Homefront

The Short

Pros
- Decent enough shooter...that is, it never really broke
- Premise is interesting
- Multiplayer is stable and has a few unique ideas
- Graphics aren't...awful
- Explosive barrels are yellow instead of red. That's...a good thing.

Cons
- Single player is three hours long.
- Story is bland, patronizing to the intelligence of its audience, and borderline racist
- Shooting feels weak and bland
- Guns, sound effects, and voice acting are all very lame
- Even more "paint by numbers" than other Call of Duty clones on the market
- Controller support works, but only just
- Tons of blatant, in-game avertising
- Playing this game right after Spec Ops: The Line was a bad idea

Objectives: Keepin it simple for the dumb shooter fans

The Long

So let's get something out of the way real fast, despite my scathing reviews of the genre on this blog, I don't mind modern military shooters. I used to be really deep into Modern Warfare 2, and Black Ops, and for the most part I figure if you enjoy those types of games, that's cool and all. I mean, I wouldn't have played Homefront or Medal of Honor or all those other games if I didn't actually enjoy parts of the genre, right?

That being said, Homefront is an absolute disaster. 

I was actually looking forward to this game pre-release, and almost even pre-ordered it. As a fan of Call of Duty who was obviously seeing the series multiplayer (and single player) stagnate, I was more than willing to let THQ start up their own thing that could overcome it. However, after just a few minutes in both Homefront's borderline-offensive single player and shockingly boring multiplayer made me realize that Homefront is nothing more than an inferior clone, and all of THQ's large aspirations to make the game "better" than its competitors completely stumbled out of the gate. That, or died before even leaving the gate. 

So let's talk about Homefront.

Aiming down a red dot site? Never seen that before. 

Probably the worst thing about Homefront is its single player. Again, I felt the story had a lot of promise. It starts by giving you a stylized intro splicing real footage with obvious actors to show a series of events leading to North Korea taking over South Korea, allying with China to take over the majority of Eastern Asia, invading Hawaii, and occupying the Western side of the United States. It's actually somewhat chilling, especially for those who have followed North Korea in the news, because let's be honest...that country can be pretty scary. While the idea of it taking over the US is pretty far-fetched (especially since, I dunno, where the crap is the rest of Europe during all of this?), it's an interesting idea. Set a game in the US where half the country is occupied, and people are having to fend for themselves.

Homefront takes what could have been a decent premise and makes it downright stupid, and borderline racist.

Let me get this off my chest first, because I'm itching to say it: racial slurs for enemies, even if you made them up specifically for this game and are very obviously referencing "North Koreans," is not OK in your game. I get it, you want to show the people hate the North Koreans occupying their country, but having your team toss around racial slurs when you gun down people or using them amidst military jargon is not cool. I wouldn't say I'm one to get all uppity about this sort of thing, since I'm not a Korean-American and thus can't give my opinion on this game's representation of (what I'm assuming, based on the preface) is essentially both North and South Koreans, but still...seriously. There's even a scene in the game where they condemn a group of weird survivalists hicks (out of Utah, apparently  Do they have like ten wives too?) for being racist against your teammate who is Asian-American. Um...but you were all tossing around these racial slurs for the thousands of Koreans you gunned down during the game. But it's ok now because in-game you showed your guys are clearly incapable of racism because they defended your one team member who was Korean (and, also, the brilliant nerdy machine guy. Stereotypes, ahoy! Also, the black guy dies first. Again, awesome.).

First thing I said when I saw this cozy home base: it only exists to be burned in a "dramatic" moment later. SPOILER: I was right. 

Speaking of your companions, none of them are likable (except the Korean, weirdly enough. At least he was sort of witty). You have your rough-neck leader who is supposed to be a role model, but instead he's just a huge dick. You have your sort of hispanic girl ally who has a bare midriff and whenever an explosion happens that launches you all on the ground she somehow lands so her perfectly-rendered, jeans-covered butt is facing you. Classy. And...that's it, actually. There's a black commander but he dies (um...spoilers?) in like the first two missions so...awesome.

But where this game really fries my bacon is with it's attempts to be "edgy." It starts with Koreans busting into your house and putting you out on a bus that drives slowly through town. As you do this, you can watch all the atrocities that the North Koreans are doing to the enslaved Americans. Taking them to labor camps, shooting one that tries to one away, randomly gunning down a set of parents in front of their child (seriously...why?), complete with blood (that looks like bad ketchup, by the way) splattering on your bus window. You know. Edgy.

It only gets worse from there. As mentioned in the image, you find this utopian little self-sustaining refugee house, which exists for you to walk through once and come back to find it burned and everybody strung up and dead. You see them shoveling bodies into mass graves, only to have to "press X to hide in mass grave" later to avoid overhead choppers. You find a bunch of rednecks who just want to linch your Korean buddy and rape the girl, who spend their time torturing everybody they find but especially North Koreans. It's just one obvious attempt to "push the envelope" after the next, and all of it feels so fake and forced it's more offensive for being stupid rather than offensive to have a purpose. 

Seriously? This is the worst. 

[Tangent inbound]

See, I'm all for edgy content, or stuff that makes me thing. But that's just it: edgy content needs to have a purpose. It needs to serve the story, or at least (in a game's sense) the gameplay. The problem is, while books and movies have gotten this right, games rarely do. Mostly we have crap like "No Russian" from Call of Duty, that exists just to be "shocking." It isn't really shocking because it's only skin deep. You can distance yourself from it because there's no deeper story implications, nothing that makes you mull it over and consider how it applies to yourself. Not to butt in on another review, but Spec Ops: The Line has a lot of very similar elements as Homefront, but because it addresses them serious and as the atrocious as they actually are (like using white phosphorous and burning people alive, which you do in Homefront without batting and eye but face some awful consequences in Spec Ops) the story has impact. Homefront is like that punk 12-year-old kid that you know who swears all the time around you and talks about sex or whatever. He's trying his hardest to get a rise and be "adult," but he's so ignorant and blatant it's just him making a fool of himself. Because Homefront doesn't use any of its shocking imagery, it all comes off as weak and bland.

Not to mention it falls into that "shoot thousands of non-white people as a totally white person America #1 Hoo Ra!" problem that plagues this whole genre. Makes me a little sick to my stomach. 

I'd also like to lastly point out that this is the first game where they actually recorded voice for "Take cover inside the Hooters!" and "Regroup in the White Castle!" I'm so glad to see in-game ads playing prominently in video games these days that an entire level is about infiltrating a TigerDirect.com physical store, complete with "half off!" and "killer deals on GPUs!" adds plastered everywhere. Maybe it was because I was playing the PC version, and if I'd done it on Xbox it would have been a Microsoft Store or something. 

Mediocre at best, deplorable at worst. 

It's also worth mentioning the single player is three hours long. No, that's not me exaggerating  I checked my Steam time after burning through the game on easy (including all deaths, menu navigations, me trying to figure out how to make the controller work properly, etc.) and my in-game time was just over three hours. Seven missions, one of which is maybe ten minutes long. What a great value. 

Multiplayer tends to be a bit better in terms of content, at least. It actually is pretty clever. The better you play, the higher your "priority" ranks up. So you get better unlocks (like weapons, scout drones [my personal favorite] that you can use to tag people for your allies, attack drones, etc.) but as your stars get higher and higher the other team sees your general location on the map and gets a massive points bonus for hunting you down. This idea of somewhat penalizing players for doing well (to aid the other team) is actually a pretty decent idea. And, as stated, the power-ups are cool (and there's vehicles in this game), like the scout drones and other stuff.

The problem is the shooting in Homefront is just as bland as its story and copy-cat feel.

Plus, really bad looking blood. 

Guns sound awful, to start, like pea-shooters. While I was annoyed at Metal of Honor for running by the book, at least Dice knows how to make a game sound good. Homefront doesn't. The guns sound bad, as does all the voice acting and everything else in the game. I guess I usually put this paragraph by the graphics section, but whatever.

Shooting is serviceable but not tight. While Call of Duty and Medal of Honor are obviously developed by people who have made these types shooters in the past, Homefront feels lacking. While I'll admit it was hardly bad, when I played on a controller the auto-aim seemed borked, and when I switched to a keyboard and mouse it felt waaaay too imprecise, even after messing with my mouse settings. This is combined by unrealistic and unreliable "kicks" from guns, weird iron-sights that never seem to hit where I point them, and the fact that most SMGs are just straight up underpowered, this game feels like a budget game. Which it wasn't released as, it was released as a Call of Duty killer. Sorry, not gonna happen.

Kills earn points, which you can cash in for one of two rewards. Not a bad system, honestly. 

Graphically this game looks dated. It's hard to describe, though, with static images. The game looks ok in screenshots, with a lot of texture detail, bump-mapping, and despite looking generic at least it appears to be...ok. The problem is this game looks horrible in action, and I'm not talking about the framerate. It just looks...well...the textures look like early Xbox 360 games. You know what I'm talking about, the ones that just discovered HD, so everything looks kind of weirdly shiny, like it was up-rezzed? Again, it's hard to describe, but I played the game both on the Xbox 360 and then on the PC with everything jammed up to max settings, and it looks...straight up bad. Like a budget game.

And "Domination." Woo. 

Homefront is an excellent example of failed expectations. Again, I was looking forward to this game for quite a bit, thinking it could convey a dark and interesting storyline and an actual multiplayer experience to compete with Call of Duty. Instead, we get a game that's a cheap knock-off and feels like it at every turn. It's story tries too hard to get attention and ends up floundering, the multiplayer doesn't do anything that breaks the mold or even matches it, and the game looks and sounds straight up bad.

I've been putting off playing Homefront despite having gotten it on Steam a while back because of what I've heard, and I kind of wish I'd listened. Sure, it was only about three hours of my time I sunk into the single-player, but I'd much rather have spent that time doing just about anything else.

Unless you really like bland modern military shooters, Homefront can remain forgotten. One out of five stars. I'd recommend Medal of Honor over it any day.

One of the worst thing ever.

Games That Changed My Life Part 1: Final Fantasy IV

"Games That Changed My Life" is a multi-part series on games of particular personal note in my own history. These games have incredible significance to me in one way or another, and I'll be explaining exactly why on each reoccurring episode. 

Final Fantasy IV

RPGs are all over the place today. It seems like you can't shake a stick without hitting one, or at least games that incorporate what was once considered "RPG" (aka "Role-playing game") elements. Experience points make their way into Call of Duty, Halo, Puzzle Quest, and all sorts of genres. But it wasn't really that long ago when RPGs were considered somewhat "niche," and the rift between JRPGs and Western RPGs was that much more massive.

What does this have to do with my memories of Final Fantasy IV? Well...not much, but I needed some sort of intro to make me look reasonably intelligent.

Just roll with it, ok?

I'll be frank here: I was probably the biggest terror ever to raise. Not because I was a bad kid or anything (I always tried to be good), but because I was a super hyperactive one. Say what you want about ADHD and how we overdiagnose, I was the poster child for that. Add that my two younger brothers were probably not the most darling little angels ever, and you have yourself a nice stressed mom and the inability to keep a consistant babysitter for more than two or three sessions. Think of us as Calvin and Hobbes, except there's three Calvins.

The only babysitter that I remember lasting multiple times was Carson (last name withheld to protect the innocent), and this was because he had a tactic. First, he was male (and we were all males) so that somehow made things easier. Second, he let us do anything we wanted until bedtime, then he didn't take any guff. And third, he snuck his Super Nintendo over quite regularly.

The incident in question began when my parents decided to take a day trip to L.A. Carson was the only one willing to deal with the trio of terror for that long of a period, so his skills were enlisted. On the way over he made probably the smartest decision he made that day: picked up a copy of Final Fantasy IV from the Video Rental store a few blocks from my house.

He got stuck on this boss for a while. Didn't know to just use Lit-3 and end it in one hit.

As ADHD kids, we glued ourselves to video games. Hell, I still do (I'll admit it). We never had any systems growing up, so playing on an NES, Genesis, or SNES was a real treat. So when he came over with this new game for us, we were thoroughly engrossed.

I remember everything from that game. He played the game from the beginning all the way up to the point where Tellah died (then got stuck on Barbaricca, the Elemental Fiend of Wind) and we watched over the course of who knows how many hours.

Now, I'd played games before (I don't remember how old I was, but it couldn't have been above ten) on the computer, but nothing like this. Nothing that had a story to it. I remember my brother and I being elated when Palom and Parom were enlisted, and so mortified when they turned to stone to save Cecil and the crew that my brother literally cried and we had to turn the game off for a while to comfort him. Tellah's death was equally impactful, as he was one of our favorite characters because of his awesome magic spells and spiffy attire (or at least, that's why I assume we liked him so much).

Dance for me!

This was the moment when I realized something. Video games aren't just toys. I'd cut my teeth on things like The Incredible Machine 2 and played truckloads of NES and Genesis games as friends' houses, but this was the first time a game was more than just a fun little interactive activity. It had a story, like a book. It had characters. It had emotion. It had memorable scenes (Tellah casting "Meteo" on Goblez was embedded in my mind for nearly seven years as I searched for this game after I'd forgotten the title. It wasn't until the advent of the internet in the late 90s that I actually rediscovered it). It has beautiful music on par with the classical stuff we were learning on the piano. It was more than a book could be, because it had images. It was more than a movie could be, because it was interactive. It was something wholly unique, a means to present story on a plane unlike anything we've ever seen.

Needless to say, it was impactful. We liked it so much we named a truckload of our Lego characters (we were way too big into Legos) after the characters, with the "Tellah Guy" being a mainstay who worked his way into all our of Lego adventures. When Carson got stuck on the three sisters boss for several hours (he couldn't figure out how "Wall" worked) we thought they were, in fact, the final boss of the game (I was relieved several years later when I replayed it and found the three sisters are cake). I remember Edward's girlfriend dying, and Tellah being furious. I remember the hovercraft (and even then I thought it was weird that this was in a medieval setting) and floating over water. I remember "Jump, Kain, Jump!" as Carson got stuck on Barbaricca for forever. And I remember Cid being my second favorite character, if only because of his huge hammer and love of airships.

Never Forget. 

For me, this was an impactful moment in my childhood and my gaming career. It introduced me to RPGs, a genre I would not rediscover until nearly half a decade later. It showed me story in games, with real emotional weight. It blew my young mind on so may levels that video games could be like this, something the industry (and those outside of it in particular) are still trying to comprehend even to this day. It's something I'll never forget.

Fly on, Red Wings

Even as I replay the game today and realize it's...well, let's say "dated," to be nice...I can't help but be completely engrossed and wrapped up in nostalgia as I re-remember and rediscover things buried in my mind. Granted, that only lasts until after Tellah dies (though Carson did load another save on the rental copy that was on the Moon, which lead to mass confusion), but the music, the feel of the game; all of it is still there, buried deep in my brain. It's something special.

As a final, maybe not relevant anecdote, many years later when I went to college I had another weird Final Fantasy IV experience. This was around the time iTunes was starting to get big (2004ish) and they just introduced the network-sharing feature. Naturally, everybody on our dorm shared all their iTunes music so the whole building could see everybody's library. They could also see their playlists, including their "Top twenty-five most played" and playcounts.

The sound of my ruined college.

Due to some freak accident (that or I left it on overnight or something), Hello, Fat Chocobo got something like two-thousand playcount. Again, no idea why. However, this quickly became a huge in-joke that I was unaware of. People from four or five floors above would walk past my room, humming the song loudly. They taught their friends to do it too, so whenever we went to social gatherings somebody would hum or whistle it absently at some point during the visit. To this day I have no idea why the playcount was so high, but it pretty much cursed me for my entire freshman year of college.

That's all for this time, but expect some more trips into Nathan's psyche and personal game history soon. Because that's what you always wanted: to get inside my brain. Yeah you did. Admit it.

Red Eclipse, STK feature in Microsoft Promo

Hat tip to forum member TheLastProject who posted about a promotional video for a proof of concept research project called 'IllumiRoom'.  The main game shown is Red Eclipse, but SuperTuxKart also briefly appears (implicitly as the game played by a girl!) around the 0:48-50 mark.

I doubt they were actually showing an Xbox as I'm unaware of either Red Eclipse or SuperTuxKart being able to run on one.

I find it fascinating that 2 FOSS games would appear this way.  Either this is an indication of red tape avoidance (no permission required for GPL games) or a cultural shift within Microsoft - or perhaps I'm just reading too much into it.

It certainly adds some validation to the games themselves, indicating they are impressive enough to feature as part of a video by one of the world's foremost technology companies.  So hats off to the developers of both projects and also the projects that enabled them (CubeSauerbraten, TuxKart) - I like it that both games are good examples of open source in action.

GarageGames raising money to port MIT-licensed Torque3D to Linux.

Just a quick heads up.  GarageGames is currently raising money to port their recently open sourced Torque3D engine to Linux, including editing tools.  Here's a link to their IndieGogo page.  They're using a fixed funding campaign, so you don't have to worry about losing your money if they don't reach their goal.

We could use a capable 3D engine with mature, commercial quality editing tools on Linux (yes, there are other FOSS engines that run on Linux, but what we don't have is something that comes close to Unity at the moment in terms of ease of use) -- not to mention the fact that this would open the door for people to port a lot of existing games.

If you'd like to see this happen, stop by their IndieGogo page and help them out.

Spaceteam

Spaceteam

The Short

Pros
- Frantic multiplayer game where you are a SPACE TEAM
- Free
- Can be played 2-4 people and game adjust difficulty accordingly
- This game is an absolutely hilarious, insane good time
- Cleverly written and designed, with no two games the same
- Did I mention it's free?

Cons
- Some of the "disabilities" are much, much worse than others
- Might make your friends hate you if you play really bad
- No advanced options (team switching)
- Can't have more than four people...though that might be a pro
- Not available on Android. Since it uses local Wifi, I'd love to see cross-OS play here

It's time to form a team. A Spaceteam. 

The Long

I heard a lot about this game over the holiday from the various gaming blogs and podcasts I listen too, with several even considering it in their Game of the Year deliberations. It made me curious about it, but the screenshots didn't look particularly enthralling. Yeah, it's a space game. Yeah, you hit buttons and turn dials. And yeah, it's multiplayer only and is free. So..?

I had these reservations, sure. Until I played it.

Spaceteam is one of the best things you can get on your iOS device at this given moment. Assuming you have friends (local ones, mind) that own iOS devices as well. 

This game is so frantic, it's absurd. 

Spaceteam is incredibly simple, yet incredible in what it does. Essentially, you and up to three other people are...well, a Space Team. You are all part of a ship that is running from an exploding sun, and it's your job to keep the ship up and running to avoid getting blown up. How this is done is through a variety of random, menial tasks. For example, you might have a dial called the "Zaxon Zapper," and you'll need to turn it to 3 and then to 5 when the game tells you to, before the time runs out. Simple, yes?

Well...no. Because sometimes, instructions for your screen appear on your friends' devices. And sometimes instructions for their screen is on yours. Because everybody gets a completely different set of controls on their various iPhone/iPad/iPod Touch, you have to yell it out to them to do what is needed ("Flip the Dekadatter!" "Eject the Metapods!") before time runs up. Get enough right and you'll jump to hyperspace for a brief breather before it continues. Screw up enough, and you explode and your team dies. Your space team. That's not a good thing.

The magic of Spaceteam is the absolutely frantic co-op, and the absurd things the game makes you say. With four people, you have all four of you yelling commands, hoping that the right owner will catch their needed maneuver through the din. Not to mention asteroid fields (everybody has to shake their devices at the same time) and wormholes (everybody has to flip their devices at the same time) can mess up your controls. Screw up a lot and bits of your controls fall off, slime covers buttons, or (the worst), your translation machine fails, turning button names into nonsense. It only gets harder and harder until you die, with the challenge being to get as many warps as possible.

Sometimes they turn to random symbols. Because Spaceteam hates you.

Without a doubt, this game is some of the best fun I've had with a group of friends owning iOS devices. We played with two iPhones, and iPad, and an iPod Touch. There was no lag (minus our own yelling and misinterpretation), the yelling escalated quickly, and there's the awful sense of embarrassment when you issue a command and then realize it was on your button set to begin with. The game is chock-full of near-misses and awesome feats of teamwork, and when you fail you just want to start the whole frantic, yell-fest again.

By not being "just" a touch-screen game and incorporating real-world cooperation, Spaceteam succeeds in a way I wouldn't have imagined from a simple phone game. Yes, I could critique the graphics (which are charming but hardly pushing the envelope) or the lack of group options (I'd love to see it make two groups of three, then have people swap groups during hyperspace. That would be insane) or more than four players, but for what it does...it does it perfectly. For a frantic yell-fest that hooks your team and sends you into elated hysterics when you just make that hyperspace jump together, Spaceteam is something else. 

Unfortunately, this game is not available on Android (yet). It is free on iOS, with a few very minor in-app purchases available (none of which are necessary to enjoy the game; they simply make it a bit better). It requires everybody be on the same local Wifi (which makes sense, as you have to be near each other to even play the game) or Bluetooth together, but all iOS devices have Bluetooth now so it should be an easy connection. We had no issue getting together on a local Wifi. Because it circumvents stuff like Gamecenter, I could see cross-platform play (Android and iOS) with this game, which would be delicious.

I feel a bit silly review this game, but let me just say this: if you have friends that have iOS devices, get this game and force them to play it with you. Trust me, it's a load of fun, probably the best "party" iOS game ever, and gets you to all yell totally stupid stuff while trying to be the ultimate Space Team. Words don't do it justice. Just get it. Seriously. JUST GET IT.

Four out of five stars. 

Persona 4 Arena

The Short

Pros
- Excellently crafted fighting game from the creators of Guilty Gear and Blazblue
- Accessible combos and moves make this Arc System's most "noob friendly" game yet
- Game is gorgeous and follows a similar art/aesthetic style to Persona 3 and 4
- Story mode does a decent job connecting the characters from Persona 3 and 4 while adding some entertaining foils
- Voice acting is spot on, as it usually is with these games, and the localization team still rocks
- Music is excellent, featuring a mix of P3 and P4 tracks that have been remixed, as well as some original songs
- Works surprisingly well in the Persona universe, despite my immense doubts as to how it would fit
- We finally figure out what the heck Elizabeth has been doing since the end of P3 in greater detail. Which is awesome.

Cons
- Limited roster of characters, and most are from P4 (13, with two being new)
- The presentation of the visual-novel style story mode is completely at odds with the dialogue-based character development presented in the series Persona games
- The protagonist from P4 has both a voice, name, and inner monologue. I don't think I like it.
- They changed Chie's voice actor so she doesn't sound like a 30-year-old women. Yes, this is a con.
- I still hate how homophobic Atlas is when it comes to everything involving Kanji. Seriously...it isn't funny.

Welcome to the Velvet Room.

The Long

My eyebrows nearly hit the ceiling in raised...ness when Atlas and Arc Systems announced Persona 4 Arena. I mean...did anybody's not? Taking one of the most popular (and possibly best) JRPGs crafted in recent memory and turning into a fighting game...well...that didn't make a lot of sense. Especially considering the main focus of the games was heavy on story, dialogue, and character interaction, there really isn't much for that in a fighting game (the only "character interaction" is them beating the crap out of each other). 

However, as the development cycle went on (and I got fully exposed to the rest of Arc Systems games, and they are arguably my favorite fighting game company to date) I began to have hope that this game would work out. Especially after Atlas pointed out that 1. This game is canon (?!) 2. It would have Persona 3 characters and 3. It would have a heavy emphasis on a story that fused (hur hur, Persona puns) together; I decided to give them the benefit of the doubt and allow Persona 4 Arena a shot at life.

So, as a hardcore Persona fan, Arc Systems fan, and writer, what is my opinion of Persona 4 Arena? Well, it has a whole lot of good, and a decent amount of mediocre. Read on and I'll explain.

If you like text, this game has got you covered. 

Let's go over what I'll probably talk the most about: Persona 4 Arena's absolutely colossal story mode. Considering this was what most fans considered the most sacrilegious part of the game (and the one with the biggest chance to screw everything up), I figured it deserves more than a brief mention.

The game allows you to play as every single character through the story mode, starting with the "core" Persona 4 characters (Yosuke, Yu [Aka the Protag], Chie, and Yukiko. After beating one of theirs you unlock Teddie and Kanji (who had a different path), and then the Persona 3 characters Mitsuru, Akihiko, and Aigis, as well as the last P4 straggler, Naoto. There's one final new character who you play last (Labrys), and after beating her mission you can replay all other stories from the "cliffhanger" ending to see the different ways the story plays out with your chosen character as the center of attention. Finally, after getting the "true" endings from the P4 and then P3 cast, you unlock Elizabeth's story, which is arguably the biggest fan-servicy one of them all as it seems to mostly focus more on resolving parts of Persona 3's story rather than Persona 4's. 

Point being: there's a butt-load of story here, and you are going to be spending tons of hours burning through it all if you are a Persona fan (I did). So since I spent all this time beating every character to 100% and seeing every ending, that means I loved the story mode right? Right?

Um...ok, let's talk about that.

Teddy is still a lovable idiot, and his story is one of the best (if only because of his moronic monologue)

So I'll get this out of the way first: I don't really dig the "visual novel" style of some Japanese games. Don't get me wrong, it can work (Phoenix Wright is a sterling example of this) but in most cases they become exposition heavy, monologue riddled messes that spend far too much time "thinking" rather than actually moving the plot forward. They're designed to bare everything through pages and pages of text, which can be good for some people, but for me I prefer a level of subtlety in writing. On the "show, don't tell" spectrum, they tend to be heavily lodged in the "tell" section, and it irks me.

Persona 4 Arena's story mode is super exposition heavy, and nearly drowns in its monologues. I kid you not when I say there's probably 7-8 paragraphs of monologue for every spoken line in this game, and that might actually be a low estimate. As you'd expect, you spend more time in character's heads than they do actually participating in the tournament, and that makes the story's pace drag to an un-bear-able crawl (see that pun? Teddy would be proud).

This is especially noticeable (in a bad way) for the main character, Yu's, story arch. In the games he was a silent protagonist, allowing the player to project themselves onto him. Since they couldn't do that in this game he has both a voice and pages of internal dialogue with himself, most of which is boring and generic. Not to be "that guy," but my Bob (which is what I named him in P4) wouldn't be nearly as big a toolbox as Yu is in this game. Not to mention that, since he didn't really have a personality  they can only draw on things P4 forced on his character, like his relation to Nanako. This makes him seem a hollow shell of the deep character I developed (in my own head, admittedly) during Persona 4, and makes his entire scenario really awkward to experience.

Elizabeth is on the moon. Don't ask why. 

This sense of awkwardness carried over to nearly all the Persona 4 characters I played, especially considering Yosuke, Chie, and Yukiko have literally the exact same character arc for their stories. And that arc is identical to their Shadow trial in Persona 4, which makes it seem double lazy. I understand playing it safe, but come on! Not to mention their internal monologues, which I'm certain were meant to make the characters more three-dimensional, actually focuses more on their two-dimensional character attributes, making them flatter than 2D Teddy. The Persona games always conveyed incredible character depth through dialogue only, since the only thoughts you could perceive were the protagonist's (and you usually directed them). It made you feel like you really knew these people without getting into their heads, and as such make the relationships feel more...real. I mean, you don't know the exact thoughts of your best friends, right? Unless you are some sort of freaky mind reader. 

Persona 4 Arena botches this when it comes to its storytelling. By going the "easy" way out and making it a visual novel method of storytelling, it loses the depth and personality found in the Persona games and just makes it a long, droning look inside the heads of people I really didn't want to see the thoughts of. I knew them well enough before, thanks.

If I'm sounding a bit too hard on the story, that might actually be the case, because despite my complaints I really enjoyed the plot at hand. Whenever dialogue did emerge it was usually excellent, and there was some fantastic character banter (again, why I play these games) in each story (except Yu's. His was dull). And the "get inside their heads" actually worked very well for Kanji, Teddie, Aigis, Elizabeth, and Labrys' story arcs (mostly because all save the latter were quite funny). The story itself is also fairly decent, and seeing it unfold from different views (as the angle gets wider and wider as you back into Persona 3 character territory and finally see what's actually going on with Labrys' story) is genuinely clever. It's just too bad you have to sift through tons of useless fluff in order to actually get to the good stuff. 

General Teddie knows how to dress. 

At the risk of running long in the tooth here, let me end this briefly: Persona 4 Arena's story does an adequate job connecting the worlds of P3 and P4, is chock full of some fantastic fan-service, has a decent plot (once you actually get to it), the voice acting is excellent, and it made me genuinely excited to see where this series will go in Persona 5. It also works the whole "fighting game" mechanics into the world in a way that is surprisingly not lame, so the idea of these characters fighting each other actually makes sense, so that's a credit. While the method of administering the story was arguably the worst way they could have chosen, it's still worth looking into if you are a P3 or P4 fan.

Oh, last thing: you'll have to have played both Persona 3 and 4 to really understand and get the story here, and you'll even have to have beaten the optional velvet room bosses from both games to really get the story here (or Elizabeth's, at least). I'm serious, both games. While it does a decent job expositioning the crap out of you in case you missed one of the two games, it isn't sufficient enough if you are going in completely dry. So play the story after beating both games, alright? There, I'm done.

On to what really matters. 

Ok, so story beats out of the way (and see how I avoided spoilers? You'll thank me later), let's talk about what actually matters in terms of gameplay: the fighting itself. For those who have played previous Arc Systems games, you'll know they're big on lots of half rolls and multiple button mashes and loads of counters and crazy combos. And, for those who like their other games like BlazBlue or Guilty Gear, you'll be pleased to know Persona 4 Arena is absolutely an Arc Systems game. In fact, it might be their best one in terms of control.

The gamepad is very simply laid out. You have two buttons that are your character's physical attacks (light and heavy) and two that are their Persona attacks (also light and heavy). Most major specials require use of Personas, which can be banished if the Personas themselves are hit four times during a match (they'll return after a brief recharge). Across the board, most characters have all the exact same sets of moves (forward half-roll + physical attack, forward half roll + Persona attack, two forward half rolls + persona for an SP special) which means you can easily pick up any character and start figuring out how they work without worry about what unique controls you have to manuiver. There are, of course, a few exceptions to this (Aigis' different modes, and Elizabeth's absolutely insane self-damaging/self-healing sets of abilities), but as a whole this is the most accessible fighting game I've probably ever played. It's very easy to pick up and do moves, though figuring out how to best use each character's unique arsenal is the "hard to master" part of this discussion.

Robot battles.

There's also a lot of Persona-themed flavor to be had here, too. Moves are named after spells, so if you know your "Zio" from your "Bufu," you're in for a treat. You gain "SP" at the bottom which is used for the more powerful specials (which are all magic taken from the series), and there are even status ailments that you can inflict on your enemies to mess 'em up (as well as All Out Attacks, though those aren't particularly useful). Characters execute their own personal signature moves from their respective games, including their common phrases used in battle. While it certainly looks and feels like an Arc Systems fighting game, the Persona flavor is still very much there, and as such adds a sense of weird style that isn't found in many other fighting games. It's a weird mix, to be sure, but I was greatly surprised at how seamlessly it blended.

It's worth pointing out, however, that if you plan on playing this online, the Xbox 360 online community seems to be pretty much dead. The netcode wasn't that great on that system to begin with, so I suppose it was inevitable (plus 360 owners tend to play more first person shooters than super Japanese fighting games based on super Japanese RPGs about monster collecting and dating...), but I've heard the PS3 version still has a decent community. There's plenty of options for couch combat if that's your thing (that's how we usually play), and as stated the story and arcade modes are pretty robust, but if online's your thing...note it.

If there's anything I can agree with, it's Chie beating up Naoto.

Here's a question: what happens when you fuse the uber-detailed, HD animated sprites from BlazeBlue with the super stylish, super flashy design of Persona 4? If you answered "something awesome," you'd be totally right. 

Persona 4 Arena looks downright incredible. From the awesome yellow theme in the menues (mixed a bit with the heavy "blue" theme from Persona 3) to the gorgeous characters and their respective Personas, Persona 4 Arena is glorious on an HD TV. Characters look very accurate to their Persona 4 counterparts, though I did notice they tended to lean a bit towards the "Arc Systems" style of art rather than their Atlas inspirations, but not enough that it bothered me. As stated previously, the effects are super flashy and look fantastic, while the menues are stylized and striking. It's a great looking game that is loyal to its source material.

Same goes for the voice acting. All the voice actors are pulled over from the original games, except Chie and Teddie. And here's where I'll make a special note. I don't mind Teddie's new voice actor (I honestly can't really tell the difference) but new Chie really irks me. A friend of mine pointed out she sounds like a 30-year-old woman in the PS2 Persona 4, but there was something about her voice that grew on you in that game. Plus, she was my favorite character in P4, so having a completely different voice was really jarring. Not enough to piss me off or anything, just...weird. I hear it's the same VA that's in P4Golden on the Vita, so there's consistency there, but it still is weird. 

Music is, as expected, fantastic, featuring killer remixes (and originals) of songs from both Persona 3 and 4. That stupid battle song from P4 is still the catchiest thing ever, and you'll probably be humming most of the tunes long after the game is turned off.

Plus, the used the final boss song from P3 for Elizabeth, which is the dopest song in the game. So there's that. 

A year later, and Kanji still is a big chicken.

I will say I was very surprised by Persona 4 Arena, in both a good and a bad way. Good because they were very loyal to the source games, the fighting is fantastic, and I love the connection between P3 and P4. Bad because the story presentation is absolutely unfitting to the series it's presenting, it has some horrible pacing, and Chie's voice actor is different. Yes, I'm still harping on that.

All that aside, however, I have to commend Atlas for this. They made a game that crossed two genres that most people don't play both of (lengthy JRPGs fused with fighting games) and managed to create a game that would appeal to both. By having it be both accessible yet competent, and paired with the charming and memorable characters from both games, Persona 4 Arena is an anomaly of gaming that shouldn't work but somehow totally does. If you enjoy either Arc Systems fighting games or the Persona series, you should check it out. Plus, it's like $20, and if you plan on playing Persona 5 I'm pretty sure some stuff in this game will be referenced. It is canon, you know.

If they'd just presented the story better, this would probably earn a perfect score. But for now, it still gets a glowing four out of five stars.

And remember: every day's great at your Junes

Rayman: Jungle Run

The Short

Pros
- Fun twist on the "runner" genre
- Livid Dead levels are a fun, difficult challenge
- Graphics look gorgeous on a retina screen or high-res android display
- Game does a good balance of rewarding powerups to improve difficulty
- Great "pick up 'n play" game
- Has free DLC
- Not hampered by microtransactions
- Only $2

Cons
- Could have used more levels
- Simplistic platforming might irritate some

I was runnin...

The Long

It's no secret I'm a big fan of iOS and Android games. Short, usually simple experiences that sate your video game fix on the go for a hefty discount. Games like 10,000,000 and Game Dev Story can be content rich (and, at times, complex) while still being loads of fun and budget priced.

Something I'm sick of, however, is the "runner" style games on the iOS store. There's plenty of these out there, some more popular ones being Canabalt, Jetpack Joyride, Monster Run, and I Must Run! Basically you endlessly run to the right, dodging obstacles forever until you run into something and die. It's a score chase, it's mindless, and there's too many of them.

So when I heard they were making a Rayman game that was a "run" game, I was a bit turned off. Yeah, I loved the crap out of Rayman Origins, but I didn't want fond memories of that game tarnished by a weak knock-off. However, after hearing a few good reviews and seeing how downright pretty this game is, I dived in.

And guess what? Rayman Jungle Run is a superb platformer in every respect, that certainly goes above the concept of both a "runner" game and an iOS platformer.

The game certainly looks like Rayman

Jungle Run takes the basic ideas from Rayman Origins, strips them down, and leaves a game that is both easy to learn and difficult to master. It plays somewhat similarly to runner games in that Rayman will always automatically run to the right, but what differentiates this game is that there's actual level design here. It isn't an endless runner like many might think; instead, it's got similar platforming to Origins, just axing the manual directional control that would normally be handled by the D-pad. As such, you are left with three very simple options: jump, hover, and attack. And the game has worlds devoted entirely around these mechanics, just to be sure you'll learn them. Oh, and the wall run move. Can't forget that.

Because this game has actual levels, it feels more like an actual platformer than many other iOS platformers that offer full control. To be honest, removing directional controls (a finicky thing on a touch screen) was probably the best idea for this touch-only game, as they obviously designed the levels around the "always running" mechanic. This leaves a bunch of levels that are both challenging and fun, while still being easy and not having touch-controls trying to bottleneck you at every turn. It was a smart design choice, and it pays off in spades. 

Lums are still the goal of the game. 

While the levels are usually not too challenging to get through in terms of traversal, the real goal is to collect all the Lums (those little golden dudes) on every stage. That is where the game's challenge comes in. If you can get all 100 Lums, you earn a tooth for Death. Get enough teeth in a world, and you unlock that world's Land of the Livid Dead stage, a super challenging gauntlet that can often feel more like rote memorization rather than actual skill. Still, these uber-difficult unlocks are appreciated, as they feel like a good capstone to the skill you learned in each world. They also add a lot of replayability, as each level is usually under a minute long, so replaying it over and over to try and get all the Lums quickly becomes priority.

There were originally four worlds (five now, with DLC), each with ten levels if you count the bonus Livid Dead levels. That's a total of fifty levels for $2, which is certainly not a bad deal, but I wouldn't have minded more considering how easy the first world is. Still, it's easy to pick up, hopelessly addicting, and controls great. You can't ask for a more perfect iOS experience.

Good luck with that coin. 

This game also looks downright gorgeous on an iOS screen. The fact it looks nearly identical to Rayman Origins is a credit to the developers considering the downgrade in hardware, and the bright colors pop out vividly on the retena display. It looks great on an iPhone, but on an iPad it's downright spectacular, easily being one of the best looking iOS games artistically.

Music is also good, with a few select tunes from Origins, though it doesn't quite reach the awesome level that Origins' music provided. Still, I play most iOS games with the sound off, and the game plays fine silent as well. So that's a plus too.

I have very little bad to say about this game. 

Jungle Run isn't Origins. It's stripped down, to be sure, to accommodate for the touch screen and mobile status of a phone. But despite that, Ubisoft has created one of the best iOS platformers I've ever experienced. By removing what is often a developer's biggest hang up for these types of games (analog directional control on a touch screen) and focusing instead on building levels around the running mechanic, they've created a game that's fun, a good challenge, addicting, and excellently controlled. My only gripe is I wish there was more of it, something they seem to be fixing with free DLC.

If you have any affinity for these types of games, on console or otherwise, you should do yourself a favor and grab Jungle Run. I mean...come on. It's $2. You can't even buy lunch with that. 

Four out of five stars. 

Fire is still bad, though. Just...in case you forgot.