[Source: Tinycartridge]

Are you ready to lay the smackdown!? Well, before that, get ready to make a decision about which store you’re buying this year’s Smackdown vs. Raw from, because many stores seem to be offering different bonuses. Ranging from different characters to even money off of Pay-Per-View events, it seems like there is something to try to appeal to each Hulkamaniac… or Kanonite… or whatever’s in now. Take a look to see which stores are offering which bonuses on WWE’s newest addition to the Smackdown vs. Raw series.

Here’s a quick glimpse at what you can get from each source:

• Best Buy (or any retailer in Canada): Bret Hart playable character
• Toys R Us: Undertaker’s “Ministry of Darkness” gear
• Amazon.com: Three outfits for Randy Orton (T-shirt, suit and referee uniform)
• Walmart: “Tribute to the Troops” arena
• GameStop: $20 off either PPV event, WWE’s Survivor Series or Tables, Ladders & Chairs.

I’m not sure, but an extra playable character sounds good to me. But $20 off a $50 PPV match sounds like a good deal too. To each their own. WWE’s Smackdown vs. Raw 2011 will be out October 26th for all major consoles, including the PSP and PS2 – although the first two bonuses are only for the PS3 and Xbox 360, sorry Wii. Which pre-order bonus are you digging the most?

[Source: Press Release]

When Team Ninja decided to work on the newest edition to the Metroid series, people started to talk. Known for making incredible action games, including Ninja Gaiden and the Dead or Alive series, making the next Metroid game sounded like a match made in Heaven for both the Metroid Franchise and Team Ninja. Well, it’s time to see this game’s true colors. Showing off Samus’s array of gadgets, the newest Metroid: The Other M trailer makes it it clear that Team Ninja and Metroid were definitely made for each other. Check out the latest trailer!

The trailer shows off many different aspects of Team Ninja’s new Metroid game. The first thing you can notice is how agile Samus is now. Running all around the screen with speed and grace, we can tell this lady’s been working out! The trailer also shows some tricks that Samus has up her sleeve, including her very versatile beam, her bombs, and a speed booster (because she’s not fast enough already). The game seems to live up to the hype, and is set to release August 31, 2010 for the Nintendo Wii. So keep your eyes open for Team Ninja’s newest game, Metroid: The Other M.

[Source: GameTrailers]

A new trailer was also revealed, showing off a bit of the game’s combat system.  Characters run behind walls for cover and snake around to shoot their weapon at enemies, similar to a first person shooter (without it being first person, of course).  What’s more is that there is also a new section on The Last Story’s web page that features character concept art along with small bits of information.  Though unless you know Japanese, you probably won’t be able to understand any of it.  Everything looks really interesting so far, but hopefully there will be many more updates to come.  Check out the gallery below to see some of the new screenshots!

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Today Disney Sing It: Family Hits hits retail stores, the one singing game I’ve been looking out for for a while now, my one chance to sing “A Whole New World” and “The Bear Necessities” in an arena outside of my humble shower. Loaded up with 30 songs from Disney (and Disney/Pixar) movies a lot of us have grown up with, it launches today on both the PS3 and Wii. There will be unlockable awards and themes, as well as a practice mode where the princess from The Princess and the Frog will teach you how to sing. You can even sing 20 of the 30 tracks available… in Spanish. You know how that gets me all fired up (my Juanes fix on Rock Band last week is wearing off). All of the tracks will be original recordings. You can pick up the game standalone for $39.99 or $49.99 with a Logitech microphone packed in.

[Source: Disney Press Release]

After more than 20 years, everyone’s favorite moonwalker (may he Rest in Peace)  is finally getting another video game made for him. Ubisoft’s Michael Jackson game, simply titled Michael Jackson: The Experience, is going to be developed for the PSP, DS, Wii, Xbox 360, and PS3. According to Ubisoft, The Experience will utilize the Wii MotionPlus, Kinect, and Move. Get ready to Beat It, Jackson fans.

The Wii version will be similar to Ubisoft’s Just Dance, while the Xbox 360 version is going to project 3D images of the player onto the screen (can we say Michael Jackson costumes?). Both the DS and PSP versions are said to be tap-based games. Not too much has been discussed about the PS3 version yet, but be sure that we will keep you updated as frequently as possible about The King of Pop’s latest video game appearance.

Legend of Zelda fans finally got what we’ve been waiting for: a new Zelda game for Wii.  Sub-titled Skyward Sword, players will be able to use the MotionPlus accessory to have near 1:1 motion of Link’s sword.  The game will have players swing their swords in specific directions in order to slay various enemies or solve puzzles.  In addition, the menu system has been completely revamped, making switching weapons simpler, easier, and faster than ever.

You might notice from the video or screens below, that the graphical style, while similar in some ways to Twilight Princess, is unique.  Intended to look like a painting come to life, the images are softer with brighter colors.  Hopefully this will please those who didn’t like the darker look of the last game, while still saying on the more realistic side.  Oh, and apparently the sword can transform into a person, so speculation from last year’s concept art wasn’t too far off the mark. The worst part of all of this is we’ll have to wait until some time in 2011 before Skyward Sword hits store shelves, but for now, enjoy the media below.

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[Source: Nintendo]

In case anyone reading has not played the first Super Mario Galaxy, for one, shame on you, and two, let me sum up the idea.  Basically, Nintendo ran out of earthly ideas for our mustached hero and decided to throw him out into an area that could never limit their creativity and ingenuity.  In doing so, they’ve been able to do things with the franchise that really no one else can do.  They mess with gravity, light, and science in general in ways that leave jaws dropped and eyes alight with child-like pleasure.  Even if these games weren’t set within the Mario landscape, they’d still be excellent and original in their own right because of these new conventions.

But what does the sequel do different to merit another fifty dollar price tag?  More than enough.  Even if it kept all the same crazy suits and even if it revisited levels seen in the first game, it would still be worth it.  For one, Nintendo has a knack for making a level look completely different despite being completely the same.  However, this sequel doesn’t reuse worlds and while it does use the same suits, it also adds new suits, a couple of which are some of the best in the entire Mario series.  Its new worlds are every bit as fresh and vibrant as the old ones, and like the space that they inhabit, seem limitless.

I’ll start with the new suits.  Mario can now turn into a Cloud-Shaper, a rolling rock (much more flavorful than the beer of the same name), and can drill through an entire planet with something that isn’t a suit, but basically functions as one.  His old suits return, so players wanting to be a ghost, a spring, or a bee, or any of the series’ standby suits need not fear missing out.  The new suits are not only incredibly fun to use, but are integrated perfectly within the worlds where they are available.  The rolling rock suit basically turns Mario into a pinball, and several of the worlds that see its use are fundamentally nothing more than large pinball tables.  Fortunately, they are not nearly as repetitive or boring as pinball itself.  The cloud suit seems simple enough, it allows Mario to make three cloud platforms to stand on wherever he pleases, but combined with his prodigious jumping abilities, it makes for possibly his most versatile non-flight suit to date.  It’s also very cute.

Super Galaxy 2 changes the formula somewhat in ridding Mario of the home world area he saw in the first game that functioned as a hub for travel, something the series introduced with Super Mario 64.  Instead, he nets himself a ship, charmingly shaped like his face, that functions in a similar manner and allows him to travel down preset lines similar to something one might see in Super Mario World or Super Mario 3.  Personally, I preferred the hub world because I just prefer hub worlds.  They make me feel like I have some place to return to.  The ship does fulfill that function, in all honesty, but a ship is not a home in the real world, and it doesn’t feel like one here.

Also missing from the game is a story.  Mario games in general usually don’t hit us with deep narratives, but the tale told in the first game was actually quite touching, and the lack of any effort at all to tell a similar story does make it feel a little emptier.  I don’t want it to seem like I need an engaging novel when I play a Mario game.  In fact, most people would probably argue against such a thing because it flies in the face of every Mario game ever released.  Nevertheless, I enjoyed Rosa’s poignant storybook from the first game and would certainly have voted for it, or something like it, in the sequel.

Fortunately, where the game loses something, something is also gained, and the addition of Yoshi to the galaxy is a wonderful gift indeed.  Our dinosaur steed returns in triumph early in the game, and while he isn’t actually in most of the levels, we get him enough not to be saturated with his charm.  He also brings his own bag of new tricks in a throwback to Super Mario World.  Eating certain berries scattered around levels allows him to do things that are zany and fun enough to raise the spirits of even the lowest of the low.  Blue berries allow him to puff up like a balloon and float, while a release of air sees propulsion identical to any hot air cousin.  Red peppers, on the other hand, send the cuddly lizard screaming across the screen in true panic fashion, and controlling him in these instances is an effort in concentration because the dude can move.  Light berries let Yoshi reveal hidden paths or simply light up dark areas.  Naturally these abilities are limited, but extremely fun (the red pepper in particular would be fun to use in a completely empty room with absolutely no goal in mind other than mindless speeding).

Luigi also makes an appearance in Super Galaxy 2, and unlike his cameo in the first game, is actually playable before collecting every last collectible that space has to offer (which is an epic total of 242 stars out there to nab!).  In what can only be described as pathetic, the green-capped underling can often be found at the start of levels begging to be included in the fun, and should players choose to use him they will find an identical play style but with a cornier look.  Luigi runs around as though he is constantly about to fall, and while he never does, his visual style is similar to the grace and effectiveness of drunk boxing.  His addition is purely cosmetic as well because using him in levels doesn’t gain the player any benefit beyond the entertainment value that he brings.  And while the game never allows Mario and Luigi to fight crime together, there is some co-op fun to be had that goes beyond the simple star bit collection of the first title.  Anyone using the second Wiimote controls Mario’s under-the-cap friend Luma and is able to collect coins, star bits, air bubbles and even enemies.  A Wiimote waggle makes this even more effective, providing a timely stun to baddies when need.  This type of co-op in a single player game is actually quite well done because it doesn’t hinder or significantly help whoever is in control, yet gives any watchers a chance to jump into the action.

That’s really all that is new about Super Mario Galaxy 2.  It follows the similar pattern of past Mario games with wacky levels followed by a Bowser-like castle.  Mario feels the same in regards to his movement and jumping.  He still interacts with very few human beings, instead having what I suppose we could call conversations with stars, sparkly-eared rabbits, and living bombs.  As sequels go, this really is as sequel-y as one could hope for.  It keeps things visually simple and at the same time absolutely gorgeous.  It doesn’t change up any formulas or disjoint a player in any way.  It does what the previous game did, and it’s so well done and complete that any lack of creativity or innovation (aside from the genius they bring to every new level) over that last title is easily forgiven because it allows us more time in one of the best Mario universes to date.  There’s a reason this game has been so well received by players and critics alike.  It is arguably the best game on the Wii and provides a triumphant challenge to any first or third party developer proclaiming that Mario is still the king, and if you want to topple his throne, you have a vertical mountain to climb.  Good luck!

Super Mario Galaxy 2
Wii
	Publisher: Nintendo Developer: Nintendo Genre: Adventure/Platformer Release Date: May 23, 2010 MSRP: $49.99 ESRB Rating: T for Teen

Doin’ It RIGHT: - Tried and true Nintendo quality. - Yoshi in space. - Possibly the finest game crafted for the Wii.	Doin’ It RONG: -If you didn’t enjoy the first one, you probably won’t like this. - Not in HD (not Mario’s fault, but I’m a stickler).
FINAL SCORE: 9.5 / 10

Remember that old awesome board game we used to call Chess back in the day? Yeah, that old game that’s been around for some-odd centuries or what-have-you. Or maybe you stuck to your guns in the simpler red and black checkers game, and that’s cool, too. But we wouldn’t want you to miss out on the upcoming Battle vs Chess, SouthPeak’s upcoming chess game using 3D models and beastly war ravaging pieces taking chess to a whole new level. It’s only going to be able for just about every platform ever except for that newfangled iPad doohickey, too.

With the gallant knights fighting for the army of light who fight against the horde of demonic dark army, Battle vs Chess seeks to animate the rivalry and tense action into something worth fearing. When you move a piece into the square of an enemy piece, prepare for a brutal takeover. A new optional and rather non-traditional mode will be added as well called Action Mode in which instead of the animation where you takeover the enemy square by slaying the enemy, you will be in control and killing that piece will begin a beat-em-up style fight where you can use a variety of weapons and techniques to wipe one another out first. Makes for some tense action as you can’t just knock your opponent’s piece off the table without a grim battle to prove your worth.

Battle vs Chess has just been announced today and plans to launch this fall for the Xbox 360, PS3, Wii, DS, PSP, PC annnd Mac.

With hype still building for Sonic 4, Sega has just announced Sonic Colors.  The new game is due out the later part of this year and will be available for the Wii and Nintendo DS.  But what is this Sonic Colors game all about?  Good question.

Sonic Colors, from what I understand, will take place on an amusement park in space that is run by tiny creatures called Wisps, who have been captured by Dr. Eggman.  The Wisps give off colored energy that Sonic can use to unleash (no pun intended) new abilities.  The gameplay is said to be a mix of 3D and 2D with a classic Sonic mentality.  Sort of sounds like Space Jam, but with Sonic, Wisps, and platforming instead of Michael Jordan, Looney Toons, and basketball.  I’m in.

What really attracted me to Fragile was its unique setting and approach to gameplay.  Sure, if you’re an avid gamer, you’ve probably played through a dozen post-apocalyptic worlds just this year, but what attracted me to Fragile is that this world is so real yet simultaneously mysterious.  Based on the actual phenomenon of ruins in current day Japan (abandoned WWII sites or failed tourist spots that ironically draw tourists to see them), you play as a young boy named Seto, seemingly the only human left, although what happened to everyone is unclear.  Seto soon runs into a young girl named Ren whom he spends the rest of the game trying to track down.  What makes the game so interesting is its heavy emphasis on exploration as Seto, armed with a flashlight, must explore the decaying remains of civilization.  It’s touching and fascinating, especially since Seto, seemingly born into this post-apocalyptic world, is unfamiliar with what most of these objects are (i.e., he wonders what that “box” is – a TV set).

As exploration is one of my favorite aspects of gaming, I reveled in the fact that tri-Crescendo was brave enough to make this the focus of their game.  Rather than being about running and gunning, Fragile takes a much slower, meditative pace, allowing you to enjoy the beautiful environments, putting combat on the back shelf, and interweaving the stories of strangers (via objects you find) in a way that is both unique and touching.  When the game sticks to this formula, it is simultaneously a joy to play and unlike anything you’ve ever experienced so that even its flaws melt away as you enjoy the experience.  However, the game seems to have an identity crisis about 60% through that destroys the aura and ruins the game.  In short, I went from loving the game even with its little bumps to having to force myself to continue playing it.

Allow me to explain. The first half of the game’s environments are beautiful, interesting, and rich: they tell the story of the people that once lived there, and it is your duty to explore these spaces.  Combat is almost an afterthought, and as troublesome as it is, that’s the way it should be.  However, after exploring areas like an underground mall, theme park, and hotel, you suddenly are forced to spend the rest of the game combing through seemingly endless boring tunnels with no story to tell, and combat suddenly becomes the primary element.  In other words, the game morphs from primarily an exploratory adventure in interesting environments to a hack ‘n slash in bland sewers and corridors.  Giving that what makes the beginning of the game so great is almost entirely removed in the second half and replaced by its weakest aspect, it was a fierce struggle to continue playing, and the disappointment I felt hung heavy.  Although you do encounter some interesting memory items and some revealing story points (i.e., you learn about each major character), it’s still hard to force yourself to put yourself through the soporific  journey to get there.

Furthermore, the flaws that were excusable or forgivable in the first half become glaringly painful in the second.  As I mentioned before, combat is bad.  Understandably, Seto isn’t a trained fighter, but the enemies are fairly cheap, and without a lock-on system, battles are a chore.  Worse, the inventory system is terrible: you’re given a grid on which items must fit, puzzle-like in order for you to take them with you.  Unfortunately, this grid is very small, and although you do get upgrades, they are minor and don’t come soon enough.  You might think I’m complaining too much, but the problem is that everything you want to bring with you must fit, including your flashlight, weapon, and any mystery items (memory items, usually) that you find along your journey.  Limited space is exacerbated by the fact that weapons break frequently, and you often can’t afford to bring an extra with you for fear you won’t be able to pick up important items.  This wouldn’t be so bad if enemies didn’t respawn, since save points (camp fires) are frequently placed, but it adds unnecessary frustration. It’s also a bit baffling that for some reason Seto can only carry a few items with him, yet he can have an infinite number in his luggage (accessible via the campsites).  Since you don’t return to the same camp every time, it makes the inventory system seem all the worse for its contrivance.

As far as weapons go, I understand that Seto is using items that are old, so the fact that they break is understandable.  However, the game gives you no indication at all when a weapon is near its breaking point, and it seems to be completely random.  Sometimes your weapon will last hours, others it will break after one fight.  Considering how unfulfilling combat is already, this system doesn’t help matters.  Adding to this problem is if you decide to avoid battles (to conserve your weapons), you’ll find yourself vastly under-leveled when fighting some of the tougher enemies and mandatory encounters.  Frankly, I didn’t want to play Fragile to fight cheap ghosts; I bought it to explore the story of this mysterious world in which people have seemingly vanished.

That is where Fragile shines: as you journey, you will find items left over from the people who lived before, many of them recounting their final (or near final) moments. And some of the memory items’ stories are truly touching.  I know I found myself tearing up more than once, but perhaps that’s just me being overly sensitive.  It’s hard to discuss them too much without spoiling anything, but for some reason the fact that these seemingly meaningless objects of every day life have such interesting stories attached to them is just . . .  Well, they really illustrate how Fragile, when at its best, makes us realize that the little things we take for granted are actually so significant.  From the settings, showing the decay of human presence, to these little stories based on something as simple as an old jacket or a set of bells, in some ways the message of Fragile is the world is what it is (or was) because of our stuff, and we, too to some extent, are who we are because of them as well. Yet it isn’t so much the objects themselves that hold meaning, but what these meant to each person who owned them or encountered them.   In other words, although Seto is seemingly alone in the world, he is able to make connections through these objects left behind by those long gone.  It’s a brilliant story-telling device that rises far beyond gimmick, and honestly something I wish had been implemented even more.

Fragile Dreams is a game that dared to do something different, with its initial story-heavy, exploration-focused, genre-bending approach.  Unfortunately, the game seems to mutate half-way through, becoming what it never was intended to be, and as a result, loses a bit of its heart and soul in the process. I’ve found myself disappointed with games in the past, but I think I have to chalk up Fragile as one of the most disappointing experiences I’ve encountered.  I truly loved the first half of the game, even though it was far from perfect, yet I absolutely deplored the rest of it (except for the memory items).  What began as a grand, sad, lonely, unique adventure morphed into a dreary chore of endlessly dull hallways and brutally clunky combat.  What made the game so rich in the beginning, the deep story-telling of its environments, was almost entirely thrown out, and what had been a secondary consideration (combat), suddenly became the focus.  Why the developers made this shift from what they were doing so well to what was the weakest part of the game, I can’t say.  However, I’m still ultimately glad that I was able to experience it.

But if you’re reading this review, you’re probably asking yourself, “So, should I get this game, or what?”  That’s a tough call.  As much as I wanted this to be my favorite game, the second half is so painful it makes it difficult for me to recommend.  However, if the beginning intrigues you enough, give it a whirl, because when Fragile is good, it’s really good.  Unfortunately, when it’s bad, it’s really bad.  I do hope, however, that other developers will take the same risk, and bring us story-rich games in which exploration is not only available, but adds to the depth of the story itself.  Cut scenes are fine, but sometimes a well designed set can tell more than any dialogue ever could.  Any good screenwriter or director will tell you that, and my wish is to see more of this concept in future video games. Tri-Crescendo has teased that more Fragile games may come in the future; if so, perhaps they will take these lessons to heart and make the game that Fragile Dreams: Farewell Ruins of the Moon could have been.

Sakura Wars: So Long, My Love can be likened to a delicious caramel frappe: it’s a perfectly blended concoction that showcases the highlights of all of the flavors involved. Take two cups of dating sim, one cup strategy RPG, a sprinkle of sentai idealism, and shake thoroughly. Your end result is a decadent yet quirky treat that’s not for everyone, yet completely accessible to anyone. Unfortunately, it’s a contributing factor as to why the history of Sakura Wars in the West has been a tumultuous one. In fact, it’s quite the pleasant surprise that So Long, My Love, the fifth game in the series, got a release at all. Thankfully, NIS America saw fit to bring this unique mix of strategic elements and dating simulation to the West, where people like me can eagerly devour it. It may not live up to the standards set by the first four games (according to series vets), but it’s a delightful beginning and a great example to follow.

The Sakura Wars series has pulled a Metal Gear Solid moment and has ushered in the nephew of the star of the previous titles rather than allowing gamers to bask in Ichiro Ogami’s light. Of course, this is all of no consequence to those who would pick this entry up, as we have no reason to expect anything otherwise. In fact, only after research into the Sakura Wars franchise (beyond the anime features I’ve seen) did I establish the fact that these weren’t the standard cast members. The New York Combat Revue team of Shinjiro Taiga, Gemini Sunrise, Rosarita Aries, Cheiron Archer, Diana Caprice, Subaru Kujo, and Ratchet Altair are enthusiastic and effervescent characters that invite you to explore every nook and cranny of their being. It’s a good thing, as the game revolves around who you know, how you treat them, and the manner of relationships you form. It’s almost like real life — except earning someone’s trust back is only a reset away. Each and every member of the Star Division are riveting character studies and it was a treat getting to know their inner workings. And the supporting players were no different: Michael Sunnyside, the eccentric New York playboy and commander proved to be a laugh a minute, spouting every thought with brazen wit (buying up land in a certain neighborhood to thwart a major corporation’s plans was a bold move, indeed!)

With a backdrop of a highly-modernized steampunk 1920s New York, it’s hard not to fall hopelessly in love with the narrative and its cast of colorful yet flawed characters. The country-fied cowgirl Gemini (pronounced rather strangely, “gem-uh-knee”) and tight-laced Cheiron supplied me with more than just a chuckle here and there, and Subaru’s androgynous looks and character had me guessing much longer than it should have. Of course, getting in with the exclusive New York Combat Revue isn’t the piece of cake I thought it would be initially. Since the clique-like NYCR was expecting Shinjiro Taiga’s uncle rather than him to lead them into victory over the demons plaguing New York, they treat him like an outcast initially — a reject, an unwanted newbie who simply gets in everyone’s way. Because of this behavior toward Taiga, the game forces you to play the part of an earnest combat virgin who must prove himself before being accepted as one of the pack, even though that was his official assignment in the first place. It’s refreshing to see that your choices do so impact the characters surrounding you in such a way and acceptance is not immediate, just like in real-life interaction. In the first stages of the game and throughout until the end, Taiga’s yearning to be “one of them” and to do all he can for this foreign American state are absolutely endearing and inspiring, and I found such pride in making this sniveling young boy into a real captain.

Of course, it’s up to you to play the role the game seems to want you to play. It’s up to you to mold Shinjiro into a man worth respecting, or one without a shred of it. You do this via different modes of play. Rather than levels, the game is divided up into eight chapters that are accompanied by their own “episode title” and preview of the next scenario, ripped straight from an anime series. It’s an interesting touch to be sure, and a way to gauge whether or not you want to tackle the next segment just yet. In each segment, there are three different game modes. The largely predominant mode sees you interacting via text and dialogue options akin to traditional visual novel-styled dating sims. These sections are expository chunks of plot and as such, you’ll play very little of what you might consider a real game. You may be introduced to a new character, explore the back story of an established cast member, or engage in official Star business.

I found these segments the most enjoyable, as the several different conversations I had over the course of the game were simultaneously touching and hilarious. And unlike games that present a clear-cut dialogue option to advance the conversation, it was more difficult to gauge each character’s reaction. Plus, you’re on a time limit — a steampunk-inspired gauge appears with fluid running out at a brisk pace while you’re presented with three options. Each is accompanied by an image of Shinjiro in an attempt to aid you in choosing what to say. “Fresh” options will see Taiga blushing, aggressive statements will feature an assertive image of him, and so on. Even with these portraits it can be difficult to guess how people will respond, which is the beauty of the system. It’s more about figuring out each unique personality and how to appeal to them, as a universal approach will not always work. The tact required here to ensure you don’t annoy those you interact with on a daily basis is more true to life than I have experienced previously. The game will attempt to guide you on the “correct” pathway to success with a positive-sounding or negative “chime” after every key decision point, but it’s really up to the player to make that choice.

And while the conversations are entertaining, you’ll need to stop pressing “A” mindlessly long enough to take part in the sort of quick-time events that require you to input a string of buttons, match a sequence, or perform a control-related task that will either see you performing excellently or poorly. Unfortunately, the Wii remote isn’t well-suited to many of these events. You’ll often be required to alternate between up and down on both the Nunchuk and the Wii remote, or in half-circles. The d-pad on the Wii remote is nowhere near responsive enough to do this quickly and efficiently, so often you’ll find yourself with a negative outcome when the action required of you couldn’t have been easier. It’s frustrating, to say the least, and from my experience worked much more smoothly on the PlayStation 2 edition. You shouldn’t be punished for the console’s shortcomings, and I am frankly shocked that waggle wasn’t implemented, not in the least.

Fortunately, I didn’t take any issue with the game’s intensity meter: put simply, a vertical bar is displayed that you must (before the timer runs out) raise or lower depending on the events at hand. This was especially difficult to master. For example, it’s often used in situations that require more or less assertiveness and tact. I was asked by one of the Star ladies to hoist her up to change out a lightbulb, but slowly, she cautioned, so she would not fall. At that point I hadn’t yet worked out how the system should have been used, so I went full speed ahead and kept the bar in the red zone, jumping up as fast as I could and knocking the poor girl to the floor. As you can imagine, that didn’t go over well. It’s an interesting mechanic, to be sure, and one I haven’t seen before.

Each conversation is slotted to take around five minutes, as you are given an “hour” in-game before descending upon the meat of each stage. This usually involves building toward the climax of every episode, such as Cheiron’s mock trial or the ascent of Pneuma-powered robots who are simply carrying out the order of turning New York into their own “new world.” It’s important to take this part seriously, as it will have an adverse effect on the battles that unfold at the end of each chapter. Rather than a traditional level grind, interaction is integral to success. Every so often you’ll get a break in the action to access a menu that will allow you to save, check the condition of your party members, and the bonds you’re building between them. Important stats such as attack, special attack bonuses, speed, and similar aspects are built upon how you treat your comrades. If you treat them well and build trust, they’ll grow into powerful allies. Ignore them, let them down, or anger them and you can be sure they’ll be the first to fall when it comes time to hop into a STAR.

Spliced in between traditional conversational scenes and the final segment of each episode are chunks of “free time” that you can spend exploring each area, gleaning information from inhabitants of the city, or speaking with members of your team. This is conducted in a manner similar to how one explored town in La Pucelle Tactics, only with 3D mechanics rather than flat 2D. While I can understand the need for “actual” playtime, however, this often felt like more of a chore than interactive entertainment, and I often left the area early rather than staying the full amount of time allotted after exhausting my conversational options and “hidden” sections where I would interact with one of the girls via “magnifying glass,” observing their outfit, looks, personality, etc. This was definitely the weakest part of the game.

If the game’s “meat” is the lengthy chunks of conversation and plot, then the “potatoes” are certainly the strat-RPG battles encountered at the end of each segment. As I commented before during a chat about the game, this structure is as close as a game has ever shown me to be to an actual anime episode. You get the plot buildup, the events leading up to battle, and then a battle and resolution of conflict in each episode. So Long, My Love is no different, and I appreciated that. Each battle features different demons and their handlers who require specific strategies to take down effectively. If you’ve been paying attention to the specific needs of your comrades, then you should find yourself in tiptop shape when heading into a fight. And if not, you might be looking into restarting the battle.

This is your traditional SRPG, as far as the actual fighting goes. However, while you might be thinking Fire Emblem, it plays out much more like Valkyria Chronicles or even Eternal Sonata. You directly control each member of your party for a set period of time measured in how far you move on the battlefield. Stratagems can be implemented and changed once each time the tides of battle turn back to Shinjiro, and you can choose from playing offensively, defensively, or flexibly. Combined with the ability to play as you would a traditional strategy RPG, there are plenty of ways to solve a pesky demon problem. Each battle is challenging in that you’ll need to figure out each enemy’s weakness and exactly how to tackle it. STARs may fight on the ground and in the air, and you may team up with another member of the division to perform a  joint power move that will work as well as your bond with the teammate in question. Each character also has a “Super Move” in place to unleash when things get rough, and they’re prefaced with a flashy animation sequence to up the gloss factor. They’re versatile and interactive, with Subaru’s moveset consistently coming out as my favorite.

Still, there are some problems to be had even with classic mechanics such as these. It can get downright annoying to lock onto enemy targets, especially in the air. During the first battle, especially, I had such a rough time navigating in the airborne bots and trying to distinguish exactly where my opponent’s weak spot was that I almost gave up and considered the battle to be too buggy to continue. When centered directly over the enemy’s head where I knew a target should appear, I found nothing, and thus could not attack. It happened many more times throughout the game and it was no less frustrating in any subsequent occurrence. It could have been approached in a much less awkward manner, but at least the game is nowhere near unplayable even with these discrepancies intact. I haven’t enjoyed the previous games in the series, but I do hope these issues can be fixed in future releases.

Fortunately, what the game lacks in technical prowess it more than makes up for its shortcomings with buckets of charm. From the crisp anime cut scenes to the fluid character portraits, jazzy and upbeat score, and enjoyable English dub (except for Gemini’s cries of “SHINY!”), the game practically bleeds style, and it’s obvious a fair amount of polish went into making it the best experience it could be. And with multiple branching paths to the end and the choice to cozy up to one of the Star Division girls, there’s loads of replay value. In fact, I’m contemplating another playthrough now that I’m more familiar with the inner workings and exactly how to calculate the trust each event gained me.

This game is not for everyone. Don’t expect to instantly enjoy it if you’re not at all a fan of character interaction or slow buildups, as you will be sorely disappointed. Keep in mind as well that saving is limited to a few times per chapter, so if you’re one who has little time to sit and invest in a game, you may want to make time or reconsider the purchase, as there are long chunks of plot revelations and decisions before you may save. While there are plenty mainstream elements peppered within, this is very much a niche game and one that you may have trouble getting into. But if you decide to take the plunge and dive into a colorful anime world bursting with personality, then I can’t think of too many games that do a better job than this save for the venerable Persona series. If you’ve ever wanted to “live” through episodes of your favorite anime, this would be a great place to start. Hop to it, Shiny!

Title: Sakura Wars: So Long, My Love Publisher: Nippon Ichi Software Developer: Idea Factory Platform(s): Wii (reviewed), PlayStation 2 Genre: Strategy role-playing game/dating sim Release Date: 03/30/2010 MSRP: $39.99 ESRB Rating: Teen

Doin’ It RIGHT: - Engaging and unique character interaction that keeps you coming back for more. - Crisp anime scenes enhance the dated visuals of battle and enliven gameplay. - Challenging strategy RPG elements blend together seamlessly with a dating sim to create a delectable treat.	Doin’ It RONG: - Targeting can be cumbersome, especially in the air. - Poor Wii controls hinder interaction points via LIPS. - Saving can be few and far between and increases difficulty.
FINAL SCORE: 8.5 / 10

I have to admit I’ve been on the fence about this title, but if the game lives up to the promise of the trailer you find below, you might find me tomorrow at my local game store picking up a copy of this bad boy (which you can get bundled with or without the new black classic controller plus).

[Source: Capcom]

During my sojourn to PAX East, I eventually meandered through the lonely area of the show floor where a tiny Frobot booth laid tucked away, waiting to pounce on any innocent passers-by.

As I walked by the booth with the errant Wii hooked up and displaying Frobot, initially the papercraft figures at the table to the left caught my attention. The group I had been sweeping the show floor with at the moment were coerced by the effervescent rep into giving the quirky little game a try. And to be quite frank, at first I was hesitant to take the Wii remote in hand, comfortable jacket on it or not. I’ve seen my share of waggling mini-games throughout the years, and from a brief glance this didn’t seem to be any different — I might be getting to be an old curmudgeon, but party games with minimal player involvement don’t seem to tickle my fancy anymore. But I decided to give the game a look anyway after everyone asked me to so politely. When reps are enthusiastic and excited about the game they’re showing, that gets me excited. There’s nothing more interesting than raw passion for a creation one has made. And with that, my hands-on experience with Frobot’s “multiplaya” mode began.

Andrew, the creator, was on hand, and so he passed out the Wii remotes while getting us all in the loop. Each of us chose the color of our Frobot doppelganger and dove straight into a colorful arena stage where we commenced to pelt each other with energy balls and various powerups. Controlling the Frobots felt a little finicky, I must admit. Moving and firing required usage of both the Wii remote and the nunchuk. The Wii remote provided a reticle onscreen to aim at your foes, and the nunchuk was responsible for moving your avatar about the play area. The speed of the reticle was a bit too janky for my tastes, and amidst the cluster of fellow different-colored reticles onscreen as we scrambled to take each other out, I found myself forgetting my color and searching for it onscreen again whilst I had already been vaporized and out of the competition.

The arena was fairly typical of the genre, though multicolored and packed with areas to hide from oncoming blasts from other players. However, there wasn’t much to do but head (fairly slowly) in the opposite direction and pray that you could get your shield up in time before a blast made its way ever closer. The shield and weapons were used exclusively, so if you decided to go on the offensive then you couldn’t attack as well, which would have, in effect, given you a sort of God mode. It took a few rounds of being vaporized and some smack talk for me to get into the groove, but once I drew the similarities from Wii Play’s tank minigame, I began having quite a bit of fun, much to my surprise.

Just as I had gotten used to the simple controls and the open spaces of the current multiplayer arena, Lum decided to change things up a bit, much to our frustration. Rather than a simple open area with dividing walls to cower behind, this stage introduced teleporters and enclosed areas. Heading into a yellow transporter would take you to wherever a corresponding  one could be found on the map. Similarly, aiming an energy blast at a teleporter would send it hurtling toward your opponent if they happened to pass by its partner. This added an element of strategy to what was otherwise an overly simplistic arena battle game, and from my friends’ reactions, things were really heating up with this “multiplaya” map.

Andrew ended up wiping the floor with me (obviously) but I quite enjoyed my time with this quirky little game. Of course, it remains to be seen how the single-player campaign can stack up against the party-time diversion that is “multiplaya.” Honestly, the controls could use a little tweaking to be less turn-slowly, aim-slowly, but for its assumed targeted audience (those who enjoy arena-based party games) it should work just fine. Aside from its zany character design and premise, it’s nothing we haven’t seen before, but darn if it wasn’t plain fun. And like any gamer will tell you, sometimes that’s the most important thing.

You can look forward to an interview with Andrew himself in the next week here at Spawn Kill. For further information and a demo to play, check out the official Frobot site.

If you’re unfamiliar with the premise, let me set it up for you nice and easy. Calling’s premise is that of the website called the Black Page lures people in with the notion that they will be able to reconnect with a loved one who has passed one. You experience this website via a chat room with some weak, uninspired chatspeak dialogue. You will have the opportunity to play as four different characters throughout the story who are all going through the experience of losing someone they love and wanting to visit the Black Page.

Calling has everything that Japanese culture and horrors fans are very familiar with. The creeps and crawls are very Japanese in every sense of the word. American horror tends to be more of that “Boo!” come out and grab you type of terror while Japanese horror will more-so just tug on nerve endings you didn’t even know you had or just give you the jittery chills. Calling employs those very tactics you’d expect from Japanese horror, which can be both a good and a bad thing.

Unfortunately it does have it’s fair share of cliches – expect your scampering cats, cue the weird Internet web page, a creepy doll room, ghosts and of course evil children. While it’s all material you would come to expect from a game like this, I’ve definitely seen most of it before. Being attacked by a ghost and my need to waggle free of his wrath just isn’t very terrifying anymore. The voice acting isn’t the worst – but I’m far from the ability to praise it. Luckily, to retain the experience  that Japanese horror fans like me always crave, a Japanese audio track is available from the start! It definitely aids in the immersion a bit, despite the cliches littered around.

Since the last demo we played in our preview earlier this year, I can honestly attest to the fact that the controls have been smoothed out. Previously, the motion controls were jagged and wild, sometimes seeing my character spin on screen because it just wasn’t properly capturing my gestures. Hudson has definitely put in the work to fine tune and clean up that aspect thankfully, which is surely the make or breaking point of any Wii game.

I’ve only gotten to experience the first two levels of the game thus far, and so far it’s alright. I can’t deny my love for creepy dolls, and a whole room dedicated to them was a bit eerie, but hopefully the full game (which has already released this month) has a new trick or two up its sleeves. If nothing new, then I can only pray for a game to finally toss in the demon wig.