Soldiers scramble through the ruins of a forgotten yet familiar city, finding footholds in crumbling buildings as swarms of genetic mutations fly across the skyline like scurrying schools of fish darting through deeper waters. In the foreground, futuristic helicopters and mobile infantry patrol broken stretches of freeway, filling the screen with missiles and bullets as Isa and Kachi make a desperate break for freedom.
Exactly why Isa and Kachi are on the run is unclear, along with the motives of the shadow organization pursuing them – staffed by ominous assassins who speak with the comfort of established relationships that forever remain a mystery to the player.
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Anyone who really believes that Japanese game design has a declining role against the success of Western game development needs to dunk their head in a pool of water – specifically the floating pools of water suspended in the air, rotating between connections with other pools as Mario attempts to swim toward the next checkpoint. Somewhere along the way players will also be hitting switches that alter the directional force of gravity while trying to grab a star, and the significance of a rare second mainline Super Mario title during a single hardware cycle becomes as clear as those small floating cubes of water.
Within Mario’s Galaxy, anything can and will happen. And what’s truly surprising is the depth of logic at play while navigating the sea of sudden possibilities that shows the complete lack of inhibition proving one of Nintendo EAD’s greatest design strengths.
For some a building is a place where action takes place around or within. In Super Mario Galaxy 2, bricks break free of structures to create pathways toward star portals, launching players through the roof and into the sea of stars overhead.
Short on filler and stuffed plump with that type of energy, the results are often extraordinary.
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Within an alternate and slightly steampunk infused depiction of 1920’s New York City, the Little Lips Theater serves as a cover for an elite force of agents known as the STAR Division, who use mech suits to battle evil while also performing in musical dramas to raise the spirits of the city they defend – rounded out with a Samurai and a Cowgirl searching to find their place within the city and that group of heroes.
I’ve really come to savor telling people about this game over the past few weeks, because they can’t help but laugh and scratch their head over how a structured game would even begin to make unifying sense of those ideas with any degree of success. Sakura Wars: So Long, My Love is a game exploding with ideas, a late to the party visitor from Japan that has curiously shown up on North American shores exactly when titles of this kind are needed most – hard pressed as we’ve been for new releases that don’t wear their glib intention entirely in the straight-to-the-point box title making them 90% marketing, 9% entertainment, and 1% any of the fanciful things we’d like to say about the medium’s artful possibilities, were we not generally sick of kicking that dead horse.
Sakura Wars opts for putting the horse in an apartment, and brings an energy that succeeds in blazing a path free of any genre binding obligations or easy explanations – great for gamers, bad for indexing.
And in a rare twist Sakura Wars isn’t one of those games where I laud the ideas and forgive the actual playing of the game. I don’t need to make any excuses for a game that’s every bit as fun to play as it is to talk about, I just have to try and clear up what the hell is going on when playing it.
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Wandering through the decaying monuments to civilization that litter the world of Fragile like dead museums, Seto attempts to give words of justification to his obsessive search for a survivor, Ren, the girl with silver hair, who leaves a trail of cave art chalk drawings on the crumbling walls like breadcrumbs meant to lead the player toward understanding the abandoned landscape.
Reflecting on the sight of a pale moon against Fragile’s chilling sky, Seto realizes that if he can never tell another human about that sight, never share the feelings it stirred within him with another living person, that the memory and moment will never achieve meaning and ultimately be lost.
Fragile Dreams is a game possessed of a goal, a hope of making a connection with the player. And while this is ideally the goal of any release, this particular title continually reflects upon this need as the only way in which the experience of the game can achieve a sense of meaning that extends beyond the disc containing that hope.
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Despite repeated attempts to lighten my workload and appease attention deficit, I’ve never successfully produced a one sentence review. If I had, I believe Hudson’s horror Wii title, Calling would earn “the not-so-bad game that should have been great but was likely going to be so-so and finally ends up dipping more toward terrible with a fleeting few sparks of creativity worth noting.”
After a short and lagging introduction about a website where people can speak with the dead, known as “the Black Page”, Calling drops players into a darkened room with a first person perspective and plenty of space for optimism about the experience to follow. That first-person Wii perspective is the most ideal setup for a horror game to date, the player forced to sit with more attention and focus than usual while aiming the WiiMote, ripe for the attacks of designers suddenly in possession of a more captive audience.
That controller determined position also forces the idea that playing horror is very different from simply watching it, with the player no longer a passive observer of another person’s misfortunes, challenged to push themselves forward even while knowing the game is out to get them as they move ahead.
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Posted: February 10, 2010 at 3:43 pm
By Jamie Love |
Margaret waits patiently on the rooftops of Santa Destroy, another female sniper, distinguished by her Gothic Lolita attire and the player’s knowledge that her song is enough to kill. Charging toward her like a bull causes her to fire bullets on cue, which are either blocked at the expense of blade energy or dodged.
When I can get in close enough for the kill, the action is a mash of hack and slash that lands like sloppy kisses to push her back, save for that precise and precious moment where our blades lock and I fall off the edge of the couch from the force of spinning the WiiMote.
During every fight I’ll end up standing on the couch before the end, consistently overcompensating the actions needed as my health drops lower and I run out of pizza slices. I’m earnestly sweating after nearly every encounter as if my life were on the line over this stripped down story of revenge. It doesn’t really matter if the story seems straightforward though, because it’s much more about the player than the adventures of Travis Touchdown this time around.
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Posted: January 24, 2010 at 11:11 am
By Jamie Love |
For all the noise I’ve attempted to make about The Sky Crawlers’ arrival on North American shelves, the game surrenders itself to a level of obscurity not only by nature of its genre, but because it is a quiet and subtle title.
In an attempt at taking an early stance against undue hype, I’ll stress that neither my interest in the game nor my time with it has revealed a religious experience. Rather, the game leaves an impression as subtle as its arrival and presentation – something small and nagging to chew on after the flight is over.
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Posted: January 11, 2010 at 8:56 pm
By Jamie Love |
It’s been nearly ten years since Silent Hill 2 set the bar for the series, largely owing to the work of Takayoshi Sato, who soon after vanished over the Western horizon leaving a faint scent of J.D. Salinger on the air. The game’s presentation and treatment of a psychologically driven narrative has cast a shadow of expectation over every subsequent release, causing a fair amount of confusion concerning the best direction the series might take.
While there has been some experimentation and deviations from the formula, recent entries in the series have suffered trying to meet those expectations, as much a victim of the legacy as any game that becomes a prisoner of previous accomplishments.
So I very nearly let Shattered Memories pass me by, assuming there was nothing a re-imagining of the original Silent Hill could offer, particularly on the Wii.
But since I’ve been forced to reconsider my stance and find myself suggesting the game is one of the most important releases of 2009, we should probably have a chat about it.
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Posted: January 4, 2010 at 7:26 pm
By Jamie Love |
Spending time with Konami’s rebirth of Castlevania during the holidays has reminded me that new releases in the series don’t deserve an official seal of approval until I find myself confronted by a fairly simple objective, died multiple times trying to achieve said goal, and tossed the controller in anger.
Since this occurred several times last week, we’re good to revisit the Belmont clan and discuss all things short of my issues with gaming rage.
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