February 2006

[i]Crash Bandicoot[/i] was [i]the[/i] PS1 game. If you didn’t have it, there was little point in owning a PS1.The sequel was even more impressive, and [i]Crash 3[/i] was bordering on perfection-for a PS1 platformer game, at least. Such a great legacy from the PS1… then it was marred forever by the PS2 debut of a Crash game: [i]The Wrath of Cortex[/i], an appalling game. Is [i]Twinsanity[/i] Crash’s saving throw?

In a word: no. It’s a Crash Bandicoot game, but not as you know it. Rather than having a mission-based hub like the old games, all the levels are linked as one long linear path. This is more than a little annoying, as it’s only much later in the game do you actually get to go back and retrieve anything you missed. Also, the Crash tradition of ‘smashing every crate in the level to get a gem’ is gone. Now, the gems are scattered about the levels and are collected like any other item. The gems now unlock bonus material. It’s all a load of crap.

The big change in gameplay is the fact that Dr. Cortex (the villain in all the previous games) is now used as a partner, but it amounts to nothing more than a weapon. Cortex’s cousin is also a playable character but adds nothing to the gameplay. Crash himself is no longer ‘upgradeable’-he has all the moves he will get, right at the start. While that might sound harmless, it’s a pretty big drain on the game; there’s no sense of accomplishment as you beat each boss. It’s ‘just another one down.’

So, the gem feature’s gone, and Crash starts with all his moves. This game isn’t looking very ‘Crash-like’ at all so far…

The soundtrack was never remarkable in the [i]Crash[/i] franchise, but it always managed to suit the theme of the level. In the case of the old boss fights, the music was pretty good. Now, it’s all bad-all of it. The music, in general, is messed-up tribal chanting, with the odd guitar riff and some occasional lyrics. This is a poor soundtrack with no saving merits. The voice actors are bearable, though Cortex tends to overact. Crash has become a mute; you no longer get that adorable ‘WOAH!’ as he kills himself. Oh well…

Graphics-wise, there are a lot of vibrant, cartoon-like colors. They do fit the theme of the game well, and I can’t really fault them (the ice sections in particular, as they have nice little warping effects when you see Crash through a sheet of ice). The animations are topnotch too, and the game responds as fast as you press the buttons. Everything handles sharply, and it’s nice to see Crash lolloping around with that stupid walk of his.

So what’s the big problem? It’s very hard in places. One section, which strikes you in particular, is an early bit in a cavern. It requires very good reflexes to get through. This wouldn’t be such a glaring problem if the game had a bit of balance to it, as the bosses are the easiest in the series. In a game that’s so clearly geared towards children, the difficulty should be much more balanced: bosses should be at the top of the difficulty chain, not random bits of switch-hitting.

I would recommend this game if you’ve got kids… but the sudden geared-up difficulties in places mean that anyone under 12-ish will struggle. This weird combination of immaturity and difficulty makes for a game that can only be half-enjoyed by kids.

If you’re after some solid platforming fun, then look elsewhere. [i]Jak 3[/i] is an excellent choice, as are [i]Crash Bandicoot 2[/i] and [i]3[/i].

Originating with the relatively unknown game [i]Koudelka[/i] on the PS1, the [i]Shadow Hearts[/i] series has managed to develop itself a reputation as one of the premier RPG series in the world. Utilizing a highly Westernised artistic design and set in Europe near the start of the 20th century, [i]Shadow Hearts[/i] is not your typical Japanese RPG fare. Indeed, in terms of style, it is very close to the likes of [i]Castlevania[/i] and [i]Devil May Cry[/i] rather than the usual fantasy, sci-fi or pseudo-fantasy/sci-fi setup that most RPGs employ. The character art is very unique and really can’t be compared to any other games I can think of in the RPG genre. And indeed, art style is not the only thing that [i]Shadow Hearts[/i] is unique in.

The most notable gameplay aspect of [i]Shadow Hearts: Covenant[/i] is the Judgement Ring. A circle with a line circling it, players must press the X button at appropriate times on the ring in order to successfully carry out an attack. Players with quick reflexes can even go for ‘strike areas’, or little red areas at the apex of an attack area that will allow for the full power of the attack. The Judgement Ring does two important things for the quality of [i]SHC[/i]’s gameplay. First, it really makes the turn-based battle system a lot more interesting. As a player getting rather bored of just selecting attacks from menus, the Judgement Ring offers a little excitement to the formula. Now, the concept of the Judgement Ring could get rather boring, but this is where the developers cover their backs on that extremely well. The second thing that the Judgement Ring offers is a deep level of customization. Between items that can change the size of the areas, the option to pick a different number of physical attacks per turn, different kinds of rings, keys which allow for multiple spins of the ring and a whole slew of nasty status effects which can affect the Ring’s behavior, the Judgement Ring completely and utterly controls the flow of the game’s gameplay. In other words, it is not a gimmick. No, it is a completely new way of playing an RPG.

Now, time to move to rather more frivolous aspects of the game. [i]SHC[/i] has always offered a lot in terms of presentation. Detailed character models complement some really nice gothic architecture and outdoor areas, which feel really natural. There are a series of absolutely beautiful FMV sequences that pepper the game’s story, and of course, all the usual cut scenes, dialogue boxes and other non-interactive touches. The music isn’t hugely memorable, but the game’s OST, from what I’ve heard, has some nice remixes. Of course, none of the music is going to drill through your ears, so that is something. The voice acting, however, is mostly a revelation. While undoubtedly there are some characters with voices that make you want to strangle them (Garan), [i]SHC[/i] has some great voice acing and definitely some great dialogue. Too many RPGs have been dubbed into English really poorly, but thanks in part to being set in Europe, Midway decided to get some decent voice actors to do the setting some justice.

So we’ve confirmed the game offers nifty presentation and really good gameplay innovation, but what else is important in the RPG genre? Well, story and characterization, of course! The [i]Shadow Hearts[/i] series has made a habit of breaking almost every RPG clichA

Fable: The Lost Chapters

February 26, 2006

Let’s get this out of the way first: [i]Fable[/i] is a game directed by Peter Molyneux. He promised all kinds of cool things that did not end up in the final release. Boo hoo. Get over it. Now, with all of that over and done with, what we have is one of the PC’s best action RPGs in a long time. If you played the original Xbox version of [i]Fable[/i], you’re not going to see very much that is new. There are a few notable editions, but [i]The Lost Chapters[/i] is the same game you played on the Xbox a year ago. Now, PC players can join in on the fun.

PC gamers do not get to enjoy the hack-and-slash games that their console brethren get to very often. The click-fest genre has been quite dry since [i]Diablo II[/i], so it turns out that [i]Fable[/i] is a very welcome addition the PC library. The core gameplay of [i]Fable[/i] is what you would expect. You click with the mouse, and as a result, things die. There are many ways to cause this death. Huge swords, accurate long bows and powerful magical spells round off your character’s abilities. Most likely, you will pick one of these specialties and stick with it for the majority of the game, as specialization is certainly the way to success.

The combat system is not very robust, even given the large array of abilities you can pick from. You will most likely pick one of the three and use it almost exclusively. Melee fighters have a definite advantage over the magic users and archers. They are capable of building up much larger combos much quicker and are generally more fun to play. The gameplay when the player is utilizing magic or arrows requires a lot of running away, which unfortunately causes a lot of difficulty because of the game’s seemingly broken lock-on system. (Not the only thing that the game borrows from the [i]Zelda[/i] series, the system for locking onto characters just simply does not work very well.) You will lock onto one character and then be harried from the back, and there is no easy way to switch away from the character that you are targeting to another one quick enough. Combat forms the bulk of [i]Fable[/i]’s gameplay, and as a whole, it is satisfying.

If [i]Fable[/i] does not shine in an amazing combat system, what does it do well? The main draw of [i]Fable[/i] over another game is the rich world in which you will be traveling. As a young hero in a world of competing heroes and lesser folk, you will have to earn your mettle with gradually more difficult missions. Through the use of a hub guild, the player will go on quests. Completing quests awards experience points, money and prestige. The experience points can be put into learning new magical spells, toughening up your character or making him more agile. The game does not explicitly have classes, but there are three categories for growth which epitomize the classes of Fighter, Thief and Magic User. The money can be used to buy new weapons, gifts for the ladies and even a few houses. Earning prestige will make your character more memorable. Crowds will cheer for popular heroes as they pass, and grateful women will throw themselves at you. Prestige also earns you access to more advanced quests.

It is this interaction with the people around you that makes the game at once a great victory and a terrible tragedy. The groundwork is clearly here for a more advanced game system, with more clear consequences for good and evil actions, but the game does not really tackle these subjects. Your actions have clear results. Guards will try to stop you from committing crimes, and killing indiscriminately will affect an alignment stat. After many hours with [i]Fable[/i], the interaction with NPCs becomes surprisingly shallow. You can make friends, fall in love, get married and perform quests for people, but there isn’t a lot to it beyond that. The game is thankfully short in this regard. Just as you start to bore with the NPC interactions, the game is over.

Aesthetically, [i]Fable[/i] really works. The graphics look beautifulA

What was THQ thinking?

February 24, 2006

Ok… I thought maybe just a couple of minutes, but this was ridiculous! I’m talking about the loading times for the latest Smackdown vs. Raw on the PSP. From turning the game on to finally starting a match in season mode appears to be an extreme trial in patience. It took over six minutes of loading screens to get to the game!!!

The captions added to the clip make it worth watching if you have six minutes to kill, but wow. Did they not test this game before releasing it?

I don’t know about anyone else, but I like having a handheld so I can just whip out a game and start playing. If it takes me over five minutes before I get to even play any of the game, that is just wrong.

On a related note, I complained in the forums about Final Fantasy Tactics Advance taking nearly half an hour to get through the intro before I could actually play the game. Same concept. Handhelds are meant for quick and fun gaming! Developers need to remember that.

Source: [url=http://www.joystiq.com/2006/02/24/load-time-from-hell-psp-game-takes-its-sweet-time/]Joystiq[/url]

The Elder Scrolls is a series as much renowned for its ambition as for the games that execute said ambition, and Bethesda Softworks is in no position to change that anytime soon. The Elder Scrolls IV: Oblivion, due out next month for both the PC and the Xbox 360, looks to be one of the most ambitious games ever made, so we here at eToychest took the chance to sit down with Bethesda’s Pete Hines to see what’s waiting for us in Tamriel.

First off, now that you’re in the home stretch, how’s it feel to look back on all the days and weeks and see what Oblivion has finally turned into?

That’ll probably be something we can do once the game has gone off to the manufacturer, or maybe not until it’s out and on store shelves. At this stage you really can’t afford to lose focus and think you’re A