Gamesugar

January 12, 2012

The Asura’s Wrath Demo – What Just Happened? Edition

Filed under: Editorial Rants — Tags: , , , , , , — Brad Johnson @ 11:06 pm

Asuras Wrath Demo
I just finished doing something with the Asura’s Wrath demo. I don’t wholly know what it is that I did, and really, I’m not sure what kind of thing I did it with.

Ostensibly, Asura’s Wrath is a beat ‘em up—except, I think I maybe beat up three guys in the course of the demo, for a total of perhaps ninety seconds of gameplay.

The demo chiefly consists of cut-scenes and quick-time events; it plays like an interactive episode of Dragonball Z, where following the prompts progresses the story, chiefly by causing Asura to get angry and hit things harder.

Interspersed were a few brief gameplay interludes, where I actually had some limited freedom to move Asura and do what I would typically describe as “playing the game.”

These sequences involved A) running and blasting things, or B) running and punching things. In the latter section, I fought what would, in any other game, be called a boss battle—but strangely, even this brawl felt suspiciously as if it were on rails. Not that it was, not truly, but there was a pattern, there were prompts—and eventually, I understood that the game was trying to make me play out a cinematic with my own two hands. If the boss knocked me back, I could tap quickly and recover—if I advanced perfectly through his assault, I could attack. If I was exactly skilled enough, I would use all the right moves and the battle would simply look like a cut-scene.

It would look like a good one, too. The aesthetic of Asura’s Wrath is, in a word, brilliant. I’ve never seen a videogame look like this—like a painting come to life. What’s accomplished here is what so many games struggle endlessly with and never achieve; a true visual dynamism where the nature of the image can change, like a brush stroke, becoming smooth and calming or stressed and furious. The visuals alone demand attention, insisting the game be played.

If there is a game, that is. At the end of the demo, a title screen thanked me for playing, and I sat there, wondering: had I played? I had mashed some buttons, sure—but whether there’s a game here? Whether this is a videogame? I really don’t know.

I do want to find out.

November 14, 2011

Review – Otomedius Excellent

Filed under: Reviews — Tags: , , , , , , — Jamie Love @ 10:10 am

review otomedius excellent
After much doubt, delay, and speculation, Konami’s side-scrolling shooter, Otomedius Excellent, has landed in North America, hoping to tempt genre fans with barely clothed heroines and inspirational notes taken from the holy book of Gradius.

Aspirations to live my life as cliché stirred a desperate want to love this release – Travis Touchdown has Pure White Lover Bizarre Jelly 5, and I was going to have Otomedius Excellent. But as much as I can appreciate this game upsetting the digestion of Western audiences with wrappings your mother would certainly disapprove of, I’d rather play the aforementioned shooter mini-game found within No More Heroes 2.

Beneath the bubblegum aesthetics, Otomedius Excellent is a hard game to love, striving to find ways to break my heart with an experience I could love nearly everything about, except for having to actually play it.

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October 29, 2011

Review – Batman: Arkham City

Review Batman Arkham City
There’s a certain vocabulary in the Batman fan community, a dialogue made up of stories that everyone recognizes, with an acknowledgment of common reverence that need not be spoken.

Few need to explain what they thought of The Dark Knight Returns, or ask about The Long Halloween. It is simply understood that one should know of these stories and their significance, as such tales are the seminal books of Batman.

It’s not often that outside media enters in to this exclusive lexicon, where respect and adoration are implied merely through reference. If one talks about Burton’s 1989 film, it is not simply assumed that he speaks of it with approval.

Those outside properties that have entered this elite class, such as The Dark Knight and Batman: The Animated Series (so revered that its original ideas bled into the comics for years) succeeded in the same way that Arkham City does: by being more than a mere cipher for the source material.

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September 21, 2011

Review – Driver: San Francisco

Filed under: Reviews — Tags: , , , , , , , , , , — Brad Johnson @ 8:42 am

Review Driver San Francisco
Before I begin discussing Driver: San Francisco, I feel it’s important to mention that I have an issue with driving games. There’s a conversation that happens between myself and any such game I sit down to play, and it goes like this:

“Use the handbrake for sharp turns, Brad!”

“Okay, driving game—oh, I made the widest possible turn, spun out and crashed into a wall. Thanks.”

As a result of my crippling deficiency, driving isn’t usually a lot of fun for me. The driving games I play are invariably the ones where I can mitigate my incompetence with offense. That is to say, there’s a gap between me and the amount of skill necessary to win a driving game, and I close it by shooting other drivers. Mario Kart, Extreme-G, Blur—these are the games I can contend in (just barely), because I can leverage missiles and mortars and heat-seeking koopa shells against my fellow racers.

Driver: San Francisco doesn’t have any of that—but it does have something even more unusual.

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September 20, 2011

Review – Gears of War 3

Filed under: Reviews — Tags: , , , , , , , — Brad Johnson @ 2:24 pm

Review Star Fox 64 3DS
So, here’s Gears of War 3 in a nutshell: somewhere on the battlefield, a Locust drone fell to his knees, and out I ran—because it wasn’t acceptable that he might just bleed out. I had to get to him, so that I might ram my flamethrower into his chest and burn him from the inside out.

Yeah, that’s a thing you can do.

I think what makes Gears of War special, as a franchise, is its unique aptitude for making me want to do things like that, and, more importantly, for making me need to shoot monsters.

That’s the impetus of any shooter, of course, but the focus here is notably more pure. Every asset is leveraged toward this end. Whether it’s brutish dialogue that can only rightly be answered with a shotgun, the satisfying kick of the rifle, the suffering atmosphere of the world, or a story that demands good old-fashioned revenge, everything in this game compels me to shoot monsters, and fashions that need into the most satisfying experience possible.

It’s the art of the shooter, and Gears of War 3 is a symphony on the subject.

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September 13, 2011

Review – The Gunstringer

Filed under: Reviews — Tags: , , , , , , , , — Jamie Love @ 1:21 pm

Review The Gunstringer
His name had once sent chills through the Internet – the one who sharpened words for weapons and sought to bring meaning to an insensible and lawless land. Along the way, he’d tackled every genre, never backing away from the challenge to ply his trade across every console.

They called him, The Reviewer…

But the years had taken a heavy toll, and he’d eventually succumbed to the sins and excesses of his profession. The Reviewer had sunk into a world where the pixels were as cheap and lifeless as the jaded opinions of the cynics surrounding him at the local haunts, where the only topic of discussion was the good ol’ days of gaming thought long gone.

And though The Reviewer seemed destined to fade away with the last traces of optimism that had led him down this road, it seemed that fate had other plans. Stumbling home one night, he discovered a mysterious package at his door, and tearing it open revealed a copy of The Gunstringer.

Setting skepticism aside, The Reviewer placed the disc into his aging Xbox, which sparked to life with a dull whirring kick like an angry mule. And within five minutes of waving his hands before the glow of the television, The Reviewer felt the old spark within his chest, and knew that it was finally time to write again…

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September 11, 2011

Review – BloodRayne: Betrayal

Review BloodRayne Betrayal
I am fail.

While that conclusion will come as no surprise to some, the suspicion was finally confirmed for me after clearing the first of Betrayal’s stages, wherein I was awarded an “F” grade, and the designation of “wormfood”. That the same reward awaited me at the end of every stage would seemingly suggest that WayForward’s resurrection of Majesco’s dhampir vixen is a difficult affair. And while plenty of voices across the Internet support this argument, it’s simply not accurate.

The near infinite supply of health, unlimited lives, consistently well placed checkpoints, wide-sweeping attacks, and even a laser cannon that spreads across the entire screen, make it ridiculous to suggest that Rayne’s 2D debut reaches anywhere close to the difficulty of nostalgic side-scrolling titles that kept gamers grinding their teeth and stores selling a steady supply of replacement controllers back in the day.

Betrayal does liberally sprinkle stages with cheap trickery however, situations that depend as much on luck as a mastery of the controls – split evenly between platforming sections that unleash floating projectiles while requiring precision jumping, and arena areas where waves of enemies work to drain the blood with the advantage of restricted space.

The real difficulty of Betrayal is in reconciling the shortfalls that leave a promising release far less the experience it could have been, delivering a digital title where every element that makes it excel also directly causes it to disappoint – where the high point of Betrayal causes direct gameplay hiccups that undermine the effort and expose the under-developed nature of the entire game.

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