Rumble on the Walk: The Street Fighter IV Inaugural Tournament in LA

On Thursday, February 19th, hundreds of Street Fighter fans, gamers, and passers-by found their way to the packed courtyard in front of Universal City Walk's GameStop store in Los Angeles, CA to witness and take part in the company's inaugural "Rumble on the Walk" Street Fighter IV tournament, the first of thousands to be held at stores across the country.

In addition to a 64-competitior tournament played on eight Xbox 360 consoles, the final rounds being displayed on a two-story high big-screen display for all to see, the event also included a raffle for multiple prizes -- headbands, autographed copies of SFIV, and an Xbox 360 console -- a costume contest, a "Best Street Fighter Move" competition, and a martial arts demonstration.

_{The bracket}

Almost as soon as the event began, the tournament bracket was filled to capacity, as was a list of 20 alternates, just in case any of the first-stringers suffered from strained thumb syndrome or fell unconscious at the sight of their opponent's street fighting ferocity. Both groups were lined up behind security gates and could be seen chomping at the bit like ancient gladiators or modern day UFC fighters.

I spoke with the group at the front of the line, including Player #1, the first registrant, "Big Dre Dre." He told me that claiming those spots was "a mixture of being early and being on top of this s***." Unfortunately for him, being the first in line only meant that he got to play first...against a friend occupying slot #2. "They play in order. That sucks." Dre would much rather have used his "Ken Bizzle" skills to KO unknown opponents.

_{The first three entrants into the tournament, including quarter-finalist "Big Dre Dre"}

Once the tournament got underway, things moved rather quickly, grinding down to the top eight street fighters in what felt like no time. In the quarter finals, two of the four matches -- Dre's crushing Ryu-Ken defeat included -- saw players who were down two rounds to none come back with three straight KOs, advancing them to the semis. At this point, matches played out on the big screen, where every super and ultra combo prompted "ohs" and "oohs" from the diverse crowd -- even babies looked on wide-eyed.

_{Sanchez vs. Gutierrez: "Round 1, FIGHT!"}

The final round was a best-of-seven match between Alex Sanchez and Ryan Gutierrez, better known as M. Bison and Balrog. Whereas earlier contests were exhilarating and suspenseful, this championship bout looked like a mismatch, as Gutierrez, or Gootecks, as he called himself, won easily in four straight rounds. This performance earned Gootecks a seed in the Evo 2009 Street Fighter IV Championship Tournament in San Francisco later this year, as well as a one-on-one match with Evo founder and Special Advisor to SFIV Seth Killian immediately following his victory.

Here's the final round of that epic confrontation:

^{Gootecks shows Seth Killian that he's the new kid on the block}

Fans thoroughly enjoyed the tournament, but it wasn't the only attraction of the evening. Four enthusiastic cosplayers were chosen from the crowd to compete in a Street Fighter franchise costume contest, where winners were determined by crowd applause. To no one's surprise, a scantily clad Cammy won easily.

_{Dudley, Q, Cammy, and Ryu pose for the camera}

In the "Best Street Fighter Move" competition, yours truly lost in not-so-grand fashion to the main tournament's runner up, who delivered a very vocal Shin Shoryuken to an imaginary opponent on stage.

Here's the winning move:

^{Mr. Sanchez caters to the fans with his Ryu impression}

...and my losing "Fei Long" impression:

_{I know it's not exactly a Fei Long kick, but I had to choose a character, and he was the closest I could think of}

Far more impressive than our fanboy antics, however, was the live Capoiera demonstration that took place in front of the stage about halfway through the event. A group of performers sparred with one another, performed acrobatic kicks and flips, and tumbled across City Walk like gymnasts doing floor exercises. It was enough to make me want Tekken's Eddie Gordo to join Capcom's Street Fighter IV roster.

_{Capoeira at the Rumble on the Walk}

GameStop's inaugural Street Fighter IV Tournament was truly enjoyable for all involved, from the old-school fans of the franchise, to the new, competitive players, to the random shoppers of City Walk who found the ever-more-mainstream gamer culture interesting enough to stop and watch. The manager of the City Walk GameStop store was especially pleased, saying that the event really helped out with regular foot traffic and general patronage, as well as obviously bolstering Street Fighter IV sales on both consoles -- especially for the Collector's Edition. He also said that Capcom was very helpful, providing plenty of merchandise and support for the event. In all, it was a great success.

In classic Street Fighter fashion, to everyone in attendance, "YOU WIN!"

_{"To GamerNode! <3>}

Voracious Simplicity -- The Maw Review

GamerNode - In an industry where many games rely on formulaic design and re-treading the same old beaten paths to be successful, it's very comforting to know that creative, original games do still remain. One such example is The Maw, an Xbox Live Arcade game that follows no established rules, instead setting out to define it's own style of rather peculiar fun.

The Maw is a third-person platformer where players guide Frank, a recently liberated ex-con alien, and Maw, a purple, cycloptic blob with a razor-sharp smile worthy of its name, through eight short levels, on the road to freedom. The sans-narrative tale begins when the prison ship the two soon-to-be friends were held on crash lands on an unnamed planet, thus freeing both from the clutches of their captors.

Very early on, Frank finds a remote energy leash that lets him latch onto Maw, as well as other critters, enemies, and obstructive objects throughout the journey. The actions associated with this leash mechanic range from moving boulders out of the way, to hurling explosive creatures at enemies, to uprooting annoying sentry guns, to tossing hapless victims into the Maw's gaping...Maw. All the Maw cares about, really, is eating; it is up to Frank to feed it. This causes Maw to grow, and to gain special abilities like fire breath, laser eyes, electro-zappers, and balloon-like floatation. These abilities, in turn, allow the dynamic duo to progress through simple puzzles leading to each level's goal.

Controlling Maw is not as easy a task as it may sound, however, as the basic 3D controls are somewhat imprecise. Players don't so much direct the Maw as much as simply let it tag along behind Frank. As a result, one might find him/herself running around in circles more than should be necessary in order to get the Maw to go to the exact locations desired. This often comes into play when trying to eat individual Yums (one type of Maw prey) or attack enemies/objects. A better route may have been to map the fussy camera to the D-pad and give players direct control of the Maw with the right analog stick.

Otherwise, the commands available to players work fairly well. Frank grabs the Maw with X, and everything else with B. Depending on what is in tow at that point, commands differ, but are all accomplished with simple, single-button input. This comfortable simplicity to a degree (but not entirely) redeems the game of its navigational woes. Yes, you will have fun playing The Maw.

The game's more endearing quality is undoubtedly its presentation. The bright and colorful 3D graphics are not what one might expect from the cutting edge HD era, as they are not terribly impressive from a technical standpoint, but they do fit the game's theme perfectly, and just about all aspects of the visuals are oozing with character. The style is reminiscent of a Pixar film, or DoubleFine's classic gem, Psychonauts.

The audio, too, fits the bill, with a score that sounds as close to semi-humanoid alien pop music as I could possibly imagine, mixed with jazzy synth-instrument tracks and borderline elevator music. The songs blend into the action so well that one might question whether they are plain and forgettable, or simply so perfectly matched with the gameplay that they become impossible to separate. Character noises and sound effects are silly and simple, again befitting the title.

The Maw is a simple, yet enjoyable game, with charm to spare. It may not be enamoring enough to ignore its gameplay flaws and the fact that it's not terribly deep, but despite those setbacks, it is still a refreshing change of pace that is worth playing.

Whaduya Get When You Cross A...? -- Halo Wars Preview

GamerNode - The gaming community has been waiting a long time for its first taste of Microsoft and Ensemble Studios' new take on Bungie's Halo universe in the real-time strategy game, Halo Wars. Many questions and concerns have filled the air, wondering if this attempt to meld the popular franchise with the historically difficult console RTS genre would effectively portray the fictional world that fans have come to know and love. More importantly, would gamers be able to pick up Halo Wars and have fun?

Judging from what we've played here at GamerNode, Ensemble Studios has managed to build this RTS from the ground up for the 360 in such a way that gameplay feels streamlined, without taking the player out of the equation. For seasoned RTS veterans, the "dumbing-down" of the genre may not be the most appealing premise, but for the 360, it appears to be just what the doctor ordered, and remedies much of what has made the genre so cumbersome on consoles in the past.

Players select individual units by placing the cursor over them and pressing the A button, or holding the button down and dragging the consequently expanded selection circle over as many units as desired. There are also "global" and "local" select-all functions mapped to the left and right bumpers, respectively, to help grab the bulk of the army more rapidly. These, along with a D-pad mapped ability to snap the camera to each individual mass of units across the map, make selecting units quite efficient. What's lacking, however, is the option to manually set up and select specific groups of units, something that could have easily been done with a simple shift function combined with the D-pad or control stick.

Commands to move, attack, collect, take over, etc. are issued with the X button, and although the player can't custom-define squads, pulling the right trigger does toggle through the grouped unit types for quick delegation of duties. The selector changes, depending on what is below it; clicking on land tells units to move, while highlighting an enemy readies an attack order. That much is fairly standard for the genre, but Halo Wars also allows units to perform secondary functions, such as the infantry's grenade bombardments or the Warthog's ram attack, quickly and easily with a tap of the Y button.

Where Halo Wars will most likely either win over or turn away fans is in its base-building and resource acquisition systems. Unlike the typical RTS, where the "base" area can expand as far as the player is willing to build (and protect) structures, Halo Wars restricts each base -- several will be scattered across each map -- to a small mall consisting of the main HQ and 7 surrounding support buildings. These are the typical soldier- and vehicle-growing centers, which double as centers for skill and equipment research, as well as two types of upgradable resource-generating centers. There is no harvesting of naturally-occurring resources in Halo Wars, only the drop-shipments from the UNSC at each of the bases' supply pads. This allows players to focus on building and combat without as many micro-management tasks on their plates. The process is very streamlined and easy to use.

On top of what seems to be a solid and functional RTS core, Halo Wars has the benefit of being able to layer on the well-established lore from Bungie Studios' Halo universe. This game takes place prior to the events of Halo, so the tale will still be somewhat original and inviting to Halo newbies, but dedicated fans will likely gobble up all of the familiar elements of the game world, high-production cutscenes, and references to other Halo games. Even the soundtrack, though composed by Ensemble Studios' Stephen Rippy, sounds very similar to the epic scores of the Halo trilogy, and indeed borrows elements from those works.

Halo Wars appears to be exactly what Ensemble Studios hoped it would be: a faithful translation of the Halo universe into an accessible and functional console RTS. If the demo is any indication, this game could be a hit from all angles. I'm not even a big Halo fan, and it's got me excited.

Second Time's A Charm -- Ar Tonelico II: Melody Of Metafalica Review

GamerNode - Gust is known for developing highly unique videogames, sometimes sacrificing wide audiences for implementation of very specific original design elements. If there was ever a game to break this niche status, the well-crafted Ar tonelico II: Melody of Metafalica may be it. Published by NIS America, the still-out-of-the-ordinary Ar tonelico II improves upon its predecessor in nearly every way, and proves itself as a very worthy entry into the ever-growing RPG catalog.

Ar tonelico II takes place in Metafalss, a troubled land that is caught in the midst of a war between rivals the Grand Bell and the Sacred Army. These two groups both seek to steer Metafalss toward peace and prosperity, but each has very different ideas regarding how that goal would best be achieved. The Grand Bell wishes to obliterate the Goddess of Metafalss, who has neglected the land and its people for far too long, and then build a perfect world without her impeding the people's progress. The Sacred Army believes that the Goddess is the key to Metafalss' salvation, and that the Grand Bell must be stopped in order to appease her. As the story progresses and the intricacies of each faction are revealed, the lines between "good" and "bad" or "right" and "wrong" become increasingly ambiguous.

The game's story begins when protagonist and Grand Bell soldier Croix is given the task of protecting the exalted Lady Cloche from assassination by the Sacred Army. From there, the complexities of the narrative continue to mount through one of two entirely separate story arcs -- paths that are determined by highly consequential player choices. Regardless of which way the story is directed, it is consistently interesting throughout, with very few lulls in the narrative pace. Thanks to a map system that eliminates the long-distance travel and slow exploration of many other RPGs, players spend more time in locations that advance the plot, and less time getting there. By selecting destinations from a menu, players progress quickly and continuously drive the story forward.

Character development is a huge part of Ar tonelico II, and players will spend much of their time cultivating relationships with the special Reyvateil members of their party. Reyvateils are the magical female race with the power to cast powerful spells and understand the fabled Hymmnos language. By having conversations with these ladies and "diving" into their subconscious "soulspaces," they develop both as characters and as RPG party members. The Cosmospheres, which are essentially separate game-within-a-game adventures inside the girls' minds, are especially important for revealing the girls' thoughts and feelings, growing closer to Croix, and learning new song magic to be used in battle. For the player, spending time exploring these areas adds great depth to all of the characters, and sheds new light on the different aspects of their personalities. These quirky and unusual mini-stories don't fail to entertain, although it's possible that some players may show greater interest in the more action-packed "real" world of Metafalss. After all, what's an RPG without it's combat?

Ar tonelico II's combat is complex and creative, but not so much that it disrupts the flow of battle. In fact, fighting through the game's random encounters is a pleasure compared to many other JRPGs, and something players are likely to look forward to, rather than dread. As in the previous game, the song-magic-wielding Reyvateils are the most important part of the party, but between launching powerful, charged spells with these unique characters, there is still plenty to do. Vanguards, who occupy the front line in a four-person battle formation, will see the most action in any given fight, as they are tasked not only with inflicting physical harm upon their foes, but also with defending against attacks directed at the fragile Reyvateils.

Combat involves a series of timed attack and defense phases in which players use the Vanguards to fight in semi-real-time. During the attack phase, pressing the action button associated with a character (square for the top row, X for the bottom) along with a direction on the D-pad will make him or her launch one of three attacks on the targeted foe. Two to three attacks per Vanguard can be strung together before the phase ends. If a Reyvateil is singing a song, a small graph representing her emotions indicates which types of attacks will make that magic most effective. Other factors, such as the Reyvateils' connections with the Vanguards and each other (as cultivated through gameplay), also affect the strength of spells, which can be unleashed at any time during the attack phase with a tap of the circle button.

During the defensive phase, players absorb and deflect enemy attacks using the same Vanguard-specific buttons as in the attack phase. Timing these commands with a meter that corresponds to enemy actions will result in varying degrees of defensive success. Pressing the button just as the cursor passes over the horizontal meter's sweet spot will result in a completely deflected attack, while premature input will result in a few levels of partially cancelled damage. A split-second late, and the party will feel the full brunt of the blow(s).

This new battle system makes each fight fast-paced and interesting, and makes the player feel very connected to the action. Improving one's efficiency in battle over the course of the game is rewarding and enjoyable, so long as the player doesn't mind actively participating in combat. Coupled with the limited number of random encounters per area and the clear indication of impending battles, the entire combat experience in Ar tonelico II is very well put-together.

The game's audio, too, is above average. Even on the normally unimpressive English side of things, the game's voice acting is solid, and works with the game's oftentimes peculiar and innuendo-ridden dialog to further color the game's characters. For purists, a Japanese language track is also included. The musical score, however, outshines any of the voice work. From light and playful songs, to industrial beats, to dark, foreboding tunes, there is a composition for just about every occasion, and the game's key events are all the more captivating when experienced in conjunction with the appropriate compositions. Even with such variety, there is a common multi-instrumentational and folksy sound that persists throughout the entire soundtrack, which happens to be included with the retail copy of the game on a separate audio CD.

While possibly the weakest aspect of the game, Ar tonelico II's graphics are still quite charming. The game makes use of sprites that are reminiscent of the 32-bit era, treading along backgrounds made up of a mixture of 2D and 3D objects. The sprites themselves are bulky and bland, but the low-angle perspective of the environments, with very near foreground and very distant background layers creates a unique aesthetic that makes exploring the various locales just a bit more interesting than they would be otherwise. Unfortunately, the technical quality of these visuals is less praiseworthy than the style in which they are put together, and the whole package looks fairly dated. The minimally animated, hand-drawn character portraits that accompany the game's copious dialog segments, on the other hand, are very nicely detailed and quite appealing. That's a good thing, considering how often players will be staring at them throughout the long adventure.

Ar tonelico II is a shining example of how to improve upon a franchise's shortcomings and create a truly high-quality sequel. It is also proof that a game with very niche concepts can be molded in such a way that it becomes appealing to a broader audience than one might initially expect. Ultimately, though, Ar tonelico II is a great JRPG with a unique, though not exactly cutting-edge presentation, great combat, and an interesting, well-paced story. RPG fans shouldn't miss this one.

Throwback Fun -- Prinny: Can I Really Be The Hero? Review

GamerNode - With its new Disgaea series spin-off, Nippon Ichi Software stirs up fond memories of a bygone era, when side-scrolling, 2D action/platformers were all the rage, and the simple joys of jumping around and slashing/pummeling everything in sight were enough to keep us happy for hours on end. Prinny: Can I Really Be the Hero? for the PSP delivers those simple pleasures, while at the same time punishing players for thinking they're actually good at playing videogames.

In Prinny: Can I Really Be the Hero, the ever-enslaved, explosive, penguin-shaped vessels for loathsome human souls are sent by their spoiled master, Etna, to collect the ingredients for the Ultra Dessert, after she discovers that her pantry has been plundered. Unfortunately for the expendable Prinnys, these ingredients are scattered across the Netherworld among ten uniquely-themed levels, and guarded by numerous enemy creatures and powerful boss characters, both from the Disgaea series and unique to this title. Because each Prinny can only withstand four hits before croaking (and just a single blow on hard mode), conquering these foes is not a very easy task.

The frequency with which players die rarely pushes frustration to its limits, however, possibly because the 1000 Prinnys available before the dreaded "game over" create a sense of comfort somewhere deep in the backs of their minds. Amid all the slashing, butt-stomping, bomb-chucking, and vehicle manning, the biggest gripe comes from the sometimes rigid feel of the game's controls. Rushing through the various stages is not really an option, as players employing that strategy will most likely only find the bottoms of many endless pits along the way. Care must be taken in order to successfully traverse the forests, fortresses, volcanoes, etc., and especially to defeat each area's boss. Simply mashing the square button won't work on these baddies; it will take timed butt-stomps to stun them, followed by short barrages of the Prinnys' regular and aerial attacks...and lots of dodging.

Throughout the journey, players will be treated to very pleasing visuals, with detailed 2D sprites moving across crisp and colorful 3D backgrounds. Character design is especially impressive, as each different type of enemy seems to convey its own personality simply by way of its appearance. Voice acting and sound effects also help to convey the silly nature of the characters, and the story in general. The game's soundtrack is enjoyable, albeit somewhat forgettable.

Prinny: Can I Really Be the Hero? is certainly an enjoyable little game. It feels like a throwback to the SNES and Genesis days, which, along with its carefully rendered visuals and lighthearted audio, will put a smile on many gamers' faces. Even so, the game doesn't skimp on challenge, and I can guarantee that the "Hell's Finest" difficulty setting will keep any gamer busy for quite some time. This one is definitely worth a try...

... dood.

The Count | Top 5 Anticipated Original Games Of 2009

GamerNode - The "Top X Anticipated Games of 20XX" has become an annual requirement for just about everyone in videogame journalism nowadays; this article proves that I am apparently no different in that regard. To be at least somewhat unique, I've decided to split the typical top ten list into two parts this year: sequels and original titles. Moving on from the predictable list of sequels, here is my list of the most anticipated original IPs of the coming year:

Trine (PC, PSN)

Trine is a very interesting puzzle/platform game set in a beautiful 2.5D fantasy world. Players take control of three different characters to overcome obstacles and beat back an army of undead, often manifesting objects out of thin air to solve physics-based puzzles, or using a Bionic Commando -like grappling hook to swing across large chasms. The burly, hammer-wielding Warrior, the deadly accurate and agile Thief, and the platform-conjuring Wizard can be swapped out at any time, depending on the task at hand. Little else is known about Trine, but from what I've seen so far, it definitely looks like a keeper.

Prototype (PC, PS3, 360)

If the sole purpose of gaming was to make players feel empowered, then Prototype may very well be the most successful work of electronic entertainment of all time. In this game, Alex Mercer wakes up in a morgue, defying death from the outset. He has no memory of his past, but has been endowed with supernatural strength, speed, and agility, as well as the ability to absorb the skills, knowledge, memories, form, and appearance of the people he kills. From instantly learning how to maneuver a helicopter or tank, to unlocking the secrets of his and the virally infected New York City's history, consuming victims like this can prove to be very useful. Radical Entertainment claims that there will be over 750 unique superpower combinations in this sandbox of destruction. What's more, Mercer can easily pull off a T-1000 impression, impaling enemies with spikes or clubbing them to death with weapons made from his own "biomass." I want what he's got.

Alan Wake (PC, 360)

Alan Wake, the newest offering from Max Payne creators Remedy Entertainment, looks to redefine the way we look at videogame horror. Billed as an action thriller, this grisly game is the story of author Alan Wake, a novelist whose frightening fiction begins to creep off the pages and into his life. The funny thing is that most of the plot for his story came from his own dreams to begin with. Drawing influence from the Silent Hill and Max Payne series, Alan Wake is set in what the developers claim is a 38-square-mile portion of rural Washington, in a town that the titular protagonist comes to realize plays host to more than its fair share of paranormal and otherwise terrifying activiy. Themes of dreams, reality, light and darkness are prevalent here, as Alan's level of consciousness can be ambiguous, and even when he is awake, the various sources of light found throughout Bright Falls are his main sources of protection. That, and a .44 magnum.

Brutal Legend (PS3, 360)

Tim Schafer is one of the few videogame designers whose every thought somehow seems to transform into gaming gold, so it should come as no big surprise that his studio's first project since Psychonauts scores high on the "do want" list of many gamers. Jack Black will lend his voice and likeness to this comedic action/adventure game about a roadie who must raise an other-dimensional army to save humankind from eternal servitude...to demons. In an open world where everything is fashioned out of heavy metal (music, not steel), this Tenacious D -like character can be truly heroic, and with each subsequent mission, his hard-rocking warband grows stronger and larger. From what we know so far, Brutal Legend is set to be one of the most over-the-top absurd games out there, befitting both Schafer and Black -- and I wouldn't want it any other way.

Heavy Rain (PS3)

After Quantic Dream's last game, Indigo Prophecy, it's hard not to put Heavy Rain at the very top of my most anticipated games list. Billed as a game made for adults, this story-driven adventure aims to affect players on a mental and emotional level like no other. Heavy Rain is a malleable film noir thriller in which decisions players make will have serious repercussions in the game world, be those consequences immediate or long-term. Much of the gameplay will focus on this thoughtful interaction with the images on-screen, rather than dexterous controller manipulation. The heavy themes involved will play out via the game's already-stunning visuals and audio. For anyone seeking the next step in gaming, Heavy Rain may very well be the ticket.

'Twill be a good year:

There are a lot of really exciting new IPs on the way in 2009. This list just represents a small portion (arguably the most intriguing, so please do argue) of that bunch. Games like inFAMOUS, Dragon Age: Origins, Darksiders: Wrath of War, Alpha Protocol, Flock, and many others are very promising, too, making 2009 look like yet another great year to be a gamer.

16-Bit, Dood -- Prinny: Can I Really Be The Hero? Preview

GamerNode - Even the stars themselves are surprised at Nippon Ichi Software's new side-scrolling Disgaea series spin-off. Prinny: Can I Really Be The Hero takes the demented plushie slaves of the Netherworld -- despicable human souls sewn into peg-legged demonic penguin skins that explode on impact -- and sends them on an epic adventure even Odysseus himself would shy away from. That, or they're out finding dessert.

Someone has pillaged the spoiled, iron-fisted, Prinny slave-driver Etna's dessert stash, so she decides to send 1000 Prinnies (yes, players have 1000 "lives" in this game) on a mission to retrieve ingredients from all ends of the Netherworld to re-create the ultimate tasty treat. Think of it like a sugar-coated, edible Triforce that you have to risk your life to get and then give away to someone who physically and emotionally abuses you.

Lucky for the Prinnies, Etna crafts a magical scarf that makes them only slightly less volatile on the field of battle, so players will be able to withstand a total of four hits per Prinny (in standard mode; one on hard) as they traverse the game's ten themed levels. Still, the game makes it surprisingly easy to die.

Equipped with blades, butt-stomps, and the occasional vagrant bomb, the detailed 2D Prinny sprites will make their way across impressive 3D stages, from forests to fortresses to volcanoes, collecting desserts and fending off a number of new and returning foes, including a boss encounter at the end of each area. Simple square-button slashing will get players through each stage, but the bosses require just a bit more strategy -- namely, the temporarily stunning butt-stomps. It's really a shame the Metal Slug-esque vehicles the Prinnies find along the way can't come through the boss gates.

Despite the massive number of lives at the player's disposal -- and these Prinnies really do define the word disposable -- this game is not easy. Like the great side-scrolling 16-bit action games of which it is so reminiscent, patience and precision are required to be successful during both the combat and platforming portions of Prinny: Can I Really Be The Hero.

From the build I had the chance to play, Prinny is shaping up to be a solid title, and with exceptional visuals, fun-yet-challenging gameplay, and plenty of comic relief, it's definitely worth looking forward to. It ships to US retailers on February 17th, dood. (I couldn't resist.)

The Count | Top 5 Anticipated Sequels Of 2009

GamerNode - The "Top X Anticipated Games of 20XX" has become an annual requirement for just about everyone in videogame journalism nowadays; this article proves that I am apparently no different in that regard. To be at least somewhat unique, I've decided to split the typical top ten list into two parts this year: sequels and original titles. More predictable and less exciting than original IP, sequels come first in this two-part feature. Behold my most anticipated franchise incrementations of 2009:

Street Fighter IV (360, PS3)

This one takes me way back to my childhood, when I, like GN's OLD SKOOL columnist George Brandes, used to run the Street Fighter II machine at the Playland Arcade and hear things like, "OH! Shorty just whipped yo' ass!" on a fairly consistent basis (although Microsoft's Ken Lobb admittedly beat me to a pulp when I challenged him at E3). Street Fighter IV features incredible graphics and online match-making to go along with its time-tested gameplay, and all 12 warriors from the SFII roster make a return to the arena, along with five brand new characters and eight veterans from other games in the series. New focus attacks and ultra combos, along with all of the special techniques from earlier games, will help to make Street Fighter IV the epitome of the 2D fighter.

Uncharted 2: Among Thieves (PS3)

"What's Tomb Raider?" That's the question Uncharted made gamers ask when it was released in late 2007, as it did everything right that the aging Lara Croft had been struggling with for years. The characters, storyline, graphics, and gameplay were all excellent, and came together to form what was far and away the best title on the PlayStation 3 at the time (and still ranks among the best). The sequel, although only shown in teaser form thus far, can only improve on what was already "must-have" videogame quality.

God of War III (PS3)

The God of War franchise is undeniably awesome. The setting and storyline are epic, the gameplay is nearly flawless, and Kratos is one of the most badass videogame characters in existence. Even on the lowly PSP, God of War: Chains of Olympus was one of the best games of 2008. Sony's Santa Monica studio is taking the reigns again for God of War III -- the first installment in the series on seventh generation consoles. Built on a brand new game engine, God of War III promises larger-scale battles than in previous GoW games, a new weapon system, and of course better visuals than ever before. Kratos seeks vengeance on the gods of Mt. Olympus in this final chapter of the God of War story. I'll be on his side.

Resident Evil 5 (360, PS3)

I'm a Resident Evil junkie, and for good reason. Resident Evil 4 was, and still is, one of the best games I've played in years, improving with subsequent update. Resident Evil 5 looks to take that winning formula and expand upon it in 2009. The game continues to move the franchise away from its slow, methodical roots toward more intense action gameplay, but it is masterfully done, distinguishing RE5 from the typical, everyday shooter. Adding new tweaks to streamline the gameplay, including new control schemes for dual-stick purists and fast weapon- and item-switching for us impatient folk, this is shaping up to be the best Resident Evil yet.

Bioshock 2: Sea of Dreams (PC, 360, PS3)

Bioshock 2 is essentially a mystery at this point. Our only glimpse at the game as of yet comes in the form of the teaser trailer above, but just knowing that the game exists and is penciled in for a Q3 2009 release is enough to get the gaming community excited. It seems that, with Rapture left on the ocean floor, Bioshock 2: Sea of Dreams is coming to the surface, Little Sisters and all. If Bioshock 2 is anything like its predecessor (which happened to be my personal choice for 2007's GotY), then it will undoubtedly be one of the best gaming experiences of the year.

A winner is almost you: Assassin's Creed 2 (PC, 360, PS3)

Assassin's Creed 2 has yet to be confirmed, but rumors have been flying that it could potentially be released this December, and that it may take the series to a new time period -- most likely the French Revolution. Assassin's Creed is still one of my favorite games of this generation, so I can only assume that its sequel (especially if they heed everyone's advice and vary the mission structure a bit) will be even better. My only reservation is about the time period; I don't exactly know how guns will fit the gameplay style.

Color Outside The Lines -- Crayon Physics Deluxe Review

TheGameReviews - In recent years, it has become quite obvious that the majority of the creativity in the videogame industry comes from small, independent developers. Some of the best games in 2008 were of this innovative, home-grown variety, and already in 2009, Crayon Physics Deluxe is continuing the trend.

Designed entirely by Petri Purho, under the label of Kloonigames, CPD explores what it might be like if one's every stroke on a piece of paper were to become actual objects in a two-dimensional environment, subject to all the laws of physics. The object of the game is simple: guide a small crayon-drawn ball to the star(s) in each of the game's 75+ single-screen levels. The catch, however, is that the ball can only be nudged slightly left or right; any other locomotion must be provided by drawing various objects on the paper to force the circle along, most often employing gravity to help accomplish that goal.

The simplest example of this indirect prodding is introduced in the first level, where players are asked to draw a box above the ball, creating a falling block that knocks the ball toward the star. Other possibilities range from simple lines to complex ad hoc mechanical apparatuses. Basic lines can bridge the many gaps and chasms between platforms, form slopes to guide the ball and build up momentum, or act as barriers to prevent the ball from escaping its desired course. A single line becomes a rope when fastened to small, penciled-in 'knobs' on two separate objects, and other advanced tools such as levers and pendulums are formed using hinges and pivot points on existing structures. Players can even create a self-driven car by drawing two wheels and a body, or activate conveniently placed rockets by dropping something on them. These, of course, can be attached to whatever strings, platforms, containers, or other things players deem necessary to move the ball to the star.

What is great about CPD is that there is no single correct solution to any of the puzzles, but many different ways to be successful. Where one person may draw a cantilever platform to reach the star, another player may employ something that more closely resembles a catapult. Of course not everything is possible in CPD. For the most part, however, solutions are restricted only by the player's own creativity, and some of the resulting sequences are nothing short of amazing. It's a shame there is no YouTube integration in CPD (a la Spore), because that would be the icing on the cake.

Players can't share gameplay videos, but they can share custom levels. The level editor allows players to quickly and easily draw up their own challenges and then upload them to the Crayon Physics Deluxe Playgrond website with just a few clicks. Downloading levels is a bit more difficult, as players must manually save the files in the Crayon Physics Deluxe directory via their internet browser. Being able to grab new levels from within the game itself would have been a far more user-friendly approach.

CPD has a few other drawbacks, as well. Unfortunately, because the game doesn't demand any specific approaches for successfully completing levels, players may simply find a few proven strategies and stick with them, only devising something new when their go-to game has failed. It is also possible to muscle through many of the levels, forgoing more elegant solutions and piling layer upon layer of virtual crayon wax until the game is essentially beaten into submission, and can't help but let the player win. A simple limit on the number of crayon strokes allowed for each level could have prevented this. Yes, fewer restrictions and the freedom to be creative are wonderful things, but one can't help but wonder if CPD might have been a more rewarding experience had the level design forced players to use a greater variety of solutions within a limited number of 'moves.'

In terms of presentation, there is little more to ask of CPD than what is already in place. All of the game's visuals appear to be hand-scribbled crayon marks on a folded-and-unfolded piece of drawing paper. Further driving home the crayon theme, players are allowed to draw on the overworld map, and even erase much of what is already there. As for the game's music, the lullaby-like tracks are a very good match for the simple and relaxing gameplay, but more would have been better, as they do repeat themselves frequently.

Crayon Physics Deluxe is a fun and innovative title offering extensive replayability and the opportunity for players to creatively interact with the game. A little extra tweaking and tuning could have made Crayon Physics Deluxe really stand out, but as is, the game is still a fine choice for an entertaining gameplay experience.

The Count | Best Of 2008

Braid (XBLA)

Braid is incredible. It was, in my opinion, the best game of 2008, and one of two (maybe 3) "perfect 10s" I've ever played. From its ingenious time-manipulating gameplay to its emotionally powered story to its beautiful audio and visuals, I have trouble finding any way to fault this masterpiece. While most puzzle games wear out their welcome in a matter of days (or less), Braid's puzzle/platform action is still one of my go-to titles on a rainy day (or any day, for that matter), because it is so much more than your everyday gaming experience.

Penumbra: Black Plague (PC)

Penumbra is probably not something you'd expect to find on this sort of list, as it is a relatively obscure PC title from a tiny Swedish development studio, and was released very early in the year. Nevertheless, this combat-less first-person horror adventure did so many things so well that it is impossible to ignore. The Lovecraftian atmosphere delivered a genuinely frightful experience (something rare in gaming), the physics-based puzzles were clever and engaging, and the story and characters had depth and meaning uncommon to the medium at large. Black Plague was simply excellent.

Fallout 3 (PC)

Bethesda's done it again. If Fallout 3 was just "Oblivion with guns," that'd be enough, but it's much more than that. The game refines the mechanics of its predecessor while adding the entirely new aspects of gameplay necessary to do justice to the cherished Fallout license. It may have cut back on the lore of Oblivion, but for everything taken out, something equally as impressive was added.

Metal Gear Solid 4 (PS3)

Oh Kojima. Although he could be called the Jackson Pollak of videogame designers, the end result of his throw-everything-at-'em approach to storytelling is truly epic. There has never been a game that could rival MGS4's meticulously directed cinematography, and the heavy themes found therein are also somewhat unprecedented. As a game (because it's true that much of it plays like a semi-interactive film), MGS4 mixes it up with a variety of gameplay, and always keeps things interesting. By the time this game is over, players feel like they've just taken part in something monumentally historic, and in a way, they have.

Mirror's Edge (360, PS3)

I'll admit that I am both a bit of a neophile and a whore for climbing and acrobatics, so when a game like Mirror's Edge comes out, it seems tailor-made for someone like me. This parkour-based first-person platformer doesn't dial down the excitement, because even during the moments Faith isn't being chased by squads of riot-ready guards, the free-flowing gameplay builds a sense of motion and momentum that keeps your hands glued to the controller and your eyes fixated on the action. The minimalist Orwellian plot set an intriguing stage for the action, as well, even if the main story arc wasn't exactly the most compelling narrative. In any case, this one was tough to put down.

LittleBigPlanet (PS3)

I named it "Best of E3 2008," and LittleBigPlanet remains one of the best games of the entire year. There is limitless fun to be had with this game, be it via offline solo play, online co-op, level-building, or even simply customizing and re-customizing your Sackboy as you scour each level for new items, stickers, and decorations. The best part, though, is the fact that the game never ends, as members of the community are constantly conjuring up new content that is arguably better than the core game itself. LittleBigPlanet is the closest thing to a virtual toy that I've seen in the videogame world, and never fails to put a smile on my face.

Honorable mentions: Too Human, Persona 4, God of War: Chains of Olympus, Left 4 Dead

Getting Copies Right: Open Source Gaming

Today, in what is a veritable legal monsoon season, a law exists regarding just about everything. People are quick to abuse the law of the land for their own purposes, suing over anything, staking claims to this and that, and doing whatever else they can to manipulate things for personal gain. In the videogame world, the focus is more on using laws to keep everyone else's hand off of intellectual property, allowing each and every scrap of content to be used in only the way its creators intended. It's mostly a "look, but don't touch" affair.

It was only a matter of time before the more, well, maybe less creative minds in the LittleBigPlanet community would dip into copyrighted material to re-create or re-imagine some of the finer experiences in gaming. They did just that, alarms rang out in the night, and the intellectual property patrol were cut loose, deleting a number of high-quality, but conceptually and thematically borrowed LBP creations swiftly and mercilessly. Many top-rated levels from the community vanished without a trace, leaving quite a sour taste in the mouths of many pleasure-seeking sackpeople.

Thus, a beautiful platform for fun and creativity was destroyed. Or was it?

According to Media Molecule Technical Director Alex Evans, this is not an entirely doom-and-gloom tale. In fact, some people want their copyrights "infringed."

"We knew that people would be creative, and that there would be references. It was hard getting the right balance on a worldwide angle. But then there's been these two mad positives; one was the high quality of the levels, including the infringing ones. The other point is the number of IP owners who came up to us and said please whitelist us – we'll never ever ask you to pull infringing stuff. I can't say who that is, but those two things really shocked me, I think it shocked [the IP holders], who were like, hang on, my IP's being represented and it's being represented really well. The IP holders have to have last say over the representation of their brand, and that's fair enough, so we've always got to have a method for people misusing a brand, but what's been really lovely is how well represented so many brands are."

It's good to know that at least some people get it. While the world of legality is all about restriction, segmentation, and general selfishness, the "internet generation" has been accepting, adopting, and applying the open-source attitude more and more with each passing day. We are migrating further away from the hindering "mine" and "yours" qualifications; everything is shared. Personal inventions are offered to the masses, allowing for parallel development in a shared problem-solving process. When it comes time for praise, this natural merit-based system rewards those who set wheels in motion, because the only prerequisite to IP access is recognition.

Until now, all we've seen and heard from the videogame industry is the former, but with the voluntary LittleBigPlanet whitelisting of these unnamed IP holders, it seems some people realize that imitation is the sincerest form of flattery, and that these copycat tributes actually serve to honor the source material they are based on. Maybe gaming is finally going truly "two-point-oh."

So is anyone interested in making a LittleBraidPlanet level?

Taking Risks: The Expansion Of An Artform

As the videogame industry marches eternally into the realm of increasingly sophisticated technology, creating videogames that push the envelope and take full advantage of the resources available to developers becomes ever more costly -- a fact of life that developers and publishers never hesitate to point out.

Claims that a game needs to sell at least X-hundred-thousand copies in order to simply break even are common, and complaints about unoriginal game content are often rebutted with evidence that consumers more often than not tend to play it safe and go with what they are familiar with when it comes time to cash out at the register. Whether the average game consumer is indeed the same man, woman, boy, or girl whose passion for the pursuit of gaming excellence drives them to complain about these seeing-eye sequels and copycat productions is up for debate, but in any case, the dissonance between critical and fiscal demand is quite evident. But that is for another discussion.

In 2008, we have seen a great many rehashes of old titles -- the numbers 2, 3, 4, and beyond adorned many retail packages this year -- but we have also seen games that represent great leaps of faith on the part of developers and publishers. I personally praised games like Penumbra: Black Plague, Patapon, Braid, Too Human, and Mirror's Edge for challenging traditional gaming archetypes and delivering truly innovative gameplay experiences, and sincerely hope that the positive response to these games far outweigh the negative, encouraging their creators to continue exploring ways to expand the definition of videogames. They may not please every gamer, but these games are essential to the industry's growth.

Ubisoft's Prince of Persia producer Ben Mattes seems to agree, and even cited Mirror's Edge as a big risk-taker in 2008. In a recent interview, he expressed his disappointment at the lack of recognition his studio received for the "high level risks" involved in the acrobatic platformer's development.

"In terms of us taking a shot and missing, I guess I would have to go a little higher level here and speak about risks in general.

For years we've all been reading complaints about sequels and companies churning out carbon copies of proven formulas without focusing on innovation or taking risks. Fans, developers and critics alike seemed ravenous for new ideas -- new IPs; major innovations -- advances in this art-tertainment (I'm trying to coin a new term here ;)) form we all love.

We tried to really embrace this challenge on PoP. We set out to keep a few core fundamentals but to re-imagine everything else, discarding some very well entrenched ideas not only about the brand but also about videogames in general (and we weren't alone. EA took some major risks this year with new IP and innovations - Mirror's Edge and Dead Space, for example).

What surprises me is how little these high level risks seem to be noticed and appreciated as attempts to shake up the industry and push things forward. Perhaps I'm an idealist, but I think perhaps I was expecting a few more virtual pats-on-the-back for our attempts to do something new.

Whether this means we didn't totally succeed in our risk taking or whether our industry in fact has a stronger appetite for the familiar then it wants to admit remains to be seen. Honestly I hope it is the former."

Yes, studios should be recognized for their efforts to elevate the medium to new plateaus, but what exactly constitutes a thorough attempt to achieve this sort of groundbreaking development? What determines whether a specific design decision is merely a change from the established formula, or if it is indeed a "major risk" in the creative process? How do we define the term "risk" as it relates to videogame development?

Blurring the lines between genres, infusing topics typically reserved for purely academic discourse and analysis, introducing previously unimagined and untested gameplay mechanics, presenting a product whose meaning is entirely subject to audience interpretation; these are risks -- design elements that take gamers out of their comfort zone and reach into unexplored territory.

Did Prince of Persia ever really push the envelope in such a way? Eliminating consequences for gamers' mistakes was a bold move, but it never felt like a monumental change; the game did not represent a paradigm shift, and it certainly didn't fundamentally alter the way people think of videogames. I do applaud Ubisoft for their efforts with Prince of Persia, but Elika was not revolutionary.

If anything, she took the "risk" right out of the game. :-p

Leave Well Enough Alone -- Syberia Review

Sometimes it's just better to leave well enough alone. In the videogame world, this philosophy can be aptly applied to publishers' tendencies to create sub-par ports of solid titles, oftentimes trading game quality for platform viability. Such is the case with Syberia from Dreamcatcher interactive.

The original PC version of Syberia was released in 2002 to predominantly favorable reviews that applauded the game's top-notch graphics, imaginative world, and interesting plot. This year's DS remake maintains that world and accompanying storyline, but clearly fails to deliver the beautiful aesthetic quality of the original, and brings along with the new hardware a few semi-game-breaking issues.

Syberia is a point-and-click adventure that takes New York attorney Kate Walker on a strange journey through Europe, seeking out the eccentric last heir to the Voralberg Toy Company to seal the deal on a corporate acquisition of the odd French automaton manufacturer. It is a unique and interesting tale, and the classic genre seems a perfect fit for Nintendo's touchscreen-based handheld, but gameplay stumbling blocks -- finicky stylus controls and meager system performance -- prevent players from enjoying it to its full potential.

Players guide Kate through the strange world of Syberia by tapping the desired location on the DS's tiny screen. Unfortunately, this is not the most precise of commands, and Kate does not always go exactly where players would like her to. There are many occasions when an ill-aimed stylus tap sends our heroine off of the screen and into the next area, and anything more than a single touch confuses the game, sending Kate back in the direction she came from. Manipulating the game world objects can also be frustrating at times, due to similar control issues.

Many of the game's puzzles require quite a bit of thought, and successfully solving them can be very satisfying. Unfortunately, much of the difficulty stems from the player's inability to discern interactive parts of the environment from the background visuals, and missing the items necessary to advance as a result. In this way simple solutions can become impossible. This design choice originally intended to showcase the PC game's high-quality graphics, but is completely unsuitable for the DS iteration. The solution -- dragging an inspection icon over the screen's every pixel -- hardly makes up for that. Then there is the matter of simply forgetting where things are and what Kate has seen prior to encountering each puzzle. I'd swear the game lied to me about her background, because NO New Yorker walks at the snail's pace that Kate does. Traveling from screen to screen is such a painstakingly slow process that it literally makes the game more difficult to play, besides wearing away at one's patience.

Along the same lines, what is essentially a lovely piece of background music is looped so incessantly that it could drive a person insane. After an hour of play, muting the DS was the only option.

A once-great point-and-click adventure has suffered a sad fate via this shoddy port of Syberia on the Nintendo DS. With poor presentation, faulty controls, and pacing that all but removes players from the experience, the story of the original game may have survived the transition, but its spirit remains on the PC.

I Vant To Shut You Up -- A Vampyre Story Review

When a person sits down with an adventure game, the most important tasks that the game has to accomplish are to a) be entertaining, and b) not be broken. A Vampyre Story from Autumn Moon Entertainment and The Adventure Company satisfies both of those requirements, but does little to excel beyond simple "worth playing" status.

The game puts the player in control of Mona De Lafitte, an opera singer-turned-vampiress being held against her will in an isolated castle in Draxsylvania. With her best bat-friend, Froderick, she tries to escape and return to Paris on a night when her captor, Baron Shrowdy von Kiefer, has an unfortunate (or fortunate) run-in with the hands of fate. This is where the action begins.

The game operates in much the same manner as any other point-and-click adventure title, but with a few notable unique features. Players click on paths, doorways, stairs, and the like to move Mona and Froderick around the game world, and can interact with objects by clicking and holding down the mouse button on them, then selecting actions from a selection wheel resembling a compass rose. In this way, the dynamic duo can, among other things, examine, talk to, pick up, take, and move these items using the context-sensitive commands that appear on the cross-like interface. Mona can also "remember" the things she sees so that she and Froderick can use them later on. When this happens, an ethereal version of the item -- its memory -- is placed in the player's inventory, becoming usable just like the real thing, but also answering the ever-bewildering question, "how does she carry all that stuff?" When a remembered item is used correctly, Mona simply turns into a bat and flies off to get it before performing the desired action. And speaking of bats, Mona's unfortunate "disease" (which she constantly denies) allows her to learn new vampiric abilities as the story progresses, and then use them to help her advance.

In general, the game's puzzles are thoughtful enough to not be boring, but also not so ridiculously off-the-wall that normal logic fails to solve them. Often during the trickier portions, Froderick or Mona will give an auditory clue in the form of some key word or phrase, thus helping to prod the player -- and the plot -- along. There are a few times when necessary items are difficult to spot, leading to temporary hang-ups, but overall, these problems are few and far-between.

A Vampyre Story's greatest shortcoming is its plot and storytelling, which is not to say that the narrative is horrible, because it is the best aspect of the game, as well. Many of the characters in Draxsylvania are genuinely likable (or despicable), and much of the dialog in the game is witty and amusing. On the other hand, the writing tries so hard to be funny that it takes the corny jokes and puns just a step too far on multiple occasions. The story isn't all too deep, nor is it so amazing that gamers will be talking about it for years to come, but it is interesting and enjoyable enough to keep players happily involved until the end (so long as Mona's grating voice doesn't annoy you to the point of abandoning the game completely).

The cartoon-style graphics fit the light-hearted nature of the story and are generally very appealing, save for a few minor clipping and frame rate hiccups. The hand-drawn backgrounds outshine the character models, but the two work well together to create a nice, unified aesthetic that seems perfect for this game. The background music, too, fits the story, and while it is nothing too grandiose, it is varied and effective.

At a bargain price of $29.99, A Vampyre Story is great for players seeking a low-intensity and entertaining adventure. The characters and dialog will keep you smiling (at both the legitimately funny lines as well as the laughably corny ones), the simple, effective controls and sensible puzzles will keep you playing, and the mute button will keep you from throttling Mona. Okay, maybe she's not THAT horrible.

Such Great Heights -- Prince Of Persia Review

To take an already critically acclaimed videogame franchise and entirely re-envision it for a new generation is some feat. What's an even greater achievement is to stray from the original formula and still come away with something spectacular. While Ubisoft Montreal's Prince of Persia for the Xbox 360 and PS3 may not definitively improve upon, nor fall drastically short of the older entries in the franchise, the game is a solid, enjoyable experience that, despite design flaws, is indeed spectacular.

This Prince of Persia is the tale of a new "prince" -- a vagrant tomb raider who loses his latest bounty, stumbles into a sandstorm, and finds himself mixed up with a beautiful woman in the middle of a battle between gods. The story seems heavy, albeit a bit standard, but the narrative is actually light, and the focus is squarely on gameplay. The problem with this, however, is that the gameplay itself also happens to be surprisingly dainty.

On their quest to seal away the evil god Ahriman forever, the Prince and companion Elika must locate and restore a number of formerly pristine "fertile grounds" that have been corrupted by the dark deity. Much of the storytelling comes in the form of optional dialog between the two protagonists. Unfortunately, the way these segments are delivered to the audience involve a break in the action, when they just as easily could have been voiced over the platforming gameplay. Tapping L to make the two chat does little more than take the controller out of the player's hands in favor of a perspective shift, and make the somewhat interesting, yet visually unimportant conversations a chore to sit through, thus encouraging players to skip them altogether. Only at a few key junctures in the adventure does the game really work to advance the plot. Combined with an inevitably monotonous my-first-platformer control setup, this offers little motivation for players to press forward.

The platforming action is not immediately intuitive, as there is a delay between controller input and on-screen action. The idea seems to be to allow players to string together lengthy acrobatic combinations across long stretches of obstacles with relative ease, and for the most part it is effective. The slight delay between controller command and equivalent on-screen action is somewhat jolting at first, and fluid traverses across the many platforms, columns, rings, bars, walls, fissures, and more that fill the environments take some time to realize, but once the control style is practiced for but a short while, it does become second nature. Players will find themselves skating through the Prince's world more fantastically than in any other Prince of Persia game to date. This isn't to say that the acrobatic gameplay is superior to prior games, but that the moves available are simply more wildly unrealistic. The fact of the matter is that as complex and incredible as the Prince's moves may be, the corresponding player input boils down to very simple and borderline leisurely button taps that require little skill to accurately perform. At times, "second nature" can end up meaning "mildly boring," as if the game is playing itself, but newcomers to the hobby, genre, or franchise may just find the pace to be ideal.

Being set in such an expansive (and visually stunning) world, there are certain areas in the game that are far more satisfying to play through than others. The locales appearing to pay homage to the older, arguably more engrossing Sands of Time trilogy are in fact some of the most bland parts of the game, but navigating the complex architecture constructed by Ahriman's Alchemist (one of the four sub-bosses) allows players to partake in simultaneously beautiful and practical level design on a truly grand scale. The game is at its best when whisking the player quickly from one obstacle to the next through this sort of environment, the Prince avoiding corruption and performing long and varied sequences of jumps, swings, slides, wall-runs, etc. Action such as this takes up about a third of the game, the rest being divided among travel, combat, and...orb-collecting.

Light orbs are the keys to the city, so to speak. Collecting these liberally sprinkled balls of joy opens up four types of Prince-flinging, glyphic plates placed on walls throughout the game world that must be utilized in order to move forward. Herein lies another problem. Despite the lack of challenging gameplay, running through the game world can still be very enjoyable as long as the player is actively progressing toward the goal of the moment. After purifying each of the 20 fertile grounds, however, extensive orb-collection adversely affects forward momentum, backing the game up into N64-era platforming a la Banjo-Kazooie and Donkey Kong 64. Either game type, on its own, is perfectly fine, but in Prince of Persia, the reliance on orb collection to advance feels like fly-in-my-soup syndrome. Ideally, players would be able to ignore the orbs altogether, but still pick up enough of them via normal exploration to unlock subsequent areas and advance through the game. This is not quite the case; players can almost get away with that strategy, but dedicated orb-hunting is unavoidable.

Players are granted plenty of freedom in the path they take to the game's conclusion, however. Like those platformers of the 90s, Prince of Persia is characterized by a type of non-linear, hub- and sub-world design, wherein the players, rather than the designers, determine the order in which they visit and complete the game's many areas. Because there are no boundaries between these places, it is possible to easily jump (run, swing, climb) from one to the next, all the while observing magnificent watercolor vistas that illustrate the immense scope of the land.

Each of the fertile grounds is protected by a single enemy. It may seem odd that players fight these foes prior to exploring the area they guard, but in a way, the setup makes far more sense than the more common boss-at-the-end style that most games employ. Instead of basically having their way with an area before seeing any real opposition, Prince of Persia makes players earn the right to explore each one. The Prince and Elika battle each of the guardians in rhythmic combo- and counter-based two-on-one combat that combines real-time control with quick time events (QTE). These sequences are easily the most intense and adrenaline-pumping portions of the game, but because there are only so many possible combinations of sword, gauntlet, and Elika attacks available, these fights can turn into cases of deja vu as players advance further into the game.

As a work of art, Prince of Persia is a nearly unmitigated success. The unique graphical style is crisp, colorful, and beautiful, especially as applied to the epic landscapes and structural design within the game world. The score is a bit more subtle and less impressive, but the compositions definitely contribute to each area's overall mood and serve to better the gameplay experience.

Prince of Persia may not be the absolute pinnacle in princely acrobatic gaming, but it is certainly an enjoyable game. Marred by some inconsistent pacing and less-than-engaging action, it still manages to deliver a wondrous and open world through which players fight and fly to the game's exciting conclusion.

Mobile Mayhem -- Metal Slug 7 Review

Anyone who has played a Metal Slug game in the past knows what, generally, to expect from any new entry into the series, as the core gameplay has seen little alteration over the course of its 12-year history. The fast, frenetic, and fun run-and-gun shooting action once again makes a return in Metal Slug 7 for the Nintendo DS, the first original entry to go portable since 2004's Metal Slug Advance.

The appeal of the Metal Slug series has always been the intense and hazardous Contra-style action, combined with a light and humorous visual style and overall tone. Metal Slug 7 delivers on both fronts, managing to contain the classic Metal Slug feeling on the small DS screen. Although everything is scaled down to fit the DS, there is little loss of visual quality; the colorful sprites are slightly less detailed, but retain the clarity and artistic stylings of higher-resolution versions.

Metal Slug 7's gameplay also remains intact on the handheld, as the DS's d-pad and face buttons are precise and responsive throughout the game. There are no tricks here; players run, jump, shoot, bomb, and slice their way through the waves of enemies while rescuing grateful prisoners of war. The story is as thick as the plastic wrap that the game ships in, but like the good old days of the 8-bit and arcade eras, that doesn't really matter, as the focus is squarely on gameplay.

As in Metal Slug 6, there are six characters to choose from in Metal Slug 7, each with unique talents. For example, Marco deals increased damage and can fire more rapidly than the others with his pistol, and Eri starts off with extra grenades and the ability to aim her explosive tosses. This mixes things up a bit, and allows players to adopt different strategies on subsequent play-throughs, or even after continuing a game.

Metal Slug 7, while still very challenging (I'm not going to even tell you how many times I bit the bullet), is slightly more forgiving than past Metal Slug games. In addition to a beginner mode that doubles the number of available continues, the game saves players' overall progress, allowing them to start new play sessions from the most recently accessed mission. No longer are players restricted from later levels due to their inability to survive, and highly skilled veterans still have the option of starting from the beginning with each go-'round.

There is no shortage of weaponry in this game; heavy machine guns, shotguns, rocket launchers, lasers, and a number of other cartoon boomsticks are scattered liberally throughout each level, usually in the hands of POWs. (Does that even make sense?) The game also adds three new Slugs, the heavily-armored and high-firepower vehicles used to obliterate the opposition, to the already sizable stable.

Metal Slug 7 is clearly an enjoyable shooting experience...for one. That's right, portability comes at a price, as there is no multiplayer option in this game--something that has been a mainstay in the series from the beginning. Players who live and breathe co-op play will most certainly be better off waiting until this timed DS exclusive hits Xbox Live Arcade. For the soloist, however, Combat School mode offers a number of challenges (eliminate all targets, collect all items, rescue all hostages, etc.) to be completed for points and self-satisfaction. It doesn't quite stack up next to a cooperative play option, but the goals do keep things interesting.

Metal Slug 7 makes for a grand old on-the-go gaming experience. It captures the essence and retains the integrity of the franchise for the tiniest of handheld console screens (although the touch screen is essentially ignored), and even though cooperative multiplayer has been omitted--a significant blow--the game is still very much worth playing for the solo enthusiast.