DS

Tetris DS

April 9, 2006

When I set out to write this review, several questions about how one would even attempt to write a review of the latest [i]Tetris[/i] game occurred to me: 1) Are there people who some how have never heard of the now-20-year-old game, the father of so many imitators and permutations, both in and out of the actual [i]Tetris[/i] family? 2) Have there been any significant changes to the dirt-simple “clear lines by rotating falling tetrominoes that continually drop faster and faster” gameplay worth mentioning? 3) And if so, have these changes transformed the game into some sort of mutant that only bears a faint resemblance to Alexey Pajitnov’s genius?

As far as [i]Tetris[/i] DS is concerned, the answer to the second question is, amazingly, “yes: nearly half a dozen”; the answer to the third question is, oddly, “yes and no”. And if Nintendo has anything to say about it, the answer to the first question will soon be “not for much longer”.

Fortunately, what one does [b]not[/b] need to do when writing a [i]Tetris[/i] review is mention graphics, sound, play control, camera issues, or any of that other usual review content: [i]Tetris[/i] is [i]Tetris[/i] — the core of the game hasn’t changed in 20 years, because it’s pretty much gaming perfection. So all that’s left is to discuss the various modes presented.

Nintendo has taken the classic [i]Tetris[/i] that we all know and love (along with previous improvements like the ability to put a piece in reserve) and given it to us untouched, save for a fresh 8-bit nostalgia paint job that has nothing to do with gameplay. They call it, obviously, “Standard Mode”, which comes in “marathon” (can you clear 200 lines?) and “line clear” (how fast can you clear 25 lines?), and “vs. CPU” versions; I’m told completing “marathon” unlocks “endless”, but my best attempt so far is a heart-wrenching 197 lines. And for many, that would have been more than enough, although probably not to justify a purchase of yet another [i]Tetris[/i] edition.

So they added the ability to link with up to ten DS-owning friends and play head-to-head(-to-head-to-etc.) [b]off one [i]Tetris[/i] DS card[/b]. And then, just for kicks, they added the option for some Mario Kart-style madness, giving you some weapons to use against your rivals (or in a couple of cases, to help yourself out of a tough jam). In case you can’t round up some friends, they also opened up their wi-fi service for one-on-one battles (without weapons) or four-player melees (with weapons). Like [i]Mario Kart DS[/i], you can either connect to a similarly-skilled opponent randomly via the “worldwide” connection or exchange friend codes with your buddies for more private engagements. They also threw in an ELO-like rating system, and added a clause that gave people who disconnect credit for a loss just to cut down on jerks. For many, these editions might have been enough to justify a new purchase.

But Nintendo wasn’t finished. Those modes weren’t anything new, and online play isn’t so much an innovation as it is slowly becoming an obligatory requirement. Time to mix things up a bit…

Witness “Push Mode”: a one-on-one test of wits and skill that pits you and your opponent on opposite ends of the same double-length well of blocks; your bricks drop from the top of the top screen, and your rival’s from the bottom of the bottom screen. They even provide two single blocks as footholds for your bricklaying, as any piece dropped without a place to land simply “falls off” the other side without stopping. As usual, whoever lets their bricks reach their “top” of the well loses, but here’s the twist: for every multiple-line clear that you make, you shove the entire pile of bricks a few lines closer to your opponent’s danger zone. The strategy for this mode is intense, especially since the only way you can score a four-line tetris clear is usually for your opponent to provide the “floor” for your final drop; it’s not uncommon to see a one-block column of empty space being meticulously avoided by both players for as long as possible.

Oh, and you can play Push Mode online as well.

And Nintendo [i]still[/i] wasn’t done. They had [b]four more[/b] modes for your single-player experience: “Mission Mode”, which throws various timed challenges at you (“clear two lines with a z-block”, or “clear the line indicated”, for example) in either marathon or time trial versions; “Puzzle Mode”, which presents you with one of 200 situations and from three to five blocks with which to clear each one — you choose which block to drop in which orientation, but the location of the drop will be automatically chosen and must clear at least one line; “Touch Mode”, in which you either employ the stylus to slide (and on easier levels, rotate) pieces in a tower in an attempt to drop a cage of balloons to the ground or try to clear one of fifty puzzle objectives; and finally (and most bizarrely), “Catch Mode”, also dubbed “Metroid Mode” or “Katamari Mode” depending on whom you ask, which features you rotating your core of blocks to collect falling pieces in a 4×4 square — which then detonates either when you hit X or after ten seconds — while avoiding enemy Metroids, which will drain your health if they touch your core. “Catch Mode” is perhaps the biggest diversion from “true” [i]Tetris[/i], but it still retains more of a connection with its forefather than something like the N64’s [i]Tetrisphere[/i].

Finally, all six modes also feature a “how to play” tutorial if you need it, and each mode keeps track of your high scores (for each level of difficulty, when appropriate); Puzzle Mode (and the puzzle variant of Touch Mode) keeps track of which ones you’ve cleared in the mode itself. Your online records are also kept handy, naturally.

A tremendous application of old-school awesomeness with some new twists, perhaps the most amazing aspect of [i]Tetris[/i] DS is that all six modes are fun to play, and they all “feel” like [i]Tetris[/i] despite their wildly different approaches. If [b]that’s[/b] not enough to warrant a purchase of [i]Tetris[/i] DS, then odds are that you just don’t like puzzle games.

Ten years ago, [i]Resident Evil[/i] crept up on the Playstation and has since developed a loyal fan base and several sequels (not to mention prequels and remakes). Last year’s [i]Resident Evil 4[/i] took the game’s fixed camera and classic control style and threw it out the window, and while this was a welcome change, some may feel like the original game play mechanics will never see the light of day again. [i]Resident Evil: Deadly Silence[/i] aims to rectify this by reintroducing the original [i]Resident Evil[/i] to the Nintendo DS. With a faithful translation of the original game and brand new features, fans should find a lot to love here on the DS.

Being a remake of the first [i]Resident Evil[/i], [i]Deadly Silence[/i] needs no introduction among the faithful fans. Everything from the original Playstation classic has made its way onto the DS’s tiny screens. The S.T.A.R.S. alpha team has crashed after being sent to look for Bravo Company, and after finding their dead, mutilated corpses, are chased into a mansion and trapped. In the process, Jill Valentine and Chris Redfield are separated, letting [i]Deadly Silence[/i] retain the separate storylines of the original game. This feature allows for two different play experiences, with Jill’s campaign being easier while Chris’s being more challenging.

The controls of [i]Deadly Silence[/i] may be hard to get used to at first. For the most part, the game controls very similarly to the original Playstation version. With fixed camera angles in tow, it can be very hard to maneuver your character, especially if a zombie is bearing down on you. While the fixed camera angles are designed to conceal enemies until you turn the corner in order to surprise you, it can also be very frustrating combined with the weird controls to back away from these surprises and before you know it, you’re zombie chow. However, once you begin to get into the game, the controls can actually become a little less convoluted as you get used to them. If you’re coming into [i]Deadly Silence[/i] from [i]Resident Evil 4[/i], though, be prepared for frustration.

Since this is a faithful port, there are also a few things from the original [i]Resident Evil[/i] that aren’t exactly executed well. Ink ribbons make a return, the items which are required to save your game. While the game does have a fairly good supply of these, it can be annoying if you happen to be save-happy like I am, so you’ll have to learn to reserve your saving habits. Another thing of annoyance is the limited inventory space that each character has as well as the weird storage system the game gives you to hold the things your characters can’t. You will probably end up backtracking a whole lot just to make space for a little key you found.

[i]Deadly Silence[/i] also makes use of the Nintendo DS’s features, albeit briefly. The game offers you two modes of play: “rebirth” mode and “classic” mode. Classic mode is the stripped down basic [i]Resident Evil[/i] game, while rebirth mode adds in touch screen and microphone options to the many puzzles, making them a little more interactive. Sometimes entering a room will randomly start a barrage of enemies that you will have to slash using the touch screen, which seems a bit gimmicky. Still, those who dislike it can always go with classic mode to avoid it. In addition, there is also a Wi-Fi mode that lets up to four players play against each other or cooperate together. It all makes the original [i]Resident Evil[/i] much more enjoyable, and the unlockables strewn throughout the game makes this a very long game.

The graphics stay true to the original game as well, and look every bit as primitive. Characters take on the bloated body segment appearance all too familiar with early Playstation games, while the individual rooms have questionable textures for this day and age, although both of these issues are fairly excusable. However, one of the inexcusable things in the game is the terrible voice acting straight out of 1996. Complete with some brief full motion video, the dialogue and voice acting are ridiculously bad, almost so much that it will make you laugh. The voices can actually be very unintentionally hilarious, which, mixed with what is supposed to be a serious survival horror game, ruins the story a bit.

Overall, [i]Resident Evil: Deadly Silence[/i] is perfect for DS owners looking for some horror on the go. [i]Deadly Silence[/i] packs all of a classic Playstation game into a tiny cartridge and will leave fans with not only a faithful translation but with some extra tidbits along the way. People unfamiliar with the series or coming in from the seminal [i]Resident Evil 4[/i] may have a frustrating time with the control system, but those willing to give it a go will probably find peace with the fixed camera and control style after playing through it a bit. With all the nostalgia and new content added into the mix, [i]Deadly Silence[/i] is a great handheld game that will last for quite a while.

Electroplankton

March 19, 2006

[i]Electroplankton[/i] is a game that suffers from too much innovation. It’s always nice to see video games utilizing new and innovative features, and we all know this industry needs more of it. However, it is a step backwards when developers place all their time into innovation and completely bypass game play. It’s a shame too, because [i]Electroplankton[/i] uses the features of the DS to their full capabilities to create some very artistic imagery and vibrant music. The problem is that [i]Electroplankton[/i] only lasts as far as your imagination can take you. Those without an artistic mindset will lose interest very quickly, and even with a vibrant imagination, you might not last very long.

The basic premise to [i]Electroplankton[/i] is that the player uses the touch screen and microphone of the DS to manipulate tiny plankton. There are ten mini-games to choose from, each having different ways of making music. One game, for example, has you creating lines for the different plankton to swim along, creating music in the process, while another uses microphone speech to create different lines of sound effects, essentially mixing your own sounds together to make music. All of this is accompanied by brilliant colors, making this game a treat for the eyes and the ears. Calling [i]Electroplankton[/i] a game, though, is saying a bit much, as there is no real apparent goal to be found, and once you’ve explored the ten mini-games, all that’s left is to go back and explore them again.

To its credit, the game utilizes the features of the Nintendo DS almost as well as a game like [i]Nintendogs[/i]. All of the different mini-games vary in terms of usage of the touch screen and microphone, and include tracing lines, rearranging the leaves of a tree, voice manipulation, and a lot more. There just isn’t any game play to back up the different game modes and once you’ve manipulated your voice in sixteen different wavelengths, the only thing to do is go back and do it again. The developers could have added some kind of recording to at least save your musical creations, but there isn’t much incentive to making intricate music patterns only to lose them as soon as you back out of a game mode. There is an audience mode that lets you listen to music recorded by the developers, but that only adds further questions as to why they didn’t insert a record option.

[i]Electroplankton[/i] presents itself very well. Animations are very fluid and the colors really jump out as you manipulate the plankton. The plankton themselves seem to resemble everything from fish to tadpoles to microscopic cells, and each plankton in the different game modes have unique sounds to them. It would have been nice to have a way to combine the different plankton to create some truly creative (or defunct depending on your musical sense) pieces of music, but you are pretty much limited to using a single type of plankton to each game mode. [i]Electroplankton[/i] is probably one of the most visually appealing games found on the DS, but unfortunately, that doesn’t make up for the lack of game play.

It is really hard to give [i]Electroplankton[/i] such a low grade, because it really is a great and innovative idea. In the end though, the absence of any game play whatsoever makes this game hard to recommend and very hard to justify the spending of thirty dollars on. I even have a hard time recommending it for a rental, because I had pretty much played the whole thing in less than thirty minutes. People with creative imaginations may find a worthy title to add to their library in [i]Electroplankton[/i], but even then the developers could have added in a little bit more into the game, such as the aforementioned recording option. [i]Electroplankton[/i] is a good experiment, but it clearly shows us that innovation must find a balance with game play, and without the game play, this game has more value as a novelty item than a video game.

It might sound strange that somebody would make a game out of the concept of a courtroom drama. After all, when was the last time you squealed with excitement when you found out you had to sit through jury duty? Leave it to the Japanese and their anime to come up with a game pitting two attorneys against each other in a battle to stop an innocent from going to the slammer. Apparently, they know how to follow through with a quality and fun title as well. While there are some flaws that keep [i]Phoenix Wright: Ace Attorney[/i] from being perfect, an engaging story, witty comedy and great detective elements make this game easy to recommend to almost anyone. If the courtroom was anything like this in real life, I don’t think anyone would object to jury duty.

The game follows Phoenix Wright, a rookie defense attorney out to make a name for himself by, well, defending the innocent. The premise of the game is fairly straightforward, and if you’ve ever played one of those Japanese dating games, this may seem somewhat familiar. However, instead of getting slapped by women for going [i]there[/i], you work to uncover and present evidence to help your client. In fact, Phoenix Wright is more of a detective caper than it is about lawyers. The game does a great job keeping you thinking on your feet, and each piece of evidence you present adds another piece to the giant, convoluted puzzle. Evidence comes both in the form of the obvious to things that have almost nothing to do with the case at hand (but you know it’ll come into play somewhere because it’s a video game).

[i]PWAA[/i] is more challenging than it may first appear. The first chapter is a pretty simple A

The Nintendo DS has several unique features that allow savvy game developers to create experiences that simply aren’t possible on other devices. Most of these features revolve around the touch screen and the stylus input, which is quicker, more accurate and even more natural than a typical PC mouse. Your standard console control pad doesn’t even come close. Although it flew under many gamers’ radar during the system’s amazing release schedule this year, Atlus’s [i]Trauma Center: Under the Knife[/i] is one such game, using the stylus for rapid, precise control and placing useful information on the upper screen where it’s out of your way but still available.

[i]Trauma Center[/i] is, at its core, a timed puzzle game masquerading as an A