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gamex2020 · 4 years

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Dreamcast Fighting Games

Top 10 Sega Dreamcast Fighting Games

The Sega Dreamcast is often regarded as a less important console than its peers, the Xbox, PlayStation 2 and Gamecube. However, if you were a fighting game fan, the Dreamcast was (and still is) the way to go.

There was a significant amount of support for Fighting Games On The Dreamcast. both through official releases and through controller support. The Dreamcast had more options for gamepads and fightsticks than any other console!

Plus, arcade games that ran on NAOMI hardware (a kind of arcade system board) were easily convertible to the Dreamcast, as both were manufactured by Sega. This means that ports from the arcade were almost perfectly 1:1–even for 3D games with cutting edge graphics. Sometimes, the Dreamcast’s graphics and sound would be even better than the cabinet.

Almost every single influential fighting game franchise has had at least one Dreamcast installment or port. In this article, we’re going to run through the top 10. There’s a perfect mix of hardcore, high-skill games and casually accessible romps with friends.

10. JoJo’s Bizarre Adventure: Heritage for the Future

If you’re already a fan of the wildly popular JoJo’s Bizarre Adventure manga and anime series, you’re definitely familiar with this game. Heritage for the Future, despite its awkward name, is a game built to please fans of the series. It has nearly every memorable character from “part 3” of the manga/anime, titled “Stardust Crusaders.”

Besides the fanservice, though, it’s a wonderful fighting game with fun mechanics. There’s a very unique “stand gauge,” which lets fighters take out their “stand,” which is a magical spirit that fights alongside them. It changes their move properties, but also makes them vulnerable; you can get put into a stunned state when you’re hit while your stand is out, and they also run out gradually.

Not every character has one, though, and there are some more “normal” characters if you want a simpler experience.

It’s worth playing even if you’re not a fan of the series, even just for the creative game mechanics and unique characters. No other fighting game has a character like Hol Horse or Dio, with his flashy time-stop super.

9. Guilty Gear X

If you were part of the fighting game community in the 2010s, you probably heard people talking about how great Guilty Gear was. It’s a franchise that went on hiatus for a long time, but in the early 2000s, Guilty Gear was hot. There’s a spectacular lineup of interesting and goofy characters. Each character has a well-stocked repertoire of extremely flashy moves; it’s much different than what you would see in games with a more grounded style.

Instead of having a gauge just for supers, X has the “tension gauge.” As the match goes on, characters can use the tension meter for super moves, counters, or an advanced technique called roman canceling. Roman cancels allow you to spend the meter to cancel attacks into others, allowing for combos that otherwise wouldn’t exist. This is similar to the FADC mechanic in Street Fighter 4, for readers familiar.X doesn’t have much in the way of single player content, so if that’s what you’re looking for, try another one of the entries in this list. What it does have, though, is some of the best visuals and gameplay out of any game on this list. The sprites in this game are of unmatched quality. (Except for later entries in the series, of course.)

8. Dead or Alive 2

This is a series known for its aesthetics and sex appeal, but when you strip all that away, the game is a great 3D fighter. During the Dreamcast era, DoA2 was considered a direct contender to Namco’s Soulcalibur and Tekken series. Not only were the graphics pristine, but it was one of the few fighting games on this list to focus on a realistic aesthetic. (Well, semi-realistic.) In many ways, DoA is a sister series to the critically acclaimed Virtua Fighter.

The foundation of this 3D fighter is an extremely heavy focus on the classic rock-paper-scissors dynamic. What sets DoA2 apart is the ability to use “holds,” even after getting hit; these act like parries and let you defend yourself in situations when you’re getting combo’d.

Quick throws also make this game play very defensively. It’s common for you and your opponent to circle each other looking for an opening. Moves are often unsafe, meaning if your opponent blocks, they can counter very quickly. Depending on your playstyle, this can be a blessing or a curse. Regardless, it’s unusual for a fighting game to have this much focus on defense, which makes it interesting and fun.

7. Project Justice (also known as Rival Schools 2)

Much like MvC2, Capcom took the 2v2 gameplay from the first Rival Schools game and turned it into a 3v3 game. There’s team-up attacks with two of your fighters, or all three. This is one of Capcom’s few forays into 3D fighters, alongside the Street Fighter EX series which came out around the same time.

The school-based setting with delinquents brawling it out over a classic shounen plot made this series a cult classic, even though it hasn’t been revisited in almost two decades. It’s considered a cult classic fighting game, which is already a genre mostly comprised of cult classics, outside of the Mortal Kombat juggernauts.

If you can get your hands on the Japanese version of the game (and have a translation document ready), give it a shot. There’s a character creation mode centered around a board game mode. The mode was never localized to any other language because of the amount of text it came with, but it’s the only fighting game with such a character creation system.

The first game did the character creation as a dating sim, if you’re into that. The gameplay is obviously more shallow, but it’s worth mentioning that the series as a whole had some pretty interesting ideas about how players can make characters.

6. Power Stone 2

The Power Stone series isn’t a traditional fighting game; it’s more of a 3D brawler with several characters in an arena perspective. Even though it’s very different from other games on this list, it has earned its spot. Flat out, it’s one of the best Dreamcast games period.

The first Power Stone was a one-on-one arena fighter that featured characters slugging it out with their bare fists and item pickups. Power Stone 2 ups the ante, with more weapons, more vehicles, and more characters. The game can be played with 4-players, making for awesome free-for-alls and tag-team matches, both in the single player mode and with your buddies.

It might not be as technical or skill-intensive as the other games on this list, but it’s just so much fun. There’s no juggling, no wall-combos, no two-frame combos and no complicated stick motions. Those aren’t necessary to make a game as simple and fun as this.

The formula has been attempted since by other companies, but never to as much critical acclaim. Power Stone 2 remains a favorite in college dorms everywhere. The cool college dorms, at least.

5. Fatal Fury: Mark of the Wolves

Although the company SNK isn’t as well known in America as they are overseas, Terry’s release as a DLC character for Smash Bros. Ultimate reminded the world how awesome the old school Neo Geo fighting franchises are.

Back in the Dreamcast days, SNK was hitting their stride. They didn’t have to develop exclusively for the Neo Geo anymore, meaning their franchises were able to reach a wider audience. King of Fighters went all over the place, to Xbox and PlayStation, but Garou was a heavy-hitter specifically for the Dreamcast.

Garou is the final game in the Fatal Fury series, which is adjacent to SNK’s other series King of Fighters. SNK brought many fighting games to the Dreamcast, but Garou stands out as a classic. Originally ported from the Neo Geo system, it’s been lauded as one of the greatest games made by its developer with an outstanding legacy.

You can also play the game on modern platforms. It’s been re-released on PS4, Vita, Xbox live Arcade, and PC (both through GOG and Steam).

4. SoulCalibur

For many people in the late ‘90s, Soulcalibur was the Dreamcast’s system seller. This 3D weapon-based fighter had some of the best graphics on the system and really accessible gameplay. Throw in some memorable characters and you’ve got an instant classic.

Because the game is centered around weapons and a 3D environment, the character playstyles are based more around their range and speed than anything else. Instead of having characters be defined as “zoners” and “rushdown” like in 2D franchises, Soulcalibur has a set of unique characters that are hard to classify.

Not only that, but Soulcalibur introduced the “8-way run” to the franchise, changing the series drastically from its Soul Blade roots. Movement became a lot more fluid and skill-intensive, adding an extra layer to the spacing and mix-ups already present in the game.

The gameplay elements in SoulCalibur transfer easily to the rest of the series, meaning this is a great entry point if you want to get into the franchise. SoulCalibur VI is on current generation consoles (and PC), but if you want to see where the franchise really exploded, check this one out.

3. Street Fighter Alpha 3

If Third Strike doesn’t suit your tastes, give Alpha 3 a shot. The Dreamcast version of the game has some more characters than the arcade version, and an extra single-player mode that the PlayStation version doesn’t have.

Alpha 3 features the unique “-isms” mechanic, which allows you to choose the way you want to play your character. A-ism gives your character several super moves and a three-bar gauge. X-ism gives you a single-bar gauge and a single super move, though it is more powerful than the ones you find in A-ism. V-ism gives your character more custom combo variety at the lack of super moves.

This game feels very different from others in the series due to air blocking and a depletable block gauge. These two mechanics alone almost make the game feel like it’s part of another franchise. Even if you aren’t a fan of other Street Fighter games, give this one a shot — the deep and customizable gameplay might surprise you.

2. Street Fighter III: 3rd Strike

Capcom brought the third installment of its flagship fighting franchise to the Dreamcast after its arcade release. It had three versions — New Generation, Second Impact, and Third Strike. Third Strike is widely considered the definitive version, with additional bug fixes, characters, and some content.

Even though this installment is missing some fan favorites from SF2, like Guile, E. Honda and M. Bison, it more than makes up for it with wild new additions. Hugo, Q, Urien and Makoto became instant favorites; and when all else fails, you still have Ryu, Ken and Chun Li.

Many hardcore fighting game players consider Third Strike to be the best game in the entire franchise; others consider it the best fighting game of all time. The combos are smooth, the pacing is slow and methodical, and the game’s parry mechanic has made for some of the most hype moments in gaming history. Just look up EVO Moment 37 and turn your speakers down a little bit.

1. Marvel vs. Capcom 2

If you’re looking for an arcade-perfect game with lasting appeal, look no further. MvC2 is a three-on-three fighter with a bevy of complicated mechanics and fast action. There’s a healthy roster of Marvel heroes and villains, and an even larger selection of Capcom fighters from many of their series.

One of the defining mechanics of this series is the tag-in combos, tag ultras, and assists. Unlike some other franchises with two or more fighters per player, MvC2 lets you have several characters on screen at once. Even at a casual level, the game encourages you to discover synergies and develop your own unique playstyle.

The other games in the Marvel series are great, but MvC2 has the most characters and is the last game to have 2D sprite-based graphics. Its community is alive and well today, decades after the game’s release — and for good reason.

#Dreamcast Fighting Games #Top 10 Sega Dreamcast Fighting Games #Sell Video Games #Retro Game Store #gamex

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kaibutsushidousha · 5 years

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Artbook Data - Development Team Interview

For context, here’s the tutorial for Salmon Fishing.

Interviewees:

Shun Sasaki: V3′s director. His main roles included mediating all the development teams and managing the schedules. Additionally, he will also talk in this interview about his own personal project: the bonus modes.

Taichi Kouno: One of the developers. A DanganRonpa fan who joined the team for Ultra Despair Girls. In V3, he was in charge of the Class Trial scenes and its minigames.

Takahiro Suzuki: Joined the V3 production as a developer and handled the non-Trial parts and the e-Handbook. Like Kouno, he was a DanganRonpa fan who joined the team for Ultra Despair Girls.

Fans become members: the style of the DanganRonpa team

Interviewer: Please tell us what parts you did as a developer.

Taichi Kouno: I built the entire game system for the Class Trial and also did the minigames for the daily life part. Other than that, I got to do some work on the Academy map, blueprinted the base and produced the data the graphics guys need to draw.

I: I see how about Suzuki?

Takahiro Suzuki: I was almost completely focused on setting up the dialy life/investigation parts. And the system for the e-Handbook.

Shun Sasaki: I supervised Kouno and Suzuki’s work (although the final decisions were by Kodaka) and managed the schedules. Then I focused myself on the bonus modes. Thanks to Kouno and Suzuki’s good work, I was able to make the bonus modes as I wanted.

I: You couldn’t have implemented the bonus modes without their support, all right. You said that one handled the Trial parts and the other handled the non-Trial parts, but can you be more specific about what you did?

TK: The Class Trial has not only the usual dialogue, but also various minigames, like the Nonstop Debate, the Panic Debate, etc. My job was to think how would this be presented on the screen, where it would be implemented and how the player would interact with it. To actually make the interfaces I had to go over with the designer team, but I can draw, so it was easier because I could send a drawing of the screenshot I wanted. It’s much easier to explain myself when I can just go there, show a drawing and say “This interface represents this, it’s going to move like this and I want it to have this functionality”. I even started making extra drawings for whenever I wasn’t being illustrative enough.

I: Oh wow, I didn’t think you would also give ideas for the visuals, not just the system. And how about the non-Trial parts?

TS: The basics are the same. I look at the general conversation and the ideas Kodaka sent me and build the visuals from it. In most cases, I received the bases necessary from the programmer and designers. Since DanganRonpa is a series, I try not to wreck these bases, so the fans of the previous games won’t get confused. That said, keeping everything exactly the same is boring, so I’m very conscious about what I have to emphasize or improve. Being more specific, “Keep this set identical to the previous game but improve this aspect here” or “Change this interface to this”.

I: I see. So you’re the one who made multiple characters appear on the screen at the same time.

TK: That was decided from the start, but it was hard to leave it the way it is now.

TS: VERY hard (pained laughter). We used to display the character as 2D sprites, artificially placed in a 3D map. This time we placed 3D character on the 3D map but displayed in 2D.

TK: We started displaying multiple characters in dialogue scenes because we made this system of using multiple cameras to show many characters at the same time for the Panic Debate. If we could do it for the Panic Debate, we could do it for normal dialogue.

I: So basically, there are all the character in a 3D map and each of them has a personal camera to display them?

TS: Yes. Each character is their own camera in pre-established positions and we keep switching cameras to match the flow of the conversation.

I: This sounds like a lot to adjust.

TS: It was difficult to choose where to place each character in the 3D map, since we were giving each of them pre-established positions. Depending on where they were, the could be covered by the scenery or cause a slow loading.

SS: We switched hardwares, so it feel like we gained as many new hardships as we gained new possibilities. Increasing the number of characters on the screen was hard, but this time we could place characters side by side or in front or behind each other, making the group shots look a lot better than before.

TS: That said, we almost couldn’t make it for the Vita...

I: Yeah, that’s a lot less potent than the PS4.

SS: Yes, but we want to perfect V3 as a game that could be enjoyed equally in both the PS4 and the Vita with dropping any functionality idea, since the DanganRonpa series started as portable series, on the PSP.

TK: We could stop hearing that “It’s not impossible, you can find a way” (pained laughter)

I: Like a sports coach (laughs). When did you start working as developers?

SS: As I answered in the Direction Team interview, we started working on V3 while we were making DanganRonpa: Another Episode. Kouno and Suzuki started working in a different project immediately after they finished their roles in DRAE. I added the two to the V3 team as soon as Kodaka finished structuring the plot for V3 and we started making the game’s system and other elements.

I: Is this the first time you two work on a DanganRonpa numbered title?

TS: Yes. I was just a player before.

TK: I was just a fan too. My first time on a numbered title.

I: Which means you already thought about what you want to change or fix from a fan perspective, right?

TK: Of course I did. The one thing I really wanted to implement for this one was the Voting Time. I never got over the fact that it ended without me voting when I played 1 and 2... In V3 the story’s ending was about synchronizing the player with the character’s feelings, so I thought could make this happen by finally implementing the voting system.

I: I agree, by participating in the voting yourself and sending a student to die, V3 made me feel more responsible for it than the previous games.

TK: That’s exactly what I aimed for. I want the players to feel responsible for what was happening. I thought making the Voting Time playable was necessary to make reinforce the experience of “This character died because you chose it”.

I: I see. And how about you, Suzuki?

TS: Since our specs were increasing, I took care of ironing out the visual style as far as I could. Also, those are just minor QoL updates, but I added more shortcuts to the maps and adjusted the icons to be more easy to identify. That said, I didn’t go too far to maintain the game’s DanganRonpa identity.

I: And you had Sasaki making these decisions?

SS: No, Kodaka was making all the final decisions. If we made things too functional, Kodaka would come over and say “no”. Not because it would be too convenient, but cause it would generate too much loading and the menus would look weird. Many people in our team don’t like this. I personally the loading screens and like the menus, so in many occasions I thoughts “Are we really not having a function this convenient?”

TK: Some took issue with it being too convenient too. For example, if the map has too many shortcuts taking you absolutely anywhere, what would be the point of walking?

TS: That’s why I instead increase the movement speed to make it more comfortable to go around in that huge school.

I: That’s something you wouldn’t consider back when you were just a player. How did you decide who would handle each part when the development started?

SS: Oh, this? The role where just split with nothing special to say about it. As I said in the beginning, I just asked Kouno to do the Trial parts and Suzuki to do the non-Trial. And that I would do the bonus modes, counting on their help later (laughs).

I: What’s the first thing to do after deciding the roles?

TS: Pitching ideas for the game, of course.

TK: We get a lot of time to pitch ideas. We all read Kodaka’s entire script before discussing anything, and it has some vague annotations, like “I want this game to have more minigames than before” or “it would be nice to have a minigame where you can answer with images”. First we have to do what Kodaka is asking there before we can start thinking about what we want. Then in the business meeting, we polish and adjust our ideas.

SS: And then discuss it with Kodaka and Sugawara, and they tell if we can or can’t insert each of our ideas.

I: And what is more important for their decision? If it’s fun or it fits the lore/worldbuilding?

SS: Good question. There are sometimes when ideas are fun but we don’t find any good place to fit them in the story, so we have to cut them, with tears in our faces...

I: Did you have to give more ideas for this game, since it’s much larger than the previous ones?

SS: Until now, Sugawara and I were the only developers, but this time this became too much work for just the two of us, meaning we had to hire Kouno and Suzuki to help.

TS: I was so happy when I got called. I was goint to be on a numbered title.

TK: So was I. Unbelievably happy. Another Episode was also an amazing experience, but I only joined the production halfway through. This time I was there right from the start and most of my ideas where implemented. Being a developer is no fun if I’m not getting things my way.

I: The DanganRonpa team all looks very motivated, from the sounds of this interviews I’m making.

SS: Making a game is still hard, though (pained laughter). But when we were implementing any component, I don’t remember anyone saying it would be impossible. Every member did what they could to include everything they wanted.

TK: Saying it’s impossible is easy, but then what next? Saying it’s impossible makes me feel defeated, so this get more motivated to find a way.

TS: The programmers all feel the same way when working, so it’s very easy to be a developer like this. Thanks, guys. Every time I say the idea I gave them is too difficult, they mock me and show me that they can do it (laughs).

The secret origins of the Death Road of Despair, the minigame that brought many players to despair

I: Kouno, did get involved in the Death Road of Despair? It’s not in the Class Trial part, but you said you were in charge of the minigames.

TK: I did. It was my part.

I: I heard from Kodaka he asked you to “make a crappy game”.

TK: Kodaka told me to make a game like Dragon’s Lair. When he actually played it, he couldn’t make any progress. “What the heck is this game!?” (laughs)

Everyone: (laughs)

TK: So, I tried to analyse Dragon’s Lair and come up with my own game where you die in places it doesn’t look like you’re supposed to die. And the Death Road of Despair what the result of me throwing in every idea and trick I could, as far as the time and budget allowed.

I: The characters are all slippery and hard to control. And the students behind you just keep dying.

TK: Yeah, in the request they told me to think about how Luigi slips more than Mario. I absolutely loved that unrealistic inertia. (laughs)

I: You probably have a lot of experience in being told to make things easier, but not as many opportunities to make a game utterly unplayable.

TK: That’s Kodaka’s style for you. I was really motivated to reach his style when I was building this, so I want to see the platformer experts out there doing their best to reach the goal. It is possible.

I: Did you beat it, Kouno?

TK: I can’t. I just used the debug mode to assure all obstacles are clearable. One guy on the debug did manage, though. He said took him 1 or 2 days and he only beat it by a miracle.

I: I saw some videos of people doing it.

SS: Everyone in the office was talking about them.

TK: I cried tears of joy (laughs). There’s even one guy who posted a No Damage Run.

I: A No Damage Run!? In that long of a stage? I’m impressed that they didn’t make any mistakes.

TK: So long that the background changes 3 times. By the way, at the end of the sewers area there is a set of bombs spelling “CLEAR”. I always wanted to do that. Sidescrollers always have those parts saying “CLEAR” not even close to the end. I absolutely wanted to recreate it (laughs).

I: (laughs) Speaking of minigames, there are a lot of them in the Class Trial. Were there any beta ideas for them?

SS: Not many, as far as I remember.

TK: As we said before, there’s the Mind Mine deal. “We should have a game where the player answers with images”. From that basis, someone suggested the minigame they wanted to make.

I: What minigame did you want to make, Kouno?

TK: I want to make a minigame like DR2′s Logical Dive. First I suggested a minigame where you controled a jet, but Kodaka said “A car is better” and so was born the Psyche Taxi minigame.

I: The Psyche Taxi’s world is quite unique.

TK: Kodaka said the world should look like Hotline Miami, so we settled with that.

I: Last but not least, the Hangman’s Gambit 3.0. As usual, it’s completely different from its predecessors.

TK: DR2′s Improved Hangman’s Gambit was harder as a puzzle game, in my opinion. But for this one we already added Mind Mine as a puzzle game, so we decided to tone down all the puzzle elements on from the Hangman’s Gambit and focus more on the action part.

I: I see. Kouno, did you come up with this game’s newest addition, the Debate Scrum, too?

TK: The Debate Scrum was already an idea before the project officially approved.

SS: We had already decided we wanted to do a group vs group debate, but we didn’t have anything concrete besides that, so we exchanged ideas as usual.

TK: The Debate Scrum was a challenge. The pre-approval images looked awesome and Kodaka loved the idea, but I couldn’t for the life of me decide what to do with that... New tasks kept piling up in the meanwhile and things were starting to look bad, so I had to pass the bucket to Sugawara, since the Debate Scrum was his idea to begin with (pained laughter).

SS: Hold people responsible for their own ideas, people (laughs).

TK: But leaving it to Sugawara was the right idea. The “negotiating” between the character are one of the the Debate Scrum’s charms. This setup is difficult to make if you’re not a writer as good as Sugawara.

I: Sounds pretty tough to have to come up with all these minigames styles in parallel. Sasaki, you said you made the bonus modes all by yourself. What was the hardest part?

SS: Nothing really, the bonus mode were just me doing whatever I wanted. I could choose the genres by preference.

I: The bonus modes are all linked together, adding a lot of replayability. Was this all planed from the start?

SS: It was. I planned it to be played in a cycle. I said the dungeon would have 50 floors, but I ended up making 100 floors for it.

TS: I also liked how the bonus modes used the characters from the previous games. I knew people would love to see the V3 characters interacting with the ones from 1 and 2.

SS: I absolutely had to but the past game cast in this, since I made it a story where we could have characters from anywhere.

I: The bonus modes are really well polished.

SS: But there are some pieces I regret not being able to implement. For example, the Dangan Salmon version where Akamatsu is the protagonist... Chapter 1 has Free Time, so we prepare 2 events per character to use with Akamatsu. For the Akamatsu Salmon Mode, we want to fill up her pieces all the way to end. But as you would expect, the project was too big, so we left it aside.

TK: There was also the idea of choosing to play with Saihara or Akamatsu.

I: I see, if you make events for Akamatsu, the workload would double... So, after the work in the bonus modes was done, Sasaki moved back to the main game. Was that it?

SS: Yes. I finished the bonus modes pretty fast, so I could focus all my attention to the main game afterwards. For the main game, we were expecting a delay down to the last minute (pained laughter), so I did what I could to finish the bonus side fast.

I: In the director team interview, you said many new elements were added for chapter 6.

TK: That was 3 months before the remastering, wasn’t it? We decided to add a lot of new stuff to chapter 6 and everyone started going “We’re doing it like this now?!”.

TS: I recall something to that effect.

I: You said you had to come up with how the chapter 6 scenes would work from the scratch, based only on Kodaka’s script.

TS: Yup, from scratch (pained laughter). The script wasn’t too detailed about it and I had no indications as to how to makes everything flow together. But that part of the story was filled with scenes and twist everywhere, so we 3 were at our wit’s ends, weren’t we?

TK: Kodaka came up in the middle of our work and said some very unfortunate words. “I’m writing chapter 6 right now, but the sequences are turning out too similar to DR2, so I’m considering making Ki-bo destroy the school”. At the time I thought “Destroy how exactly? Do we really have the time to make new models? I don’t think so.”, then when I read the finished script, so much of it was different...

TS: Yeah, the Ki-bo video cutscenes were added.

I: I remember Kodaka saying he was amazed at his own creation (laughs).

SS: Sometimes things work (laughs).

TK: Kodaka often suggests the first random thing that comes to mind. That’s actually where he’s at his best. He makes people motivated to pull it off.

A game system that only managed to be this unbiased because the love Danganronpa

I: Now I’ll ask each of you about your favorite parts of the system.

TK: Mine is the Perjury system for telling lies. Lies are one of the themes of this game, so it’s not bad to be able to lie in-game. And since we’re making the players lie, I want them to feel corrupt about it. I also made the Perjury visual very much my style. The thing with all the eyes appearing was my idea.

I: Because you like everyone eyeing you when you’re lying?

TK: Yes. You never know what can happen if you’re caught in your lie, so you get anxious and alert. You feel like everyone is looking at you, and that’s what I want to represent with those visuals. Also, I didn’t want people being easily able to lie, so I made the lying command into a long and tedious button hold, that slowly drains your HP. You recover HP when the lie is succesful, so that’s both the bad feeling you have when you lie and the good feeling you have when you get away with it, both well put down into gameplay.

TS: You’re praising yourself a lot (laughs).

I: What elements do you like, Suzuki?

TS: The e-Handbook. Since we wouldn’t have the pet-raising minigame from DR2, we added the dress-up element so you can change improve its appearance.

TK: People loved the e-Handbook backgrounds.

SS: Really? I actually found the dress-up function unnecessary and was against it. But Suzuki and the designers were very intent in doing it, so I gave the ok just because.

TK: I was also against it at first, but once I started to actually play with the backgrounds and see their individual animations, I really enjoyed them. It also increased the prize count for the casino, so it’s good that we did it.

TS: Though I think we made the designer team suffer with each new background we had them make. It was only going to be the e-Handbook changing colors when the protagonist spot switches from Akamatsu to Saihara. But we thought that if we’re changing once, why not change a few more times? It would be fun. Another thing, the reactions on the novel parts.

I: By reactions you mean the interjection cursor that appears in the novel when you move the right analog stick?

TS: Yeah. Nothing happens when you do it though (pained laughter). I just thought it would be a good support system to make V3 more immersive.

TK: But it really does nothing. It would really be better if the character lines changed if you did an specific reaction at an specific moment.

SS: Oh, we really should have done that.

TS: We can do that next time... Aside from the reactions, another really minor element I like is slapping away the chair and tables and whatnot.

I: The game really makes you want to slap the things. Whenever I got to a new place the first thing I did was always checking for what I could slap.

TS: It changes how the scenery looks like and it gives you Monocoins, so yeah, do it.

TK: It’s a plain way to earn Monocoins, but it’s still money. The Monocoins can be exchanged into Casino Coins so there’s no downside for getting many.

I: Finally, Sasaki, what elements do you like?

SS: Number one are the bonus modes, but after that, I liked Panic Debates. It easy to experience how much the Class Trial evolved and there’s a pretty well done job in to making it look chaotic.

TK: Really? That was my idea.

SS: Good job.

I: Kouno is getting a raise today (laughs). What idea gave birth to the Panic Debate?

TK: I always wanted to add a new debate to the Class Trial. In the project meeting, we had to think of situations we never did before, but I couldn’t say with anything. After the meeting was ending, our small community started talking, everyone at the same time. That’s where I the idea came to me.

I: And this epiphany became the Panic Debate.

TK: We never had this situation where multiple students spoke in the Class Trial at the same time, so I thought this could work. 3 characters filling the same screen, multiple Weak Points appearing, none of this was never done before, so I’m glad we managed to implement it.

Even the Game Over lines!? The playfullness the devs incorporated

I: Can you tell me what did you do to make the game more accessible to people not good with action games?

TK: By setting Skills according the action parts you’re bad at, it gets significantly easier. You can get Skill by exchanging Bond Fragments or in the Casino shop. Many of the Skills available with Bond Fragments make minigames easier, so I recommend using those. The casino Skills, on the other hand, are better for increasing your score. Try using those when you’re already used to the game and wants to get the best score you can.

I: That makes it important to talk with other students.

TK: Not to mention all Skills obtained from maxing a character’s affection are very strong. The more you talk to get Skills, the easier the game gets.

I: Tell us some useful gameplay secrets that only you know.

TK: Ok, me first. You can get a rocket start on Psyche Taxi. It works if you hit the gas the exact moment the GO appears. Give it a try.

TS: A lot of minigames have little secrets. Like how the tutorial for Salmon Fishing is a poem....

TK: Not a poem, but a reference to a famous song from a popular band. That’s why Saihara says “That was quite the poetic explanation...” after reading through the whole thing (laughs).

I: I completely missed it (laughs).

TK: One more thing about the Casino. For the slot machines, their reel patterns change depending on the machine you use. The one with the green nameplate is the more balanced one and the one with the red nameplate is the high risk high return one. The one with the blue nameplate is a more tricky machine. If you hit Scatter, you’re more likely the get WILDs and land a huge profit in one go.

I: The blue machine sounds the best to roll. Suzuki, do you have something for the non-investigation part?

TS: Let me see. You can talk to the Monokubs in the Salmon Mode and each of them has multiple different lines. Even for the silent Monodam, we gave him a line with 3% appearance rate. You can get Casino coins from talking to them, and getting the special Monodam line gives a lot of them. I don’t think people will get to see this a lot, since you can only talk to him once per day. But I’ll be glad the interested people would try it out.

I: 3%? Yeah, that’s very special alright.

TS: Also, character birthdays. All of them have special meanings, so speculate to your heart’s contents.

TK: Lastly, I have a few secrets about the Class Trial. First, we have multiple different Game Over dialogues. For example, if you time without picking anyone on Voting Time, you get a unique game over.

I: You mean Saihara’s thoughts change?

TK: It’s not that Saihara’s thoughts changes, you get a new conversation with Monokuma. Every chapter has 2 different Game Over dialogues, except for chapter 1, which has one more for Akamatsu, and chapter 6, which has 7 different unique game overs. You change characters in chapters, so we had to add new Game Over dialogue for all of them and then one shocking final Game Over for when you vote. Game Overs asides, you also have unique dialogue for the mistakes you make, so you can enjoy all different scenes.

I: That’s a lot of hidden details.

TK: I remembered one more thing about the Class Trial! In chapter 1, the first Nonstop Debate with Saihara as the protagonist has the exact same cameraworks and word movement patterns as the first Nonstop Debate from DR1. Since that debate is when Saihara finally becomes the real protagonist, we thought it would be interesting to make it identical to the first one. If there’s a video comparing the two, you can really tell it’s the same.

I: I want to watch this video now. By the way, was this parallel planned from the start?

TK: Originally, chapter 1 wasn’t going to have any debates as Saihara, until Kodaka suddenly said he wanted to add it...

SS: He wanted to use Saihara’s BREAK cut in there already to make everyone sure that Saihara was the new protagonist. So we added debates.

TK: And this new debates were asked to be made at the very last minutes, so we had no idea what to do. Once we were out of good ideas, we thought repeating the first Nonstop Debate ever would be a valid idea. The fans who notice would find it clever and we could just copy-paste the program scripts, so two birds with one stone. Except the program was written completely different, so we couldn’t just copy the script.

SS: You had to copy it by manually typing it?

TK: I copied it by eye.

TS: It wasn’t much more time consuming.

TK: But that was because having ideas is hard. I’m glad we could get away with this.

I: Now that I think about it, having to come up with a new camera work and text movements for each Nonstop Debate sounds hard.

TK: Don’t even start. Especially now that our platform has been greatly improved. Everyone was thinking “Let’s make this animation”, “Let’s add this text placement”. We went through all the possibilities. And from this game on, we became able to move the text in 3D and gained some new fonts. It was a lot of work, but it was worth it. I thought the person typing the program would suffer a lot with it, so I did most of it myself... I’ll only say it took forever.

I: That’s a tremendous workload...

TK: Naturally, we must come up different animations for every debate. We created multiple patterns of font and lettering, and even needed to match the text’s colors to its contents. When someone was being accused, we pay attention to how our color work makes this character stand out.

I: The chapter 6 animations were the biggest highlight. Did you come with those, Kouno?

SS: Sugawara was in charge of the 6th Class Trial.

TS: And so was the first.

TK: Sugawara was in charge of the parts where we change characters. At first I was the one coming up with them, but partway through I was forced to admit it was too much for me... I asked around who could help and the answer was “There’s Sugawara!”.

I: The same twist as the Debate Scrum story (laughs). Sugawara is always reliable, like your last line of defense.

SS: He is. We’re glad we have him.

TK: It comes as no surprise. He is one of the creators of the Danganronpa franchise. Since we had him handling the animations for chapters 1 and 6, those turned out a level above the rest.

The developers’ thoughts to make a better game

I: Last question, tell me how you feel about the game now, and what would you want to update in the next game.

SS: How do you two feel about the game now ?

TK: I’m extremely happy with all the reactions we got, both positive and negative. I feels like a lot of people were strongly impacted from playing V3.

SS: It’s great to see opinions about it. There have been a lot of different takes on it, even some people who felt challenged by the ending. As developer, seeing this many different opinions make me feel more blessed than I deserve. Thank you all very much for it.

TS: Seeing reactions from people enjoying the new elements we created as much as we wanted them to makes me glad I could implement everything right.

TK: One more, a little bit more personal opinion. As its developer, I’m very glad for the surprising amount of people who tried hard on the Death Road of Despair.

I: You thought there would be less of them, Kawano?

TK: I thought the challengers would assume it’s 100% impossible and give up halfway through. I readjusted a lot of things to make it clearable, but I still would be satisfied with 2, 3 people in the entire world beating it. But a lot of people showed up clearing it. As the person of handled every balancement detail of this minigame, along with my thanks to everyone who took so much of their time to beat it, I also want to say “wow, you’re awesome”.

SS: You just can’t stop praising yourself (laughs).

TS: The Death Road was made under the premise that at least one person out there was going to beat it. So we prepared not only a Saihara version to the ending, but also an Akamatsu version, and even made a bonus e-Handbook wallpaper for it. It’s made in a way you can do it if you try hard enough. But we were not crazy enough to tie an Achievement to the Death Road of Despair.

I: Yeah, you wouldn’t be able to get a Platinum without beating the Death Road. Ok, now tell me what do you want to improve or be careful about for the next game.

TS: For the VN part, I want to improve the visuals, adding animations and lightings to the characters. I’m quite used to the gameplay as it currently is, so I don’t fell much need to change it. I feel that what we must do now is to strenghen the visual part, making smoothly moving sprites to make the game even more immersive. Also, the current VN part has a lighting setup that shadows the characters you’re not talking to and I want to improve on that function.

I: On that note, if the game were a PS4 exclusive, could you have more than 3 characters on the screen?

SS: The hardware allows it.

TS: Adding more than 3 characters to the same screen is not the priority. I’m just thinking about how I can improve the presentation to make the Danganronpa story more enjoyable.

I: I have high hopes for it! And you, Kouno?

TK: A thing we need to more careful about, yes. We need to pay more attention to what we show in PVs and official material.

I: Did anything go wrong with a PV?

TK: I swear I was paying attention when I was making the PVs, but I had to do some rushjobs when I had no time or resources. I couldn’t check out all the finer details in time. Rantarou Amami was not there in the first revealed Class Trial picture, his “And why would he be in the library” line from the first PV was unvoiced, so people started suspecting that he would be the first victim.

I: Oh no, their suspicions were precisely on point...

TK: I made an inexcusable blunder, both to the dev team and for the fans. We should have recorded some dummy lines.

SS: If I had just a little more time available, I could have noticed it beforehand. It’s my job as the dev leader to check every detail... Another struggle was because we didn’t Debate Scrum resources for Amami.

TK: Oh yeah. Amami doesn’t participate in Debate Scrums, so we didn’t make any material in advance. That’s another thing we should have done...

SS: The only Amami material we had for the Scrum Debate was his dead portrait. For obvious reasons, we couldn’t just put that out there for promotional material. A problem so easily solved if we had just made an image of Amami facing sideways beforehand...

I: And how did you deal with Amami’s face?

SS: Coincidentally, Amami’s expression sheet just happened to contain a lot of sprites where he faces sideways. We were at a point where using that was the only option, but once we looked more closely, all other students had proper centralized looks while only Amami was looking directly to our faces (pained laughter). When we made it, we were worried that the fans would figure it out.

TS: And surprise, surprise, they did.

TK: If people noticed the unvoiced line, of course they would notice only one person looking directly at them.

SS: Good thing we can laugh at it now.

I: Oh yeah, now that I see the picture, Amami looks very off.

SS: By the way, an Amami’s Debate Scrum Illustration was made exclusively for this artbook. It’s very rare Amami content, so I hope you enjoy it.

I: Thank you for this precious conversation. Give one final message to our readers.

TK: Being a game developer is hard, but fun and rewarding. If reading this interview made you interested in becoming a developer, go ahead! Also, my Twitter @ is taichikono. I’d appreciate your follows, if you’re interested.

TS: You sound like an ad (laughs).

I: Your turn, Suzuki. If you please.

TS: I’m happy and grateful to everyone played our game. We still don’t have anything planned, but I truly want to give you the next title, in whatever shape or form it may be. Keep looking forward to the Danganronpa series.

SS: Are you sure you tell your Twitter @?

TS: I like to live away from the limelight... I couldn’t handle a big follower count (laughs).

I: I get it (laughs). Last but not least, the final comment, from our director.

SS: I’m always doing Danganronpa interviews with Kodaka and Terasawa, but Kouno and Suzuki form quite unique trio here, since those two are from the side of the staff that usually doesn’t talk to the public. Every Danganronpa is very colorful on its own different way, so we from the development team would appreciate if you would play them all again, thinking about what kind of people made it.

#artbook translations #shun sasaki #taichi kouno #takahiro suzuki #i liked when sasaki almost implied kodaka doesn't let him make the games too comfortable to play #i can't believe i've just seen sugawara being held in high regard as a writer #sugawara is at least a great boss though #i'm surprised at how much they are owning up to their mistake with amami #rare amami content(?)

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clickbliss · 5 years

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Cytus Alpha Review

by Amr (@siegarettes)

Cytus α

Developer: Rayark

Publisher: Rayark

Switch

Rayark has made a name for themselves in the rhythm game space. They’ve carved their space with games like VOEZ and Deemo on mobile and Vita, eventually bringing both to the Switch in updated, comprehensive packages that were even updated to add button support to interfaces intended for touchscreens. Cytus Alpha is the latest in this series, bringing Cytus’ complete tracklist and story into one game, alongside some guest tracks from the DJ Max series.

The presentation here is meticulous, with beautiful illustrations adorning the menus, and slick UI design that complements its futuristic setting. Cytus goes much heavier on the story than its predecessors, which each contained story elements, but never put a big focus on them. Here songs are organized into Chapters of the story, with your total score between them unlocking snippets of text on a narrative web. The main plot points are often unlocked long before you play all the songs with a chapter, allowing you to progress to the next chapter quickly, though alternative story bits can also be unlocked by aiming for greater completion.

When the events of Cytus begin, a new program allowing people to download their consciousness into artificial bodies, called Operators, has just become viable. Naturally, this creates controversy and arguments about the ethics of the procedure ensue. Conversation around Operators and their regulation is abruptly interrupted when a deadly virus begins to kill off the population, prompting the widespread authorization for the use of Operators. Here, Cytus hints at greater transhumanist themes, ideas of consciousness and class structure, though it goes underexplored. Part of this is the stories own limited ambitions, and part of it is the structure itself.

Story chapters only contain a few paragraphs of text each, which take the form of personal diary entries, news stories and even in world literature. It’s enough to give a broad picture of the world and get me interested, but some entries felt a lot more meaningful than others in terms of fleshing out the world and the plotlines. Because of the limited number of story entries, documents of the moments leading up to critical decisions points are given the same importance as a random person’s thought at a club.

Chapters themselves don’t offer much in terms of thematic coherence either. Because of the sheer number and variety of songs, chapters end up more as a collections of random songs rather than setting their own mood or feeling relevant to the current moment in the story. It’s clear Cytus Alpha’s ambitions lie more in its offerings as a rhythm game than the story it’s built its presentation around. Not a bad move, since it has a lot on offer there.

Like VOEZ before it, Cytus opts for a simple, clean presentation for its note charts, deriving novelty from its touch screen stylings. A line bounces between the top and bottom of the screen, with notes pulsing into view. Depending on the note type, you’ll have to perform either a press, hold, or slide in time to the line. It can get confusing compared to the standard note highway style, especially on harder difficulties where notes come in fast, but keeping an eye on the timeline can help sort it out and get a feel for it.

Button controls are supported as well, with a press of any face button mapping to press and hold notes, and holding any shoulder button performs slide notes. This simplifies your actions a lot, removing some of the nuance of the touchscreen controls and turning it into something akin to Taiko Drum Master. It’s clear this isn’t the intended way to play it, but it works well enough for when you want to play docked or while traveling, since there isn’t always good place to set down the Switch.

Compared to the elaborate presentations of titles like Beatmania or DJ Max, Cytus can feel a bit underwhelming, especially since there’s no direction connection to the charts to give you audio feedback on how well you’re playing. Visual feedback goes some way to make up for it, but there’s nothing as strong as impressive as VOEZ’s sliding notes. The plus side is that this creates a lot less work per song, and as such Cytus has an absurd number of playable songs--more than 200 hundred from the go, and possibly even more if previous titles are any indication of future support.

In hours of playing Cytus I don’t think I ever got close to playing every song in the game, and if it wasn’t for the extra story tidbits to unlock, I’d feel perfectly fine about skipping a lot of it. With so many songs and so much variety, there’s bound to be songs that you don’t care for, and honestly most of the tracklist I wouldn’t listen to outside of the game. But they work well enough for the high energy beat matching, and most of them are at least produced well enough that they were pleasant to play along to. I’m still working my way through all of it, but it’s a safe bet that the size of the track list just might bring me a list of favorites larger than the tracklist of other rhythm games.

Between Cytus Alpha’s presentation and sheer size, it ends up both overwhelming and underwhelming. The massive tracklist and hit or miss quality of it can make Cytus’ soundtrack feel almost disposable at the worst times. But at its best it manages to provide an endless setlist of strong vibes that pushes you forward with small tidbits of story. I wish there was more consideration given to the thematic cohesion of the package, but as a complete piece, it’s Rayark’s most compelling argument for the format yet.

#cytus #cytus alpha #nintendo switch #review #switch #rhythm games

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zuckarr · 5 years

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CHARACTER STUDY: yoichi saotome, aka the gentle soldier

— BASICS.

▸ IS YOUR MUSE TALL / SHORT / AVERAGE? Yoichi, being a teenager guy, is a little shorter than average, but I still wouldn’t consider him short — besides, he might get taller.

▸ ARE THEY OKAY WITH THEIR HEIGHT? I think he is. It doesn’t look like a problem for someone who can jump all the way up to a roof, or can climb a lamp post, anyway.

▸ WHAT’S THEIR HAIR LIKE? FLUFFY. A little curly, particularly at the ends. We have no canon info, as far as I know, about his hair being thick or thin, but it certainly looks voluminous and extra soft. As for hair colour, Yoichi was originally colored with black hair (see picture below) but it was changed to brown/golden brown due to resemblance with Yuuichirou’s. I’m personally still fond of the idea of Yoichi being black-haired, though.

▸ DO THEY SPEND A LOT OF TIME ON THEIR HAIR / GROOMING? No canon info whatsoever about this, but I gladly headcanon him as someone who tries to take care of his looks and fails, optimistically exclaiming “whelp! good enough!”

▸ DOES YOUR MUSE CARE ABOUT THEIR APPEARANCE / WHAT OTHERS THINK? He did care about what others think of his appearance, I suppose. But he’s definitely over the influence of people’s opinions now (he was always tough like that, he just needed to snap out of it). He definitely cares that his family finds him likeable, so I’m guessing he just tries his best with taking care of himself.

— PREFERENCES.

▸ INDOORS OR OUTDOORS? probably anywhere is fine as long as his family’s with him. ▸ RAIN OR SUNSHINE? sunshine! ▸ FOREST OR BEACH? Imma go with forest! he looks like somebody who would like hiking and climbing trees, other than enjoy the rare sights of wild animals. ▸ PRECIOUS METALS OR GEMS? I suppose gems, because they’d remind him of eye colors of beloved ones. ▸ FLOWERS OR PERFUMES? flowers! he’s shown in the middle of a sunflower field with Tomoe (see pic below), therefore I like to think he lived nearby flowery areas before the apocalypse.

▸ PERSONALITY OR APPEARANCE? personality. ▸ BEING ALONE OR BEING IN A CROWD? being amongst loved ones! ▸ ORDER OR ANARCHY? middle ground, I assume? ▸ PAINFUL TRUTHS OR WHITE LIES? painful truths, possibly said in a kind way tho. ▸ SCIENCE OR MAGIC? magic! it’s all around him, even his weapon is magical! ▸ PEACE OR CONFLICT? PEACE PEACE PEACE PEACE PEACE OH MY GOD PEACE ALL THE WAY ▸ NIGHT OR DAY? day! ▸ DUSK OR DAWN? dawn! ▸ WARMTH OR COLD? warmth duh, let him hug you till you choke ▸ MANY ACQUAINTANCES OR A FEW CLOSE FRIENDS? few close friends. I doubt Yoichi would be comfortable with people he’s not close with. ▸ READING OR PLAYING A GAME? uh, he’s young, he would probably prefer playing games!

— QUESTIONNAIRE.

▸ WHAT ARE SOME OF YOUR MUSE’S BAD HABITS? Yoichi tends to get anxious, which leads him to turn to the pessimistic side of things. I don’t blame him, he lives in a world where he could die or lose someone close to him any moment, so who wouldn’t be *at least* a little anxious. Also, sometimes Yoichi thinks too naively, and he wishes for things that are just unrealistic (f.e. no one can “get along” as easily as Yoichi makes it sound like).

▸ HAS YOUR MUSE LOST ANYONE CLOSE TO THEM? HOW HAS IT AFFECTED THEM? yes, Yoichi lost his parents and his big sister. particularly the death of his sister affected him drastically, to the point he began blaming himself for not being able to save her; he most likely also thought he should’ve died with her, and he attempted to find meaning in his life by seeking revenge, until he met Yuu. I think such loss caused most of his insecurity and anxiety, other than having led him to a very lonely school life (he didn’t have any friends before meeting Yuu and Shinoa) and general feeling of hopelessness (which he admits later on, with Gekkoin, by saying he was “desperate” and “miserable”).

▸ WHAT ARE SOME FOND MEMORIES YOUR MUSE HAS? he probably tries to hold on to any memory he can recall from childhood, but he also really wants to make new ones with his friends — in the PS vita game, he’s seen happily taking a photo of an embarrassed Kimizuki.

▸ IS IT EASY FOR YOUR MUSE TO KILL? it depends on who he attempts to kill. if it’s enemies, I don’t think he has any problems. I’m pretty sure he killed many vampires, if that even counts as “dying”. but he probably wouldn’t kill any human, or any demon (I doubt he could, but still), if you ask me.

▸ WHAT’S IT LIKE WHEN YOUR MUSE BREAKS DOWN? giving in to the demon is not an option for any demonic weapon wielder. he just can’t, but if he ever does, I think it depends on what exactly causes him to have a breakdown. if he finds himself confronting Lacus, for example, he would most likely go berserk, because he would be both scared and furious, a dangerous mix. if one of his comrades dies, he would panic and scream. if an unexpected situation happens (like a betrayal) he would be baffled and petrified. it really depends!

▸ IS YOUR MUSE CAPABLE OF TRUSTING SOMEONE WITH THEIR LIFE? yes, totally.

▸ WHAT’S YOUR MUSE LIKE WHEN THEY’RE IN LOVE? I think Yoichi would be many things in love, haha! he would be a little clingy, very attentive, sweet and extra nice. he would also be insecure, shy and devoted. personally, I believe he would be needy and also a little lustful, after having discovered how warm and intimate sex feels. he would be respectful, more excitable, and adventurous. he would find so much inspiration in his partner, and of course, he would be altruist and helpful, as much as he can. Yoichi would be happy if he ever falls in love, because he knows he can’t afford to, not in a world like that.

TAGGING TIME! @thefifthprogenitor (give us that sweet Ky Luc content, senpai) @lacusthebae (I can’t wait to read stuff about your muse~) @icyghostllama (we all need Yuu!) @yuichiroswife (I hope doing this will help your writer’s block, friend!) @namanari (please do this with Guren, if you want to!) I hope you guys have fun!!

#owari no seraph #seraph of the end #ons #sote #yoichi saotome

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xseedgames · 6 years

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2017 End-of-the-Year Q&A Extravaganza Blog! #5

It’s time for our last Q&A blog of the year. It’s been a fun time answering all these questions--you guys had some seriously good ones!--but now it is time for us to chill out and celebrate 2018. Hopefully we can give you guys good reasons to celebrate 2018, too!

For our final Q&A blog, we have answers from:

Ken Berry, Executive Vice President / Team Leader John Wheeler, Assistant Localization Manager Ryan Graff, Localization Lead Liz Rita, QA Tester Nick Colucci, Localization Editor Brittany Avery, Localization Producer Thomas Lipschultz, Localization Producer

Question: Does working on a game affect your enjoyment of it in any way? Do you anticipate playing the full package after it is done or do you play through it beforehand anyway? Have you ever been spoiled on a game through work and if yes how severe was it? - @MizuUnNamed

Brittany: It definitely does. It's like the difference between babysitting a kid over the summer vs. giving birth to that kid and raising them till they leave the house. Even the most frustrating things about a game will somehow become something you love in a weird way, because it’s your kid and it's your responsibility to raise it right. When you're localizing a game, you're choosing every single word, and every single decision you make for that game will shape the experience for the thousands of people who play it. Characters I'd normally hate as a player become characters I love because figuring out their dialogue is a joy, and stuff I never thought about in localization are now very particular to me because I want my kid to go out into the world looking its best.

I will always play the games I work on. Sometimes I play them in Japanese beforehand, but there are days where I edit a file while playing line-by-line just so I can look at a character's expression and match the line written to the face. Then I replay it a few time as the English builds come in, tweaking it bit by bit, because it feels different to see the English on a sheet compared to seeing it in-game. It takes a ton of time, but I'd rather have a final product I can be proud of than to give up because something requires extra work.

Liz: When I started working here the first thing I tested was Corpse Party PC. I played it for like 200 hours and that game is much shorter than that haha. I loved every second of it, and recently got to test it again for the Linux + SteamOS release. Oh boy, that was a treat <3 I also got to work on Cold Steel II and at the time I didn't have the consoles the first released for, so I just watched playthroughs online... bless Cold Steel PC! I don't think I've ever been spoiled on a game through work before.... except maybe for Book of Shadows? But I don't even remember that spoiler so does it really count?

Nick: This is going to vary widely from person to person. For me...admittedly yes, working on a game does impact the enjoyment I’m able to derive from that game as a finished product. I understand, going in, that simply by virtue of working on a game, I will know its plot from beginning to end, see all the character development (including optional stuff that you might not even be able to view in a single playthrough), and in general become a subject matter expert on its world and lore. I’ll have knowledge of all the optional events and the items it’s possible to get – and sometimes, even a few that exist but were never implemented.

Working on a game is usually a months-long endeavor, during which we often end up playing the game in various stages of beta (or even alpha) readiness. We experience bugs we hope you never will; all the times text isn’t displaying correctly, voice or music isn’t playing right, or the battle system is falling over foaming at the mouth. By the time a game is ready to be sold, we’ve spent more time with it than would probably be considered healthy from a consumer perspective.

Outside of post-launch support/tweaking I’ve done for games like Zwei: The Ilvard Insurrection, I’ve never picked up a game I’ve worked on here after it launched. They’re good games, and I’ve been proud of each project I’ve worked on so far – it’s just that I’m someone with a low tolerance for repetition. You know – the sort who would get sick of even my favorite movies if I watched them every day for a week straight. As cool a game as Trails of Cold Steel might be, I’m in no hurry to sink 80 hours into an RPG that I focused all my attention on for the better part of an entire year.

While it IS perhaps a bit regrettable that I “ruin” my ability to enjoy a game in a normal-player context by working on them, I feel it’s a small price to pay if I can help deliver something that players will really enjoy their time with.

Question: When you brought over Rune Factory 4 to Europe, what difficulties did you encounter? How was the process? - @Marower

Brittany: Hey! This is perfect for me! We really wanted to bring RF4 to Europe, but with the developer now shut down, it wasn't possible. We spent ages looking for a programming team who would be willing to help us that also had Marvelous Japan’s blessing, and then it became my little pet project. I had zero experience with the process, so it was a lot of learning and guidance from my boss, Ken. We were able to update the text a bit to fix typos, but because we would never be as familiar with it as the original team, we wanted to touch the game's code as little as possible since we didn't want to risk breaking the game.

I tried to reproduce this one rare bug that causes the game to crash at the end of arc 2 (this is present in the Japanese, too, so it wasn't introduced in English), but it was impossible. I started the EU version from scratch and went up to that point. There were rumors that soft resetting the game caused the issue since it really wasn't programmed to handle soft resets too much, so I did that as often as I could. Nothing. Oh, man... I wish I could've found the pattern that caused such a weird crash. It's rare, but no one wants a crash in their game.

NA only has one rating, but Europe requires several different ratings, so that's an interesting process. The store pages all require various languages, too, depending on the region. I learned that because you could palette-swap character models to simulate gay marriage that the game had to be 18+ in Russia. 18+! For a Rune Factory game! All of the processes take a bit longer, but it was mostly a lot of communication, paperwork, confirmations and such. All worth it to finally get that game out there!

Question: What process leads to additional content in localized releases? Things like additional voices for Trails of Cold Steel on PC. How do you decide which titles get "a little bit extra"? - @Baust528

Brittany:

Me (messaging programmer on Skype: hey are you up Sara (programmer): Yeah. What's up? Me: lmao wouldn't it be awesome if we could put x in the game Sara (ten minutes later): It's in the game.

That happens a lot. As a more serious answer, since we try to localize games we're personally passionate about, it's easy for us to see what we'd want as a fan, too. So we'll sit around and go, "Wouldn't this feature be nice?", and we'll see if it's doable. If it is, we'll do it.

The extra voice acting in Cold Steel PC came about because we wanted to do it for PS3/Vita, but it wasn't possible. I asked if we could put the games on PC one day, the boss worked out the numbers, and we realized that avenue was perfectly possible. We thought adding new voices would be great, because the English cast was very well received in English. Turbo Mode and ultra widescreen were both Durante, though. Those were awesome.

Generally, if our programmers have an idea they'd like to add to the game, we allow it. They're programmers! They know if it's possible, and if it makes the game better, who are we to say no? That's how the Sky games have gotten so many improvements over the years, too. We're incredibly fortunate to have Sara as a programmer, because she takes each project very personally and still finds ways to improve them years after launch.

Tom: There are a lot of factors that go into things like this, but one that's come up a couple times now has definitely been our inability to license the Japanese voices. We figured, if we can't offer dual voice to players, why not use whatever budget we may have set aside for that to give them something a little extra? It may not be exactly what they want, but it's at least something we can offer them to show that we truly did put our best foot forward with this release

Nick: As weird as it may sound, it starts with just someone asking, “Hey, could we do this?” Sometimes, what we’ll want to do is evident due to what’s perceived as a shortcoming in a game. Trails of Cold Steel had a lot of voice acting, but weirdly left protagonist Rean silent in a number of scenes where all the other characters were voiced. That was the initial impetus for us wanting to get back into the studio for the PC release and record all the voicework we couldn’t for the PS3 release (in which we could only supply voices for lines that were voiced in the Japanese version).

Similarly, when I was planning out the recording for Zwei: The Ilvard Insurrection, I thought, “We’re having people in to record these battle voices and we’re gonna pay them a minimum session fee anyway, so...why not add some story scenes onto that?” So in the end, we managed to include a solid amount of voice acting in there for a game that, in its original version, had very little.

Question: Have you ever considered localizing otome games? It would be nice if you can bring us some handsome boys. （*＾＾*) - @NymphNayade

Brittany: Hmm.

Question: Can you comment on the difficulty in trying to get Japanese developers to support same-sex couples/marriage in games like Story of Season or Rune Factory? - @atelier_michi

Brittany: XSEED's always been very openly supportive of adding that. I don't know what difficulties there would be in Japan, but I try to think of how much progress we've made to be able to openly ask for same-sex couples/marriage in games. It wasn't long ago that the idea was ludicrous. I remember when Ellen DeGeneres came out in the '90s and it affected me very strongly, especially since my parents would actively tell me, “Adam and Eve, not Adam and Steve.” So even if it's not in the current SoS games, I'll ask for the feature every time I visit Japan, because I think being open about it is an important factor to making progress on that front. Nothing will happen if you don’t fight for it.

I'd really like a whole variety of relationships in the SoS. Gays, lesbians, bisexuals, pansexuals, or even a unique relationship outside of sexuality like dating a single parent or supporting your partner as they transition. It's that sort of variety that makes life interesting and great, and I think introducing these concepts in a series as darling as SoS normalizes them and helps children to perceive them as innocently as heterosexual relationships and concepts. It's very educational. Normalizing it more would teach people to ask more questions, too, instead of rejecting any type of orientation or relationship that seems foreign to them.

I remember for the first SoS game we published, Hashimoto-san said he had animals die in the game because he wanted children to be introduced to the natural process of life and death. It wasn't meant to be a bad thing, but something we should be comfortable with because that's part of what it means to be alive. Something to that, lol. Anyway, I'd like for just as much heart to be taken to represent more kinds of people in life, too.

Question: A rumor is going around that you guys are avoiding publishing fanservicey games outside of Senran Kagura. This came in wake of you guys seemingly passing on Valkyrie Drive. Is there any validity to this rumor, and if so, why? - @WaywardChili11

Brittany: did people forget we did a game with literal strawberries and a banana as a costume

That's a weird rumor. It’s also dumb. We've done fanservice games in the past, and we'll decide on whether or not to do them on a game-by-game basis. We're not necessarily passing on them because of fanservice, but I also don't think fanservice is core to the XSEED brand, so it shouldn't be a given for us to do fanservice titles just because we’ve done them in the past. Many of us enjoyed Onechanbara and we have some SENRAN KAGURA fans in the office, so we published those because we originally liked them as games that happened to contain fanservice.

We’re also not big on censoring games, so I’d rather pass on a game than work on it after it’s been censored. If I were to localize a title and actually choose to censor it, I’d piss of people who don’t like the fanservice content, I’d piss off the people who want that content, and then I’d be pissed off because if I felt something was so horrible that it needed to be censored, then I probably didn’t want to work on the game.

That doesn’t mean every fanservice game is off the table for me, but I would need to evaluate it to see if the game is for me, as I would any other genre. Like, Lord of Magna is overall a super-cute game, but it also has an out-of-nowhere hot springs scene. I felt that scene detracted from the game because the rest of the game was adorable and innocent. That said, I didn’t remove the scene, and I still loved working the game. It’s a game with fanservice I would still happily play again.

Meanwhile, SENRAN KAGURA sells on fanservice, but the gameplay is pretty good. I admit that I prefer the older titles for DS/3DS which were more ridiculous titillation with a good story than the more overt modern titles, but again, that just means the series is no longer for me, and that’s fine. We still have SK fans in the office, and they enjoy working on the series.

Another factor is gaming trends and our overall rep as a company. Fanservice games weren’t always as hot as they are now, and XSEED started off with a variety of genres, with our niche eventually falling to RPGs and such. Every trend has a rise and fall, and if we pick up every fanservice game regardless of quality just because it’s hot now, we’re alienating the audiences that love us for action, RPGs, and so on. We may even alienate retailers or future marketing opportunities for the games we license outside of that genre. We’ll have shot ourselves in the foot if the fanservice trend falls when we made it our bread and butter. I like having a job.

Tom: We certainly don't have any problems with fanservice, as I think we've proven quite thoroughly at this point. But we also don't ever back a game simply BECAUSE of its fanservice. When we release a game, we do so because (1) we like it, and/or (2) we see some really good potential in it. If it happens to have fanservice, great! If not, also great.

On the flipside, we also turn down games for a variety of reasons. Maybe we hated the story. Maybe we hated the gameplay. Maybe we felt it took its themes a bit too far, or that it had a lot of wasted potential that it never quite lived up to. Maybe we put in an offer on it but were outbid, or the developer appended unusual terms to the license that we weren't willing or able to accept. Maybe the developer simply didn't want to work with us for some reason, or we didn't want to work with them. Maybe we didn't have time to work on that title, or maybe we simply felt someone else would be able to do a better job with it. Tl;dr version, there are a LOT of factors that go into licensing decisions!

Our reasons for turning down a game aren't really something we can ever outright tell you guys, due to the NDAs we all signed when we got hired. But suffice it to say, it's never simply because of fanservice. Fanservice may potentially contribute to a larger tapestry of reasons for passing on a title in extreme cases (though they'd have to be pretty extreme!), but rest assured, we'll never say no to a game simply because it shows a lot of skin. Good games are more than skin deep, after all!

Nick: Here’s the Nick take: Most of us here don’t mind fanservice. It’s fun, it’s saucy, and folks can have a good time with it. If you look at our lineup, you can see we don’t shy away from games that have fanservice (Oneechanbara!), and games that push the boundaries, as Senran Kagura sometimes does, certainly aren’t out of the realm of consideration. A boob, a bulge; it’s all fair game here.

But here’s the thing. The games a company releases become part of their oeuvre. We have a reputation for quirky Japanese games because we’ve released enough of them that it’s a noticeable trend. The same would happen if we opened our gates to every fanservice-laden game that came knocking. Speaking personally, I don’t want us to have a reputation as a publisher whose stock in trade is mainly cheesecakey fanservice or smutty games. That kind of pigeonholing doesn’t help us as a company, and at worst, might even preclude some future licensing opportunities.

I think a lot of people get the impression that we turn down fanservice-laden games for some sort of censorious or moral reason, but that’s not especially true. There ARE cases where we might think, “If we licensed this, the ESRB wouldn’t let it through without forcing us to censor enough that the primary audience we were licensing it for in the first place would be upset,” and there are times when a game might simply be in bad taste and we decide we don’t like how it handles sexuality.

Sometimes, iffy material gets through in spite of all that. The SENRAN KAGURA series has done well for us, so we continue to publish those games even though a number of us in the office have concerns about how each new game seems to push the boundaries further and further in terms of what’s allowable (either by the ESRB or by common decency). We keep a close watch on that, and we’ve communicated our feelings to Takaki-san and his team. We strongly dislike having to alter content in this way, so if a game is so stridently sexual that we think we’d probably be forced to do so by the ESRB (as was a going concern with Valkyrie Drive, iirc), that factors into our decision-making process.

More often, the mundane truth is that we’ll turn down a game of this type because our evaluation play-tests show it to not be very fun to play. It’s not uncommon for games in this vein to just focus on piquing prurient interests or trading in tawdry titillation while the actual game underneath feels janky to play, or has no depth once you get past ogling your favorite waifu. That’s something that can’t be conveyed through a screenshot or even game video, which leaves hopeful players confusedly thinking we passed on a game for reasons more related to its content.

There’s a solid balance to be struck between acknowledging and publishing content for a mature audience and turning down projects that don’t jive with us, and I want you guys to know that we DO put a lot of thought into keeping this balance healthy.

Ken: When we first published SENRAN KAGURA Burst in late 2013, it was a much stricter retail environment so we had to approach the title with caution. We needed to see if there was a market for the series in the West, and even if there was the absolute worst thing that could happen would be to start manufacturing only to hear that retailers suddenly don't want them or want to return their units because of a complaint they got. Due to the success of the digital-only release of SENRAN KAGURA Burst we were able to release the next few games in the series physically at retail (so the "no physical no buy" people really need to thank their digital-buying colleagues), but that doesn't mean that we get a free pass to release anything in the future. As each new iteration seems to push the envelope further and further, we need to be careful exactly how far we push - at some point if we push too far and the whole levee breaks, it could have repercussions for games that have already previously been released.

Question: Who is best girl and boy? - @MizuUnNamed

Brittany: Can I get Crow Armbrust and Crow Armbrust for $500?

Tom: Narcia and Pietro, of course. But only for each other.

Liz: Rottytops and Ludus! What did we do to deserve them?

That’s all, folks! It’s been a wild ride, but hopefully we answered your questions well enough.

#XSEED #Q&A #Localization

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illusivegore · 5 years

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Gore Reviews Tearaway

Release Date: November 22, 2013 Platforms: PlayStation Vita

As you begin Tearaway it becomes apparent that Media Molecule set out to create something that was not only unique, but also special. From its papercraft world to its determination to make the player feel like they are part of the game, Tearaway’s first impressions are largely positive. As the game begins, you’ll choose whether you want to play as Iota or Atoi (male or female character options, respectively). Both characters are messengers tasked with delivering a very special message to “The You”, who is portrayed by the person playing the game. Delivering this message won’t be simple though, as the You’s world is starting to bleed into the messenger’s, creating numerous enemies known as “scraps”, who are hell bent on stopping the message from being delivered.

If I had to sum up Tearaway’s story in one word it’d be, “cute.” It’s an interesting idea that I could see a younger (or less cynical) audience being particularly enamored by, but for me it just didn’t personally make any real connection. While it didn’t necessarily click with me, there’s no denying that Tearaway has enormous heart and it was still quite refreshing to play through something with such a positive vibe. We see so much hatred, killing and death in this medium that getting little games like Tearaway is a real treat.

Tearaway’s story more than likely won’t be what draws you to the game though. Its unique gameplay, which can only really be accomplished on Vita, is the game’s most intriguing aspect. Whether it’s using the Vita’s camera to put you into the game or using the back touchpad to move platforms, bounce your messenger or destroy scraps, every aspect of Sony’s handheld gets attention. Things like using the touchscreen to unroll paper bridges or tilting the Vita to move platforms both work perfectly throughout, but I found some of the instances where the back touchpad was used were a bit finicky. There are times in Tearaway where you’ll need to poke your fingers up into the messenger’s world and I found that sometimes I’d have to move my fingers around a little too much to get a proper response from the touchpad. These issues never truly hurt the experience, but felt more like small hindrances that broke up the flow.

When you’re not using one of the Vita’s touch, tilt or camera functions, Tearaway plays like a typical Media Molecule platformer. This in and of itself comes with its own set of problems. Much like the LittleBigPlanet series, the platforming in Tearaway is very “floaty” and imprecise. This coupled with the fact that the game takes place in a 3D world can make determining just how to approach some jumps a tough endeavor. I missed more than a few jumps because the camera moved in a weird way or because I couldn’t get the precision I needed and in the worst instances because of a mixture of the two. As irritating as this can be, it’s something you eventually get used to. Tearaway is also very forgiving with its checkpoints and with absolutely no penalty for dying these sections were never enough to deter me from continuing. However, If you’re looking to get one of the game’s trophies for completing a few of the tougher levels without killing your messenger, you’re probably going to need a bit of practice and a little luck, not to mention a good deal of patience.

As slick as all of these special mechanics feel in the beginning, their luster wears off rather quickly. Constantly having to peel back tape or roll out paper bridges started feeling mundane by the end of the game. Tearaway does try to keep things fresh throughout by giving you more abilities as you progress. Unfortunately, most of them felt rather empty (some even being scarcely used once acquired) and like they were just there to give you a different button to push. For as much heart and charm as Tearaway’s world has I still couldn’t help but feel like the entire experience was a shallow one once the credits rolled. There were so many clever ideas when it came to the control scheme, but none of them ever really felt like they met their true potential.

Outside of the platforming and other gameplay, you’ll be using the Vita’s touchscreen to do a bit of arts and crafts. Whether you’re decorating your messenger with a number of pre-made accessories or creating your own paper creations, this part of Tearaway is what will make everyone’s playthrough somewhat unique. I honestly wish there was more of this in the game, but much like the implementation of touch controls, it felt like so much more could have been done. You can only put eyes and a mouth on some random animal so many times before it starts to feel a bit overused. The most fun I had with creating in Tearaway came when I was tasked with creating a specific item, like a snowflake or a flame. These actually gave me some direction and the payoff of getting to see my creation in the game world afterwards was pretty neat. Unfortunately, there were only a handful of these instances throughout the game. Granted, you can essentially create anything you want, whenever you want, but having that motivation from the game really made the experience a little more fun.

For as much grief as I’ve given Tearaway because of its shallow nature, one thing that keeps it from truly wearing out its welcome is its rather short length. The game is separated into 14 different chapters, each with its own set of collectibles and aesthetic. You could probably get through the game in around 5 or 6 hours and if you decide to go for 100% completion, you may be able to squeeze another couple of hours out of it. This could be a turn off to some, but with the game’s lack of depth if it had gone on much longer I feel like some of the fun might have been sucked out of the experience. I do feel that this is one of Tearaway’s strongest aspects because it hit that rare sweet spot where it keeps you interested in seeing what’s next without ever dragging on longer than necessary.

As I brought up earlier, collectibles are a big focus in Tearaway. In each chapter you’ll be able to collect confetti, which is also the currency of the game, and use it to purchase various decorations to doll up your messenger with. There is a set amount of confetti in each chapter, so if you return to an area you’ve previously been to you won’t be able to rack up any extra. This isn’t something that should ever be necessary because I personally never felt compelled to buy many items and ended my playthrough with over 10,000 confetti, which I’m sure is more than enough to buy every item the game has to offer. I know I keep harping on it, but the lack of stuff you can actually buy further adds to the game’s shallowness. Outside of the confetti there will also be presents to find, which are hidden throughout the levels, but sadly they only offer up more confetti.

In order to obtain 100% completion you’ll also have to find and complete all of the “extra things to do”, which are essentially just side quests that you can find in each chapter. The variety in these things to do is decent and they offer a fun break from your main quest, but unfortunately, like the presents you collect, they usually just pay out with more confetti.

Eliminating every scrap in each chapter will also be necessary if you want to complete everything. This brings up another issue I had with Tearaway – the combat. Combat is far more about evasion than actual fighting, as you’ll be juking and jiving the scraps in order to stun them, which then gives you the opportunity to toss them into a wall (or another scrap) and destroy them (giving you more confetti!). In the beginning, the combat is used sparingly and offers a fun distraction from platforming and exploration, but as the game goes on, the focus on taking out scraps becomes far too prevalent. There’s nothing mechanically wrong with the combat later in the game, but it’s just not all that fun when you have to do it frequently and for longer periods of time.

Perhaps the most fun and creative collectibles you’ll be gathering in Tearaway are papercraft plans. As you make your way through each chapter, you’ll come across various creatures and items that are completely void of color and character. Thankfully your messenger is outfitted with a camera and by pulling it out and snapping a photo of one of these items; it will become visible in the world. That probably doesn’t sound all that exciting, but with each of these you find, they’ll be added to special account you can access online that will actually let you print out patterns and directions on how to craft it in real life. This isn’t something I’m likely to ever to personally use, but I do love this idea and I have much appreciation for Media Molecule trying to expand Tearaway’s world outside of the game.

It may not be completely apparent by some of things I’ve wrote, but I enjoyed Tearaway a great deal. It is clearly a case of a game being far better than the sum of its parts. I have a lot of issues with its shallow nature and some of its execution when it comes to mechanics and story, but when it is all put together it just works. Even though they never truly felt like they reached their potential, the implementation of all of the Vita’s functionalities (touchscreen, touchpad, camera, etc.) never felt like gimmicks and all made sense in the context of the game, even if they did feel a little overused at times. Tearaway is also a game that I felt compelled to go back through and collect everything, even though all the extra confetti meant absolutely nothing to me. I just loved spending time in the beautiful and charming papercraft world that Media Molecule created.

What it boils down to is simple – what you get out of Tearaway, depends greatly on what you put into it. If you go in and rush through without getting into the creation and collecting aspects, you probably won’t have too great of a time, but if you take the time to really take it all in and let your imagination run wild it might surprise you with just how enjoyable it can be. So strictly from a gameplay standpoint Tearaway is lacking quite a bit, but as an experience and a journey it is a wonderful feat that should be applauded and is one that every Vita owner should consider trying.

Score: 4 out of 5

#games #video games #review #reviews #tearaway

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kristinmccann4-blog · 7 years

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freepes15crack · 7 years

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That vita is a good screen defender along with largely many of the people experienced move to your vita because the device antics as the best looking after monitor for the different types of the unit that's available sign in forums find the many varieties of various show defender in the numerous sizing and in a position to discover all the variants of display guardian as well as the other things you desire. If you wish following setting a screen protector within your mobile or portable you can look at by means of by uncovering all of them when using the silver coins plus the alternative activities therefore you would are unsuccessful because you cannot capable to see obviously any good sole set in your mobile and this can be a preferred confirmation which you may allowed to find after you button to like different types of a hand held extras.

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aanxiousoul · 7 years

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bleach brave souls hack apk

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comiconverse · 7 years

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Game Review: Darkest Dungeon

Darkest Dungeon is an RPG dungeon crawler available on PC, PlayStation 4 and PlayStation Vita. Alan Stock clings desperately to his sanity to bring you this review for ComiConverse.

Game Review: Darkest Dungeon

Author H.P. Lovecraft’s horror stories, or “weird tales” as they were known at the time, were almost unknown during his life and he died young, at just 46 years old in 1937. If only he could have known that his tales would go on to mesmerise millions, and eventually influence other forms of media, video games being no exception. Having played, seen and read so many Lovecraft homages, I recently began listening to the audiobooks of his complete fiction works to see what inspired them. And so I can confirm that Darkest Dungeon captures Lovecraft’s themes and style perfectly, as you venture into the dank depths of the cellars, caves and dungeons to rid your ancestral home of corruption from a terrible god.

Credit: Red Hook Studios

The whole game oozes Lovecraft, from its Victorian setting, dark visual style, the poetic and melancholic narrator, right through to the gameplay mechanics and enemies who have practically jumped out from the pages of his stories. This gives Darkest Dungeon a thoroughly cohesive feel. Atmospheric sound and music, with good writing complete the haunted feel of the game. The premise is that you receive a letter from a wealthy relative (who is also the narrator). He wants you to free his manor estate from the evil influence that has invaded it, caused by his own machinations and his descent into madness – under a malign godlike influence from the depths of the earth.

Credit: Red Hook Studios

His letters bring cartloads of recruits from afar to the decaying hamlet lying in the shadow of the manor, and it’s here that you come in. In gameplay terms this is a classic dungeon crawler. You send parties of adventurers into the infested dungeons, catacombs, caves and forests to push back the spread of evil. The ultimate goal is to foster a group strong enough to enter the “Darkest Dungeon” under the manor and beat the ancient god to stop the menace once and for all.

Longer quests allow you to camp in the dungeon and give your heroes some recuperation. Choosing when to do this is crucial, and runs the risk of being ambushed in the darkness – which means really bad times. Credit: Red Hook Studios

The hamlet acts as your place of respite between forays into the dungeons. It’s here that you get new recruits, upgrade weapons and skills, cure illnesses (both mental and physical), manage your hero roster and plan your next expedition. In a fashion similar to large scale RPGs, although you can only send four heroes on a mission at once, your roster can hold many more and can be upgraded. This allows you to cycle heroes, allowing returning heroes to recuperate and experiment with different combinations of archetypes. Rather than just having a few hero classes, Darkest Dungeon spoils you with 15 to choose from, each with their own skills, strength and weaknesses.

Credit: Red Hook Studios

An expedition screen allows you to choose between different mission difficulties and locations. These are restricted by hero level, meaning you can’t send overpowered heroes on an easy mission – and although you can send weak heroes on hard missions the game does a good job of dissuading you with heroes complaining and a popup warning. The different locations each have their own themes, enemy types, bosses and loot.

On missions you must buy provisions and items such as food, torches and chest keys. Fail to leave enough cash in the bank to do this and you’re facing a dark and difficult challenge. Credit: Red Hook Studios

Once in a dungeon, you move your party left to right in 2D corridors within a fixed grid layout, with each corridor ended by a junction room which usually contains treasure or a fight. Along the corridors you will encounter enemies, traps and treasure. The layouts are simple but scouting skills let you see on the map what lies ahead, allowing you to choose more advantageous routes. Exploration isn’t a massive draw here, instead the focus is more on combat and survival.

Walking through dungeon corridors. You can reverse direction but it takes a long time, and your heroes will become more hungry and stressed – encouraging you to continually press forwards. Credit: Red Hook Studios

It’s in fighting that the core of the game lies. Your party lines up on the left, and the enemies in the right – with usually no more than four characters on each side. Combat is turn-based, with each turn allowing one character to perform an action. Things get more interesting in Darkest Dungeon thanks to positioning being important. Each ability can only be used in, and against certain positions. For example, an Archer’s arrow might only be used if the Archer’s in one of the back two slots of your party, and can only hit enemies in the rear of their group. Some abilities shift character’s position during combat, which can be used tactically – such as to prevent enemies from using dangerous attacks, or moving a hero into a more aggressive spot.

There are only a few healer classes in the game which makes life very difficult – mitigating damage to your heroes or tanking with a strong one becomes vital. In the later stages of the game no healing usually means death, which affects the hero balance adversely. Credit: Red Hook Studios

The number of abilities available considering the 15 hero classes and different enemy types is staggering and juggling them, working out synergies and deciding which to equip and upgrade adds a lot of depth to the game. Some can heal or cause status effects such as bleeding, blight, stuns and position shifts, but enemies will do the same – simply bashing each other over the head is a rare occurrence during battle. Enemy types also have different resistances and special attacks making you adjust your tactics for each fight and preparing for the mission depending on the enemies you expect to face. Bosses are scary propositions, easily capable of party-wiping in a few turns and require thought and perseverance to beat.

To reach a boss you must first get through the rest of the dungeon – and hope not to take too much punshiment in the process. Credit: Red Hook Studios

On top of all of this is a great Lovecraftian addition to the dungeon crawler – the concept of madness. As well as health, heroes also have a stress meter. This fills when nasty things happen to your heroes, such as taking critical hits, stress-inducing attacks, starvation or setting off traps. If it fills completely, your hero gets an Affliction, such as Fearful, Irrational or Abusive. These cause your hero to act accordingly, they may refuse to act, they might insult their teammates – causing them stress, refuse to be healed, self-harm, go berserk – you get the idea. There’s also a low chance that you may get a Virtue instead of an Affliction, where you hero becomes inspired instead, becoming a bastion of hope and courage for your team.

Credit: Red Hook Studios

Afflictions can’t be cured except back in the Hamlet so once you get them, it makes life a lot harder. Your heroes can also catch nasty diseases in the dungeons with nasty effects until cured at the Hamlet. Missions can be aborted but it’s costly, both in money and the mental health of your party. Curing and managing disease, stress and afflictions is a vital part of Darkest Dungeon and between missions curing stress is a number one priority but it takes time, encouraging the cycling of heroes between missions. Each hero also has a list of Quirks, both positive and negative, which increase and change as the hero gains experience and encounters different events. This helps to differentiate heroes and although they can be removed at a high cost, you’ll generally have to live with their quirks and incorporate them into your plans.

In addition to quirks heroes can be customised with different abilities, upgrades and equipment you find on your quests. You can also rename them if you like. Credit: Red Hook Studios

Darkest Dungeon excels at constantly giving you difficult choices to make, with a great use of risk and reward to keep things interesting. Mechanics like the light level, which, if you let it drop, mean harder monsters but better loot are extra layers on top of the game’s complex systems. Agonising about whether to forge on with a party that’s stressed out or near death is a common enough choice, and you’ll pay eventually for getting greedy and carrying on a mission to find more treasure when you’ve already met the pass requirements. There’s never enough money to go around in the Hamlet, balancing the needs of your heroes against upgrades is tricky, and you’ll never be able to fix everything that’s wrong with your roster. It’s a delicate, desperate, but engaging balancing act all the time.

Between expeditions, you get a news update on life in the Hamlet. Special events can give positive or negative effects to your heroes, and heroes can be affected by the actions you take in the Hamlet – for example healing stress at the Tavern, whilst the cheapest option, can cause your hero to become drunk or vanish for days on end Credit: Red Hook Studios

In common with dungeon crawlers of yore – hero death is permanent and autosaving prevents reloads – you live with your mistakes. Adventurers do get a chance to survive fatal blows but you will watch your favourite heroes die again and again. Party wipes are demoralising especially if they are high level and you have spent a long time building them up. But there’s not really a game over state in the game – it’s more a battle of endurance – there’s always new recruits to fill the roster if everyone dies and you can start again from the bottom. At least you should still have your Hamlet upgrades.

Equipping and upgrading abilities to match the mission and compliment your other party members is crucial to success once the game gets harder. Credit: Red Hook Studios

But make no mistake – this is a tough and uncompromising game. It’s very rewarding and the difficulty forces you to really think about your strategies, party lineups and Hamlet development. But like any survival game you will have to face defeat and take it on the chin. The difficulty ramps up with your heroes. Later dungeons are filled with really nasty beasts and bosses which can wipe you out in an instant. I played for over 50 hours and still never managed to reach the final Darkest Dungeon, although I came close a few times, I kept losing my high level heroes in advanced dungeons.

Points of interest around the dungeons provide risk and reward – sometimes causing injury, disease or maybe some shiny treasure. Items can be used to make points of interest safer. It’s important to get loot at the economy is very tight, a lot of the time you will struggle to break even after paying for recuperating heroes. But your inventory can only hold so much, so some hard decisions will have to be made… Credit: Red Hook Studios

It’s at this stage that the game becomes quite a grind as you build up weaker adventurers to tackle the harder dungeons. Although the game is great and there are lots of bosses to work towards defeating outside of the final dungeon, it can get repetitive even using different classes. There are some menu options to make the game a bit easier but these remove some of the interesting random elements of the game. However, developers Red Hook have acknowledged this issue and plan to release a shorter campaign mode soon, making it completeable in 40-50 hours instead of around 100.

A hero abuses his allies after suffering an affliction. Little text snippets from your heroes add flavour in the Hamlet and during missions. Credit: Red Hook Studios

Darkest Dungeon is a triumph of game design – it’s taken a proven genre but added many layers of depth, complexity and strategy whilst still being fun. It’s a strong vision realised very well and dripping with atmosphere. The turn-based combat in particular is one of the best I’ve seen in any RPG, where every turn makes you think. It’s only let down through its difficulty and repetition in the later stages of the campaign – which the new game mode should hopefully address. For sure, this game won’t be for everyone, but if you have any interest in RPGs, Lovecraft or dungeon crawlers you should definitely check it out.

Alan Stock is a Contributor to ComiConverse. Follow us on Twitter: @ComiConverse

The post Game Review: Darkest Dungeon appeared first on ComiConverse.

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soulcrazy2017-blog · 7 years

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Nintendo Switch: Will it replace smartphone gaming?

New Post has been published on https://soulcrazy.org/nintendo-switch-will-it-replace-smartphone-gaming/

Nintendo Switch: Will it replace smartphone gaming?

Just while we notion that hand-held consoles have been now not applicable smartphone and the Sony Playstation Vita changed into the closing of its breed, Nintendo took some other shot on the section using freeing a brand new handheld console called Transfer. The brand new device is completely extraordinary from the Japanese organization’s previous ventures just like the Nintendo 3DS. The transfer is extra of a modern handheld console that is familiar with the idea of flexibility this is required to compete with smartphone gaming. The reality that Transfer may be carried in a single’s pocket, performed on the go and can even be linked to a Tv display via a dock to supply a right console-like enjoy, reflects that.

Ever because its release in Japan last week, Nintendo has offered over 330,000 devices of Switch in Japan alone, in keeping with a Japanese mag Famitsu. It is also available in US and United Kingdom at $299 (around Rs19,000). There may be no replace on India availability but.

The simplest benefit that Transfer gives over a telephone like OnePlus 3T is the bodily controls, which might be continually going to be greater intuitive than contact controls The only advantage that Switch gives over a smartphone like OnePlus 3T is the physical controls, which can constantly be going to be extra intuitive than contact controls The way it compares towards phone gaming

gaming

Nintendo’s biggest assignment may be to persuade customers to head for a standalone hand-held gaming console, while their very personal telephone can fulfill most of their gaming requirements. Smartphones with a large screen and powerful hardware are without problems to be had at Rs10,000 these days, and the platform is not lacking regarding content material both. Some the most famous gaming titles offering console degree snapshots consisting of F1 2016, GTA, Assassin’s Creed and FIFA 16 are to be had on Android and iOS devices.

Some of the smartphones even provide larger displays with better (2,560×1,440p) or (1,920×1,080p) display screen resolution than Switch, which comes with a 6.2-inch (1,280x720p) display.

The Switch can also sense a bit massive and heavy (299g) for game enthusiasts with small hands, but it won’t be difficult to hold round as its manager panel known as Joy-Cons are removable and may be carried separately.

One of the highlights of Nintendo Switch is the reality that it may be linked to a Tv display via a dock. It calls for the user to take off the Pleasure Cons and park the Activate the dock. The Pleasure Cons can then be attached collectively and used as a recreation controller. This allows it to copy a recreation console like gaming enjoys at display screen resolution of 1,920×1,080p. Telephone users can hook up with Television screen using Google Chromecast or screen mirroring technology, but none of them are capable of streaming games easily on a big display screen. Film playback may work nicely, however with games. There may be a wonderful lag.

The handiest gain that Transfer offers over a smartphone like OnePlus 3T (Rs29,999) is the bodily controls that are always going to be more intuitive than touch controls.

As of now, it gives a handful of games including The Legend Of Zelda (motion-journey), Rapid RMX (racing) and Shovel Knight (side scrolling recreation like Mario. As of now, it gives a handful of games which includes The Legend Of Zelda (action-adventure), Fast RMX (racing) and Shovel Knight (facet scrolling sport like Mario. Content material matters

The success of Switch may even depend on the gaming titles it gives. As of now, it gives the handful of video games together with The Legend Of Zelda (action-journey), Rapid RMX (racing) and Shovel Knight (side scrolling sport like Mario). Nintendo lately announced that over 60 Indie video games might be launched for Transfer this year. Among huge names, EA Sports has a FIFA sport, Telltale Games have Minecraft Tale Mode, 2K video games has NBA 2k18, and Capcom has Ultra Street Fighter 2 in the pipeline for Transfer.

nintendo

Like smartphones, Switch will no longer only be a gaming console. It could be used as a multimedia device to circulate content material from Netflix, Amazon, and Hulu. This option isn’t always available proper away but could be introduced soon.

Regardless of its barriers, Transfer may be more amusing than telephone gaming. But, it will need greater games to attract greater consumers.

“Mobile Generation” has advanced our daily lives on many stages and it has profoundly raised the best of lifestyles for plenty. However, the threats coming from Mobile era also are very actual and concerning for statistics technology and services.

Essentially, botnets are massive unlawful networks of inflamed machines – commonly computer or PC systems, that are commonly used to send outgoing visitors to different systems to infect their network or device. But attackers are the usage of Mobile botnets to infect the opposite community/gadgets the usage of smartphones.

Infected smartphones that turn out to be a part of a botnet can gain whole access to the focused tool and unknowingly carry out positive duties like recording audio and video, taking photos, sending text messages, open web pages, steal consumer information, delete files, launch denial of provider assaults through HTTP floods and carry out internet injections, if supported. An HTTP flood from a Mobile botnet can without problems produce over a hundred,000 unique IP addresses, making it more and more difficult for websites to mitigate such big-scale attacks. As the botnet grows, every infected phone gets delivered to a community of bots managed through a botmaster (cyber-criminal).

Cellular bot-infections were first observed inside the yr 2011. DroidDream and Gemini each were romanized game apps with bot-like competencies that compromised Android devices. There have additionally been Cell botnet attacks centered at iPhones, Blackberry and Symbian gadgets. So no matter the working gadget your cell phone runs on, these kind of precedents are robust instances for Mobile antivirus safety.

How can boys get to smartphones:

smartphone

Customers are without problems get tricked to put in malware through malicious apps found in the Google play store, third party app stores or through malicious emails, that gains the root get admission to of user’s device. Devices which might be inflamed with that malware end up a part right into an international botnet without having a strength of resistance. From there, an attacker controls a device (as an infected botnet) through a command and manage device where the attackers can ship some of the assault commands to these inflamed devices to be able to perform the specified actions and release illegal sports thru it.

Online gaming presents spirited or supportive games on the computer with various customers, thru Internet or a nearby place network. Now, a query arises, why it’s miles required to play against a laptop once you have got the option to play with an individual? The solution for this question is that Online gaming hyperlinks you with various players of the globe and creates such an environment for you in which you may deal with every other and experience as a real scenario.

Thru Online gaming, you could subjugate a rival of this type of nature which would not but live in this world. The action between players is managed through servers in net video games even as photos and sound are treated along with your PC. There are mass sorts of Net games to pick out with. You could play complex games promptly with the help of a speedy Internet connection.

On-line gaming calls for a network that includes solitary or extra computer systems to paintings as servers. The computer systems of the players are termed as clients. Clients link to the server via the Internet or a neighborhood community. The server acts as an agency of the internet gaming that maintains track with selected recreation of player, keeps information of participant and also presents gossip between gamers.

At the time of playing the game, the server helps the moves of every player. As individuals shift, play a card or blaze a weapon, the “kingdom of the world” messages is dispatched to the server using their computer systems then after receiving the signals server transmits those alerts to the opposite patron computers immediately. Any actions that you make on the time of sport emerge on different customers’ computers. The client laptop then transmits the sounds and photos, as a result, presents the obvious consequences for all players.

Net games can be classified into organizations. One group this is on hand via centralized servers at the same time as other organization that runs thru allotted servers. Federal servers host the games that allow a range of customers to play concurrently at the identical time as is needed in vast gamers games like Ever Quest. The primary server enclosed with numerous statistics concerning the state of affairs for these games. The world of the game runs non-stop around the clock, for this reason, the game keeps either you play or now not. Net games in no way virtually end, you can continue to play as per your desire. To begin play person wishes to open the customer software program that connects to the master server of the sport.

Even as in a distributed system, server software stores several excited game servers on customers’ Desktops. The instantaneous strategy is used in video games consisting of Delusion and three-D shooters like Quake III Area and so forth. These video games need very set off updates known as “country of the sector.” Disbursed servers increase the percent of communication out; a solitary server hardly maintains up with several Quake gamers.

The sports servers talk alerts to the master server in each minute, and the master server shows the addresses of every dynamic game servers. If you need to play, then you want to get the listing of lively game servers to be had with the grasp server. Gamers can inquiry man or woman servers, from the information listing, regarding the category of sport exist on that server; the “dying time” and how many games are gambling or duration requires for speaking of instructions among the server and the participant. Gamers normally select a server of the much less ping time earlier than they link immediately to the game server.

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