December 2010

Rock Band Reloaded

December 5, 2010

While the Rock Band series was brought to the iPhone with the last installment, it’s making its first appearance on the iPad with Rock Band Reloaded HD. With a larger, more capable device and a higher price tag, more is expected. Is more delivered? For the most part, yes. 

Much like its console counterparts, Rock Band Reloaded lets you play the guitar, bass, drums and vocal parts for various rock songs. The guitar and bass lines are fairly straightforward, with four buttons on the screen to hit like frets. (It doesn’t bother with strumming.) Since the iPad is the kind of device that everyone holds differently, the game supports multiple configurations and button placements, so something will work for you.

It also does this for drums and vocal parts, but there are better modes for those two instruments. For the drum line, Reloaded uses all that screen real estate to place four drum pads on the screen. (We at Snackbar Games don’t endorse the use of drumsticks on the iPad screen, though. Please don’t do that.) For vocals, Reloaded supports actual singing, which is sure to annoy your friends but is totally worth it. The recognition is fair enough, though using a headset is recommended to give it the best chance of working well.

The main campaign mode is a variation on Rock Band 2‘s World Tour. Individual challenges pop up in certain areas, and you unlock more areas by doing well at these events. It doesn’t allow much room for avoiding songs you don’t like, though if it did the short tracklist would make for an abbreviated experience.

The game comes with 29 songs, including contributions from Vampire Weekend, Duran Duran, Nine Inch Nails, and more. There are a few instantly recognizable hits (such as Hungry Like The Wolf, White Wedding, and  Kryptonite) sprinkled throughout, but much of the music included with the game or currently available for download is not as exciting or memorable as stuff we have seen from the console outings. Unfortunately, Reloaded doesn’t have access to the whole Rock Band Music Store, but there will certainly be a steady flow of downloads coming down the pipe. 

While the look of the game is purely based on Rock Band 3, there’s not much here that would otherwise tie it to the game. There are no keyboards, there’s no character customization and the song selection is limited as well. That said, it doesn’t really matter that much. The game supports Facebook integration for sharing high scores and challenging friends, if you’re not averse to installing lots of applications on your profile.  

Reloaded HD also supports a two-player mode on a single iPad, as well as the standard multi-device band mode. If you have friends with devices, playing together can be an awesome experience, but it’s likely that the same amount of coordination could yield you a console Rock Band session.

There’s no way you’d choose to play Rock Band Reloaded HD instead of the console version, but if you’re out and about this is a good way to get your fix.

Staff writer Eric Schabel contributed to this review.

Rock Band Reloaded

December 5, 2010

The Rock Band series may be best known for its wide array of plastic instruments, but as the original iPhone version of Rock Band proved, the classic gameplay also translates well to touch-based controls.  Rock Band Reloaded is the series’ second outing on the iPhone and it only improves upon its predecessor’s formula. The game is not as feature-rich as its console brethren, but its core gameplay is still very fun and familiar. 

It may be more exciting to stand up and strum a guitar or bang on drum pads, but there is also something to be said for convenience and portability. The iPhone is a perfect device for diving into a game to play a song or two any time the mood strikes you.  Reloaded gives you the option to play the guitar, bass, drums, and vocal tracks, tapping along to the music. Hitting the notes feels very satisfying, especially for drumming. New to the iPhone this time around are vocals, which you can choose to actually sing, or tap. Singing is just as challenging as it always has been. One aspect of the gameplay that doesn’t seem to work so well is shaking the phone to activate overdrive—I often find myself missing notes (and thus losing my point multiplier) attempting to shake the device hard enough to register it in the game.

The game comes with 29 songs, including contributions from Vampire Weekend, Duran Duran, Nine Inch Nails, and more. There are a few instantly recognizable hits (such as Hungry Like The Wolf, White Wedding, and  Kryptonite) sprinkled throughout, but much of the music included with the game or currently available for download is not as exciting or memorable as stuff we have seen from the console outings. Unfortunately, Rock Band Reloaded does not have access to the whole Rock Band Music Store, but there will certainly be a steady flow of downloads coming down the pipe. 

Rock Band Reloaded features a World Tour mode, Quick Play, and a multiplayer mode that lets you search for “gigs” with other players. Essentially, Reloaded’s feature set is the same as Rock Band 2’s, minus stuff like character customization. Reloaded may sound a bit barebones compared to Rock Band 3, but it has the essentials to keep you rocking for quite some time, and that’s not bad for a five dollar game. 

Fresco, the debut design by Marco Ruskowski and Marcel SüBelbeck published by Queen Games, is at its core a worker-placement game with some interesting twists.

From two to four players represent Master Painters charged by the bishop with restoring the great fresco in the cathedral. In order to accomplish this task, the masters will have to send apprentices to various locations in order to assemble the paints and cash necessary to get the job done. And a little morale-boosting trip to the theater might not hurt either, especially if you wake up early.

The first action each player must decide is wake-up time. Waking up earlier in the morning gives you first pick of the paints in the market (albeit at higher prices) and generally first shot at all of the other locations. The trade-off to rising early is that your apprentices will be unhappy and you will probably have less of them at your disposal than your more lazy counterparts. It’s a careful balance, and really what gives Fresco a lot of its unique charm.

The other actions are more straightforward. After start time is chosen and the number of apprentices for each player determined (usually five each, plus or minus one depending on Mood), the players secretly assign their apprentices to their tasks. Up to three apprentices can be sent to a given location. The first location is the Market, where a number of stalls contain randomly-drawn quantities and colors of paints available. Each apprentice sent allows a player to purchase one tile (representing from one  to three cubes of paint) at that player’s wake-up price in wake-up order; the remaining tiles at that stall are abandoned, making “trashing” a stall with a single apprentice but not purchasing anything a viable tactic. 

The second location is the Cathedral. Players here may restore one section of the fresco per apprentice, earning the victory points indicated on the specific section, as well as bonus points depending on the presence of the bishop pawn (which can be moved a single space by spending a thaler). Optionally, a player may instead restore the altar by spending paint cubes, but this is typically a less-valuable option than a piece of the fresco that requires the same combination of colors and generally only an end-game option. Like the Market, the players visit the Cathedral in wake-up order.

The last three locations are generally visited by each player simultaneously, regardless of wake-up time. The Portrait Studio earns three thalers per apprentice assigned, the Workshop allows each apprentice to blend up to two colors of paints (which is the only way to obtain purple cubes), and the Theater increases the player’s mood two spaces per apprentice. At the end of the round, each player earns an income based on how many pieces of the fresco (s)he has restored, and then a new round begins with new wake-up times. Since wake-up times are selected from last to first place, it is important to note that scoring pawns can’t share the same score; if a player’s scoring marker would occupy the same place as another’s, that player has to decide to either earn one less point or one more point. 

These rounds continue until there are six or less fresco tiles remaining. For the final round, players do not have the option to visit the theater (because there’d be no point to it), but instead have a second opportunity to visit the Cathedral — and importantly, this second chance comes after mixing colors at the Workshop. Whoever has the most points at the end of this round is the winner, with every two remaining thalers earning a point each (there is no income for the final round); final points are assigned in wake-up order, and the “no two players can have the same score” rule still applies — although at this point you obviously take the extra point.

A game of Fresco clocks in at around an hour, although the set-up time can add to that depending on how the pieces have been stored. The board itself has two sides, one for four players and the other for two or three. Two players alternate using a “dummy” player (“Leonardo”) that uses slightly different rules. The game also includes three optional modules to enhance replayability, which makes the entire box a decent bargain at $40ish. It’s not a game I want to play every week, but it is unique enough to warrant some attention from time to time.

With the series missing in action since 1996, the reveal of a follow-up to Rare’s acclaimed Donkey Kong Country games was met with much excitement, as well as skepticism. Could Retro Studios, responsible for the successful revival of the Metroid franchise, also work their magic on Donkey Kong? The results are in, and the answer is a resounding yes. 

That said; if you’re looking for an experience that’s identical to the old Rare games, you might want to look elsewhere. Donkey Kong Country Returns does its best to recreate the feelings one felt when first playing Donkey Kong Country, but unlike New Super Mario Bros. before it, it constantly experiments with new tricks and changes to the old formula. Whether or not you like the changes done can greatly vary depending on how much you liked the original titles.

Unlike Donkey Kong Jungle Beat, DKCR returns to traditional platforming. Donkey Kong has his traditional roll attack, as well as the ground slam. In addition, DK can now blow on things to either exploit enemy weaknesses or reveal items and collectibles hidden in the background. Diddy Kong works differently this time around, as he hops on DK’s back and uses a jetpack to slow DK’s descent for a second or two rather than serve as a second character you could tag-in at any time.

While the stage design is tough, the game does have accommodations for the more casual players. The infamous Super Guide makes a return in the form a white DK, which will show you the basic method of beating a stage without actually showing you any of the hidden collectible locations. You can also buy lives, heart boosts and even invulnerability potions from Cranky Kong’s shop, though they’re all entirely optional for the player looking to challenge himself.

The gameplay is smooth, but not without its faults. The blowing and ground-pound mechanics severely break the flow and speed of the game, needing to completely stop to be able to perform them, which is necessary in most of the game’s stages. Rolling, blowing and the ground pound are all mapped to shaking the Wii Remote. While it’s easy to get used to, an unresponsive shake is enough to send someone leaping to their death, which happens a lot more than one would expect. It’d be simple enough to map these functions to button presses, or let people choose between the two.

Some of the later stages are downright awful when playing them in co-op. While DK and Diddy can play independently of each other, Diddy can hop onto DK’s back like in single-player. This is just about the only way two can finish some of the later stages, as they’re clearly designed for one player to go through.

The game’s aesthetics are nicely done. While the classic Kremlings are nowhere to be seen, the Tiki and the animals they control fit well with the game’s look and feel, as do the worlds selected. New enemies are constantly being introduced, all vibrant and colorful. I really liked how Retro makes up for the Wii’s visual shortcomings by making everything as vibrant, colorful, and alive as they possibly could. Ruins come crashing down and enemies react to DK as he explores vivid landscapes on his quest to recover his banana hoard. The music has a few original tracks, but the redone tunes from the original Donkey Kong Country are the real show-stealers, always matching the mood of whatever stage they’re played in. 

DKCR boasts a nice bit of replay value as well, as there are plenty of puzzle pieces to collect in every stage. These unlock artwork, concept art, music and other items. In addition, every stage has a time attack feature that challenges you to beat the stage as fast as possible, as well as a secret mode for those who thought the base game wasn’t challenging enough.

While DKC purists might be put off by the change in the formula of the traditional games, Donkey Kong Country Returns is an excellent comeback to what is considered one of the best game series of the SNES era, as well as a nice entry point for people who never played the original games.  It combines just enough difficulty to make it satisfying, without making it completely frustrating, and it reminds us what the originals were all about.  If Nintendo will let Retro Studios work on to the franchise for a while longer, it could turn into something great.

 

Golden Sun: Dark Dawn

December 1, 2010

2010 has been an absolutely torrential year in the world of DS RPGs. It should say something, then, that Golden Sun: Dark Dawn sits atop the heap. The game, a sequel to a GBA series thought abandoned, strikes that balance between tradition and innovation, and it does it with some serious visual flash.

For those of you who didn’t play the originals (or just can’t remember that many years ago), the series makes you the leader of a party of Adepts, special people with the ability to control the elements. The originals had you on a quest to bring about the Golden Sun to save the world from a painful demise, that was actually accomplished at the end of the second game, The Lost Age. In this game, then, it’s 30 years later and the world is suffering the pains that come with the sudden re-emergence of elemental power.

Don’t worry, though, things get back on the track of saving the world from ruin soon enough.

While it starts feeling like a traditional Japanese RPG, the depth in the battle system comes from acquiring Djinn. Djinn are magical creatures, each with a different elemental alignment, and you equip them to characters. Doing this changes that fighter’s stats and available Psynergy attacks. But it’s not that simple. You can also use each Djinn to unleash its own special power, but that removes the stat boost it provides. 

It would be interesting if it stopped there, but using Djinn puts them on standby, giving you the ability to use them to summon massive elemental creatures with crazy full-screen effects. These were the centerpiece of the originals’ visual flair, and though Dark Dawn doesn’t push the system’s power as much as the GBA ones did, there’s still a high level of polish to the summons. Once you get deeper in your adventure, you’re managing larger and larger parties at once, and that just adds one more layer to a battle’s depth.

All of this makes for a dynamic battle system, but we’ve seen those before and they don’t always make for great games. So what of Dark Dawn‘s other selling points? Well the overworld puzzles are actually entertaining. Unlike some games, Golden Sun‘s aren’t brain-dead, and enough goes on to make it feel less tedious. Each involves using the same Psynergy powers available in battle, but now Fireball activates switches, Whirlwind lifts platforms and Grip acts as a grappling hook. All of this uses the touch screen primarily, but Camelot smartly put d-pad control in too. While you may need to use the touch-screen to pull off special maneuvers, for most essential puzzle-solving you can let the game lock on to the correct object.

Unlike this summer’s Dragon Quest IX, the game has no problem streamlining simple game tasks like shopping and item management, and the menu system is full of glanceable information and time-saving shortcuts. That kind of thing is incredibly helpful in a game with dozens of gameplay hours, as saving three seconds every time can really add up. In addition, Nintendo’s Treehouse team comes through again with a translation that is simultaneously coherent and amusing. The dialogue is tongue-in-cheek in moments it needs to be, especially those JRPG traditions like the villain arbitrarily letting you walk away or an important NPC giving you information that doesn’t seem like it would come up in conversation but is needed for the next task.

Now most who played the first game are probably sitting there thinking that this sounds exactly like the originals. I’m not going to dispute that at all. It doesn’t take major gameplay risks, and everything feels like it used to. 

But everything used to feel really, really good.