For me Shadows of the Damned achieved a sublime mix of creative talent. If I were to compare it to the classics I would see it as a mix of Shakespeare, Mozart and Da Vinci coming together for a production. To my Japanese centric mind, with a propensity for horror and narrative, the pool of creative talent EA pulled together was breath taking. Suda 51 brought his spin to the story, with Shinji Mikami handling game play and Akira Yamaoka on drums… I mean writing the score. Honestly there is nothing in this mix that could possibly go wrong. Right? Well in theory yes but, as I proved one time when I made ramen with a beer and cheese, sometime the whole can be far less than the sum of its parts.
It was recently announced last week that the Nintendo 3DS was to undergo quite a sizable price cut (and indeed has since I wrote this originally). Here in the UK the reduction equates to nearly an eighty pound for anyone wanting to pick up the system, with prices plummeting from £220 to £140 RRP.
Proving even more of a challenge in this equation is keeping up with my writing for other sites, but I do at least have a backlog to keep me going until I get to grips with my new employed status. The timeliest posting of one of these reserve reviews has been that of the The Legend of Zelda: Ocarina of Time.
Truthfully part of me hoped that playing The Ocarina of Time would inspire bile in me, that it would draw from me some hateful vitriol of how Nintendo lazily rehash their old titles, and how this one didn’t even have the decency to pretend to be a new game. I wanted my years of tolerance at re-buying the Kyoto based giant’s classic titles to finally reach breaking point, to snap with an amusing display of anger that this was a shameless cash in on the nostalgia of the weak willed. And I could, I could find all the reasons here to justify the rant, to completely tear this remake asunder but I don’t want to, because it is still wonderful.
Before I begin to tell you why I enjoyed Call of Juarez: The Cartel, I feel it is important to point out that it is not a great shooter. It feels unfinished, characters pop in to and out of existence constantly, it has a colour palette that makes enemies impossible to see, there are visible cracks in the environment and the whole experience is so linear that there is literally a dot that guides you (often poorly) through the game.
For reference Brandon drew on his experience working on a specific game he was aiding a Japanese developer with. Despite shaping up well the title was cancelled while still in alpha by the publisher due to lack of funds (along with eight other games).
The first of these posts is my recent preview of Aliens: Colonial Marines, the upcoming movie licence from Gearbox. Some twenty-five years after the release of the Aliens movie, this new game is to tell the story of what happened after reactor explosion on LV:426, as you take control of a new squad of marines sent in to investigate the ill-fated planet.
I understand people’s pain at Capcom’s recent announcement that they are canning Mega Man Legends 3 for 3DS. The original PSone games were fan favourites, and by all accounts an incredibly good RPG. Legends 2 left the story unfinished and the anticipation for a conclusion has now been building for ten years. When the third chapter was announced in September of last year the patient devotees were obviously overjoyed so have it now snatched from their grasp seems, frankly, cruel.
Last month saw the release of a number of significant titles from Japanese designers and developers, most notably Child of Eden and Shadows of the Damned. For a long time gamer like myself they represented hugely significant titles marking (in Eden) a spiritual successor to a classic (Rez), and (in Shadows) a collaboration of some of Japans greatest talents. Yet while my excitement was nearly over flowing at their release, the gaming playing community at large responded with a near inaudible, ‘meh’.