speaks to Spicy Horse’s artistic talent, from breathtaking concept imagery straight through to a revisit of Wonderland that bursts with color and imagination rivaling any of the year’s more favorable releases. Despite the bumpy graphical road Alice traverses, there’s a continual supply of seductive visual details to beg forgiveness for the hiccups.

The failure I find so fascinating is in the attempt to bring reason to madness, which seems to so obviously fail to recognize the madness inherent in the pursuit. It’s a tricky sticky talking point given the various interpretations of Wonderland that exist, but I can’t escape the feeling that Madness Returns crossed into a territory others were wiser to leave unexplored.

Posted: December 27, 2011 at 1:50 am By Jamie Love | View Comments

Lazy Sunday – Gorging on GBA

Sweet N Low Game Boy Advance
Nintendo’s GameBoy Advance kickback for early 3DS adoption is keeping my thumbs busy this weekend. Frankly, it’s a bit silly that I’m using shiny new hardware to play titles that can run on a machine I can pick up for change at a yardsale, but here we are. Being able to link my Club Nintendo account to the 3DS to earn rewards for purchases that can than be redeemed for even more virtual console titles means that this nostalgia trip isn’t likely to end anytime soon.

Normally I’d rank my memory as annoyingly sharp, but toss ten Nintendo published GBA titles my way and I have to stop to question whether I’ve ever really appreciated how many gems the system has to offer. From the delightful animation of Kirby using a cell phone to call on reinforcements in the Amazing Mirror, to the insane pace at which WarioWare Inc. spits challenges at players – and yes, even the simple joy of carrying Yoshi’s Island around in my pocket again – the burnout I’ve been feeling has subsided.

Yes, every now and again I worry that I don’t like videogames nearly so much as I thought, and I need reminding of why that isn’t the case. I get so busy consuming the never-ending flood of new releases, searching for the new aesthetic and digging around for adult-minded things that justify my immense investment of time, that the play and passion of that drive gets a bit fuzzy.

There are probably lots of important discussion points with virtual releases, about preserving the past and remembering it for me at wholsesale – all that jazz. But at the moment I’ve fallen back into an older language, the kind of excited chatter you squeeze in during recess. Is there a bit of escapism involved? Maybe, but I’m comfortable with it at the moment. All that matters is that this weekend, I’ve found some clarity in the finely aged sampling Nintendo handed out on Friday – though I’m sure it was waiting on any number of old consoles cluttering up my storage room, except the Jaguar of course.

If there is a point here, it’s that maybe I hope that some of you out there can relate. And if you can, then dig up an old game this weekend, a forgotten favorite or a freshly unearthed discovery, and as is the fashion in these uncharted Sugarlands, tell me about it below.

Posted: December 18, 2011 at 1:14 am By Jamie Love | View Comments

My New Addiction – Pushmo

Pushmo
Pushmo is quite a bit like Atlus’ Catherine, sans the sex and guilt. That was my immediate reaction to Nintendo’s recent digital release, and I stand by it as both amusing and helpful in framing the idea that we’re going to talk about moving blocks around here.

To set the stage, a Pushmo is a large block or shape, composed of a smaller series of blocks, varying in shape but connected by color. Many Pushmo give the appearance of a failed game of Tetris, while others form more complex shapes such as animals.

Wasn’t that helpful? No? Don’t worry, we’ll try to make some sense of this together.

More…

Posted: December 16, 2011 at 1:25 am By Jamie Love | View Comments

Sweet’N Low – The Adventure of Link

sweet n low zelda 2 the adventure of link
Faithful Sugarfiends have likely noticed the slack in activities of late. In truth, I have a to-do list that spirals out the door, and hardly an ounce of interest in tackling any of it. In particular, there are some 3DS games we should be talking about this month, but countering my productivity is the fact that I can avoid a full 3DS game by using the handheld to play Zelda 2.

But it hasn’t been the short nostalgia kick I was looking for – in fact I enjoy the game more now, as if I had to go and age for twenty more years to really “get it”. That said, the experience is proving merciless – I’ve died so many times that I wake up hearing Ganon laugh at me. And yet, with every death comes some small increment of progress – I grab the candle to light the way through caves but die, only to return and score another stat increase before dying, only to again return and discover that after dispatching some troublesome knights, that horse-headed boss wasn’t nearly so hard as everything guarding him within the first palace.

There are no helpful arrows pointing out that I should discover a trophy within a cave to earn the high-jump – everything I earn is a reward for perseverance, and convinces that lost feeling of really having suffered in order to gain, which seems to make even the smallest moments more memorable as Link proudly hoists swag over his head.

The frustrating and at times incomprehensible game from my childhood is now the shining star that tests the player in equal measure with Link, convincing the elements of his adventure in a way largely taken for granted within Skyward Sword.

Rather than slip into an essay on the subject however, I’d prefer to put the call out to you and ask if you’ve ever had a similar experience with a game.

So you know, have at it below.

Posted: December 6, 2011 at 1:50 pm By Jamie Love | View Comments
← Older Articles
Newer Articles →