November 2010

Ys: The Oath in Felghana

November 16, 2010

In 1989 the world was introduced to the third installment of the Ys series with Ys III: Wanderers from Ys. In 2005, Nihon Falcom Corporation took Ys III and did a complete overhaul on the game, remaking it and updating the features within. Move to 2010 and add even more to the game and you have Ys: The Oath in Felghana.

Series hero Adol Christin and his companion Dogi return to Dogi’s homeland to find trouble afoot, which leads into an upgraded retelling of the Ys III tale. From beginning to end the player is taken for the ride through this adventure with very streamlined action-RPG gameplay contained within. 

Unlike other action-RPGs – such as Kingdom Hearts Ys: The Oath is more streamlined with a heavier emphasis on the action and platforming aspects. Item management isn’t as strong in contrast with other games and feels more fluid as a result. Traditional RPG consumables aren’t even purchased but rather found and instantly used upon killing enemies. This, together with its simplicity, creates gameplay that is easy to pick up and that has a fast-paced intensity to it that other action RPGs seem to have only sporadically.

Adol only gains two kinds of attacks: Either mashing X to physically attack with his sword, or using magic from one of three elemental armlets he acquires over the course of the game. Not only does the auto-regenerating magic help in combat but they also function in the platforming and dungeon exploration: fire can hit switches, wind helps you cross large gaps, and earth can break through fragile walls a’la bombs in Legend of Zelda games.

The boss fights feel straight out of an action platformer and are relatively difficult. There are infinite retries, and after a certain number of deaths the game will ask you if you want to lower the difficulty but these battles are about learning boss patterns and adapting to them. On Normal or higher, you’re almost expected to die unless you have prior experience or knowledge.

Visually, the game looks great. It moves with fluidity, the backgrounds and dungeons are detailed nicely, and despite crunching a PC-sized game into a PSP screen, it still looks and moves well. In fact, the only visual thing that was slightly problematic to me at first were how tiny the enemy item drops were. But after getting used to the flow of combat and making item acquisition into a subconscious habit, it ceased to be a problem.

In concurrence with the visual, the audio is just as good if not better. The player has access to two different soundtracks from the Ys III releases and a remixed standard soundtrack made for the remake. The standard soundtrack alone was great and it went well with the action the game provided. The voice acting was also very well done with only a few characters being annoying to listen to. Luckily for those who don’t care for english VA, there are options to change or remove the VA.

Ys: The Oath in Felghana is excellent and a shining example of what a proper remake should be like. However, the difficulty can be a little off-putting to the average player and could serve as a deterrent. Beyond that it shines as both a great remake and a tough challenge with loads of replayability. With six total difficulties to choose from, alongside a time attack and new game plus features, there’s always more challenge to players who hunger for it.

Pros: Visually beautiful, great music, fast streamlined action gameplay with RPG features, tons of replay potential.

Cons: Some graphics seem a bit too small at times, the game’s bosses are rather challenging.

 

It might be safe to say that the team behind Dragon Ball: Raging Blast 2 just stopped trying at some point. While the first Raging Blast wasn’t the worst game based on the wildly successful Dragon Ball franchise, it certainly wasn’t the best either. Raging Blast 2 is pretty much more of the same, minus content that actually made the first even a little worthwhile. 

Let’s get the good points out of the way first and foremost. The presentation is very well done. The game looks amazing, and the very flashy ultimate attacks performed by each character are incredibly well executed. While the first Raging Blast looked great as well, this game looks a bit more polished altogether. Environments are nice and simple, the interface as a whole is much cleaner, and the sound quality is probably the best you’ll find in a Dragon Ball game.

The controls work well, allowing you to perform the most basic attacks and the super and ultimate attacks with relative ease. There isn’t as much of a steep learning curve as there was in the first game, but I also found that I could really just button mash my way through a lot of the fights. There is no strategy or depth involved here. Any match, whether it is against an A.I. or human opponent, boils down to who can pull off their ultimate moves first. Everything else is as basic as it can get.

The camera is pretty troublesome. When battles get hectic, you will often find yourself fighting the camera more than your opponent. And this is where I get a sense of déjà-vu as I find that this problem was just as persistent here as it was in the original. Considering the team has added practically nothing really new to this game, you would think they would at least tighten up what is already present. 

The story mode is completely gone, as is any real trace of story in general. The two main single player modes are Galaxy Mode and Battle Zone, both of which are pretty similar. Galaxy Mode has you choosing a character and fighting a bunch of opponents in a row while unlocking completely pointless things like pictures from the anime. 

You can play through this mode with each character, but there is absolutely no reason to do so. There is no story here, just a bunch of battles poorly strung together. Battle Zone is basically the same thing, except it’s the same for every character you can select. You are allowed to customize your character and it will come into play in this mode, but customization is absolutely pointless and really adds nothing to the core gameplay. 

Online multiplayer is there and it works, but good luck trying to find anyone to play against. There is local multiplayer, a training mode, and some pretty helpful tutorials, but that about sums up everything in Raging Blast 2. The fact that this is being passed off as a full retail product is pretty bad when it doesn’t even contain half of the content from the first, but all of the problems. 

Raging Blast 2 is not a good game. It looks very nice, but at the same time it’s unfinished, shallow, and an insult to a series that many people love. This is nothing more than a cheap cash-in, a game that even the most diehard fans of the anime would scoff at. Avoid at all costs.

Pros: Gorgeous visuals; the game is functional, but nothing more

Cons: Awful camera; lackluster fighting system; not a lot of content or value found here; this is just more of the same from the first game, minus some content

 

DJ Hero 2

November 14, 2010

The original DJ Hero had a lot going for it, and it mostly succeeded at bringing a new kind of music game to the market. It set itself apart, despite a few flaws, and managed to bring some life back into the music game genre. DJ Hero 2 isn’t quite the breath of fresh air that the first game was, but it still has a lot going for it and manages to improve upon the original fairly well. 

The presentation has really remained generally the same from the original, although that is far from a bad thing. The look of the game is pretty basic, but it works, and the sound quality is excellent. The music selection itself is quite varied, mixing up the usual rap and techno songs with some nice alternatives as well. Ever wanted to hear Kanye West and Metallica remixed? Maybe not, but it’s done here and done very well. 

The gameplay has remained as solid as ever, but with some significant improvements. You still hit notes, scratch, and use the crossfader to switch between tracks just as before. In addition to being able to hold down notes now, there are now freestyle sections which allow you to tap, scratch or crossfade on the fly. It gives the player more freedom, and although it’s only during specific sections of songs, it still gives a better idea of how the “DJ” part in DJ Hero really works. 

The career mode, now called Empire Mode, has been completely overhauled for the better. No longer will you be navigating the same cluttered menus, as you can now access all of your career options in one place. The mode is what you would expect: you go through different locations playing mixes of increasing difficulty as you earn stars to unlock new locations, mixes, and gear for your playable character of choice. It’s nothing new, but it works.

Scattered throughout the career mode are DJ Battles, which offer a nice break from playing setlists of songs. You and your AI opponent compete in a “checkpoint battle” which amounts to who can do the best in each section of the specific mix. The one who wins the most checkpoints is declared the victor. It’s simple, but it works, despite the AI being pretty cheap at times. 

This mode is also available in multiplayer, along with many others. The multiplayer itself has been completely re-done for the best, offering six different ways to battle your friends both online and off. For the DJ Battles specifically, there are special mixes that you unlock throughout the career that you can replay with friends. There is also Star Battle (who can earn the most stars), Checkpoint (as explained above), and Streak (who can get the longest note streak).

It’s clear that DJ Hero 2 was made with multiplayer in mind first and foremost; it’s a lot of fun and way more enjoyable than the previous game’s very meager offerings. On top of these modes, you also can track your friends’ scores to try and beat them by sending them specific DJ challenges for each individual mix. It gives the player a lot of incentive to play the game online with friends, which is exactly the sort of thing this game needs.

One unnecessary addition to the multiplayer is the ability to sing (or rap) along with certain mixes. While you may be familiar with the individual songs, the mixes themselves are completely original and pretty hard to sing along with, especially on your first try. 

Unless you take the time to learn the rhythm of each mix, there is no point in this option. If the team at FreeStyleGames really wants to make this a game anyone can jump into, adding vocal support for these unorganized song mixes is not the way to go about doing this.

While DJ Hero 2 is not as amazingly innovative as its predecessor, it still manages to become the complete music game experience that the first should have been. A solid career mode, addictive multiplayer and a stellar list of original mixes make this a game that manages to surpass the original in every way. 

Pros: Varied list of catchy mixes; small, but significant gameplay refinements; free style sections add a lot of depth; completely new and addictive multiplayer; basic gameplay is still a blast

Cons: Opponent A.I. during DJ battles tends to be a bit cheap; “singing” is not the least bit enjoyable

 

This week we cover the revival of two franchises in the US, and the possible milking of another.

Current score

Andrew Passafiume: +340

Graham Russell: +109

Eric Schabel: +65

Shawn Vermette: +185

 

Microsoft working on new Project Gotham Racing

Ever since Activision bought Bizarre Creations in 2007, Microsoft has been sitting on their PGR series. Considering how well-received and popular the previous games in the series were, it just doesn’t make sense for Microsoft to stop making them just because the studio that historically makes them can’t anymore. That said, is Microsoft getting ready to revive it with a new entry?

Andrew: The Project Gotham Racing series has been pretty successful for Microsoft, possibly even more so than their Forza games. I think a new racing title is just what Microsoft needs, and I think with the right studio, they could bring the franchise back. And with no big racing titles on the horizon in 2011, it would be the perfect time to release it. However, I can also see them focusing their efforts on the next Forza game (which seems like it might include Kinect support as well). 80%

Graham: That’s a tough one. 2011 looks like a good time to release a racer (unlike the too-crowded 2010), and Microsoft doesn’t have Halo and Fable to ride them out next year, so it’s worth trying some things. That said, they seem to have focused their efforts on Forza, and is there room for an arcade-but-still-realistic racing game in today’s market? I’ll have to push.  50%

Shawn: I actually haven’t played a single game in the Project Gotham Racing series, though I picked up PGR 3 for $5 awhile ago. That said, it is one of Microsoft’s top first-party franchises, and to keep it garaged this long is unusual. The lack of top tier racing games after GT5’s release this month tells me that the time is right for it to make an appearance once again.85%

 

Sledgehammer Games working on sci-fi Call of Duty

We know two things regarding Sledgehammer Game’s current assignment. First, that they are working on an offshoot of the Call of Duty franchise. Second, that it is supposed to be an ‘action adventure’ game, rather than a pure military shooter. That said, is Activision truly preparing to go head to head with the other 800 lb gorilla in the industry? Rumors have it that the Sledgehammer Call of Duty entry may have a sci-fi setting which could potentially set it up for a battle against Halo for sales.

Andrew: We’re apparently getting at least one new Call of Duty game next year, and if the cycle continues, it would be an Infinity Ward project, despite what happened to the studio this year. Modern Warfare 3 is the obvious choice for next year’s title, but it seems like Activision might want to release multiple games a year. Rumors have also been floating around about Infinity Ward wanting to make a futuristic Call of Duty game, so at this point it’s pretty hard to tell who will be doing what with the franchise. Although, if anything, taking the series in this direction might just be what the series needs to keep it from getting stale. 50%

Graham: Sci-fi has a lot of possibilities. It could be an exaggerated Modern Warfare, set on Earth in the near-future with crazy weapons. It could be a deep space drama like Mass Effect. There could be time travel. (Please let there be time travel. As long as the game’s better than Darkest of Days.) So why not? If they’re developing a spinoff, it may as well have some nonexistent tech in the mix. 70% 

Shawn: We know that Sledgehammer Games is making a CoD game, and there’s been rumors flying for a long time about a sci-fi Call of Duty…would there really be two different CoD games in development that are NOT Modern Warfare or the Treyarch series? Knowing Activision, it is possible. However, I think it is more likely to be the Sledgehammer Games entry, if any at all. And I have to say that there is room on my gaming shelf for both Halo and CoD in Space. 65% 


XSEED to announce US publishing deal for a Tales Of title by end of 2011

It’s been awhile since a Tales title has made it stateside, Tales of Vesperia in August 2008 was the last one. That said, there’s a rabid fan base in the US for that series that has been waiting for any announcement of another game making its way over here. XSEED has publicly said they are interested in publishing a Tales game in the US. They’ve published games over here for Namco Bandai before, but the question is whether Namco feels it would be profitable to do so.

Andrew: As mentioned above, the Tales series has a pretty devoted fan base here, and I’m absolutely sure that they would love to see some of the newer Tales games (such as Tales of Graces) make it over to the States. XSEED is a really good publisher and localization team that could do the series justice, as it is apparent Namco Bandai wants nothing to do with localizing the series themselves, so XSEED taking over this process might help convince them. If anyone is going to do it, it’ll be them. 85%

Graham: It may not make much money for Namco Bandai, but for a tiny publisher like XSEED, Atlus or NIS America, a franchise like Tales is a prize. If Namco really has given up on localizing it themselves (as it seems they have), they’ll make more money licensing it than just sitting on it. Sounds like I’m convinced, right? Well I’m convinced a deal will work out, and the ball’s rolling with XSEED’s comments, but I’m factoring in the possibility of Ignition, well, pulling an Ignition and poaching another game from XSEED’s potential lineup. 80% 

Shawn: Oh please let it happen! I may not be the most rabid Tales fan, having only played Vesperia, but it is still one of my top 360 games and I look forward to playing more of them. Also, XSEED does a great job with localization and exporting games that would otherwise never reach us. My question is whether Namco would allow it to happen, even if they don’t have to do any of the work. I’m gonna vote yes, just because I want it to be so. 80% 

When you build a system, you’ve gotta test it. And a game is most definitely a system. A system of rules. Playtesting is just working out the details, balance, and systems of a game through repeated plays.

Making the game in the first place, that’s design – creating the ideas, foundations, basics. But for most games it’s in the repeated hashing out of the twists and turns of the rules where the real work and long hours come in. Design is easy; playtesting is hard. So, if you’ve ever wanted to be a designer, you’ve probably got to do your time as a playtester first. How should you approach this job? Well, you could go get that degree is systems analysis or quality assurance that you’ve always wanted (right?) or you could read on and pick up some tips that’ll help you at the table.

It’s all about the goals

The first mistake you’re gonna make, because everyone makes it, is you’re gonna think that you know best about what is best in gaming and that what you like or don’t like is all that matters. Guess what? It’s not all about you. A good playtester doesn’t (just) evaluate a game based on their personal tastes and preferences. They think about the goals.

What goals? The designer’s goals! A game comes with some rules, but behind those rules are usually some basic goals the designer is trying to satisfy. Your job is to determine how well it’s meeting those goals. So the first thing you’re gonna want to do is ask about those goals and, perhaps, be prepared to infer them from the game if the designer isn’t present. You won’t be making the same suggestions if the goal for one game is “sell a million units” and another it’s “challenge hardcore gamers”. So… what are some typical goals, some typical conditions on which we can evaluate a game?

Intro to Evaluation Criteria 101

Is this game fun? This is a good consideration to think hard on as you’re trying out a game, but it falls into a strange space between important and deceptive. See, what’s fun for you is not, perhaps, fun for others. When you’re asking yourself this question, it’s always in the context of “fun for the intended audience” – try to get into their heads, try to understand what their reactions will be. If there isn’t a stated audience, try to imagine a group or type of gamer that will like it. If that group is too small or too obscure or just doesn’t exist, you should really start challenging the fun of the game. But don’t fall into the trap of thinking that because it isn’t your cup of tea, it’s bad. 1835 is a complex historical simulation of the development of trains in Germany. Gulo Gulo is about stealing eggs from a nest. Both of these games are fun. Just maybe not fun for the same people.

Is this game challenging? There’s almost as big a range of skill out there as there are different interpretations of what is fun, so be careful as you ask this question too. But remember much of the joy of a game is going to come from some level of challenge in the game. If there are no clever choices, interesting plays, or tricky tradeoffs, a game isn’t likely to be well-received, even by the intended group. Different games offer different challenges – dexterity, memory, planning, negotiating, calculating – but you should be able to identify those challenges and gauge that they aren’t too hard or too easy.

Is this game innovative? Another difficult question! Innovation is too often a buzzword wrongly interpreted to mean “good”. Often, it’s better to be descended from good stock than it is to be the awkward mutant that people can’t classify. True innovation is rarely successful, but it shouldn’t be ignored. Fresh interpretations are often very welcome. But look for the lineage of a game you are playing. Understand how it shares mechanics, style, or theme with other games for the same group or in the same genre. A good design often builds on the successes of others. For example, Galactic Emperor is a game heavily derived from Puerto Rico, but builds enough on that model to make something new. Civilization defines an entire genre of games, too; following in those footsteps is about the only way to build something in that group.

Would I play this game again? Replayability, the ability find something interesting in repeated plays of a game, goes right to the value and depth of a game. By its nature, with playtesting, you’re going to be playing and playing and playing a game, so you’ll have a great insight into how the game keeps repeated plays fresh. If every run through is turning out the same or one strategy is clearly best, those are great things to bring back to the designer – consistency isn’t always bad though, especially in a lighter game.

Is this game clear? Games are generally better when the players can pick up on the play and nature of the game quickly. Clarity isn’t simplicity nor is complexity the opposite of clarity. Clear really means that the game is intuitive, understandable, and direct in action. A clear game lets players enjoy the action of the game instead of fretting over many exceptions or interruptions or distractions. Often the best way to judge clarity is by looking at the action of the game and the victory conditions of the game – when actions directly contribute to victory, that’s clarity. In Caylus, you use workers to get resources and spend resources to get points. In Space Hulk, it’s marines versus aliens in mission based play. These are both good examples of clarity.

Does the game flow? Flow is a feeling that the game will move from phase to phase, step to step, action to action in a pleasing, easy manner. It should be more or less apparent to players what they should be doing next and that activity should rise naturally from the previous step. A classic example is “move, then fight” in a game like Axis & Allies; a player can expect to put units into action and resolve that battle.

Attitude is everything

The golden rule of good playtesting, though, is to understand that you are here to help, not hurt, to tune, not trash. It can be all too easy sometimes to say something cold, hard, or ugly about a game, especially a game that’s still rough around the edges. That’s wrong. Playtesting is a constructive activity, not an opportunity to deride a design or, worse, the designer. Remember that a big part of playtesting is feedback; you don’t have to be the one to fix what’s off about a game. That’s the designer’s responsibility. Yours is to provide detailed feedback, helping realize the goals of the design. And don’t forget that just about the best way to get good playtesting for your designs is to be a good playtester for others – treat them like you’d expect to be treated in return.

Be a ‘know ’em all’

That’s not “know it all” – nobody needs one of those. Instead one of the most valuable skills you can cultivate as a playtester is to be as familiar as possible with as many different games, especially different kinds of games, as you can. A huge gaming experience helps you understand the goals and taxonomy of games, helps you make good comparisons to what works or doesn’t work. It’s worth learning games that are the best of the best, but also good to study the train wrecks, odd ducks, and mediocre maybes of gaming. Learn role-playing, abstracts, video games, collectibles, and everything in between. The more you know, the more useful you can be.

Is this playtesting gig starting to sound like hard work? It can be, but there’s a great silver lining, a great way to pay yourself back for learning this skill. Just because a game is finished, purchased off the shelf with ready to go rulebook doesn’t mean it can’t be better or more fun. Once you’ve practiced playtesting, you’ll start to see neat additions and alternate options in almost every game you play. Take advantage of that! Make some house rules to tweak a game you like to make it a game you love. For example, I’ve been a big fan of Die Macher for years, but not a play of the game goes by without me unhappy about the auctioning of secret, highly decisive polls at the end of every round. Why subject your deep planning to a flip of a card for the win or lose? So, we’ve worked out all sorts of options to address this, like auctioning the polls face up. A minor change can make all the difference in changing the feel of a good game to an even better one.

Good luck and happy playtesting!