Carmelo Lia @charlee1

Horizon Chase Turbo (PlayStation 4)

That OutRun Retro Vibe

The Good
'Horizon Chase Turbo', is a retro style racer that pays home to such beloved classics like the 'OutRun' franchise. However, it is a perfectly enjoyable and addictive game in its own right.

Featuring multiple stages within twelve stunning locations across the world, including the USA, Greece and Japan, 'Horizon Chase Turbo' has plenty of content to keep any racing fan amused for a long while. Although it is based on retro racers, the game has some pretty stunning visuals, including the beautiful beaches of Australia, the temples of India and the forests of South Africa. The soundtrack is also inspired, perfectly matching the vibes of the location the player is currently in.

With regards to the gameplay, nothing encapsulates the sweet feeling one used to get from playing the 'OutRun' games better than 'Horizon Chase Turbo'. Some stages are pretty challenging as to obtain the so-called super cup, the player has to collect a number of coins scattered throughout the race track and has to keep an eye on the fuel gauge otherwise one can easily run out of fuel and lose the entire race

The Bad
Having said all of this, the one defect of this game in my opinion is that some of the A.I. of the other racers could be improved. Sometimes, two or more cars group together making it virtually impossible for the player to pass them without hitting something. And when you try to pass them some will rather cheaply try to swerve you off the path by hitting you.

The Bottom Line
This is an outstanding game for those who love retro racing games. Even those that do not will find it pretty hard not to enjoy this beautifully presented game.

9/10 Outstanding

By Carmelo Lia on May 25, 2020

Burnout 3: Takedown (PlayStation 2)

The King of Arcade Racing Games

The Good
There is no other arcade racing game which quite captures the unadulterated thrill of driving cars at over 200 miles per hour in congested roads like Burnout 3: Takedown, a game that is as fresh today as when it was first released in 2004.

Burnout 3 is the result of Criterion Games' first collaboration with EA (Electronic Arts) Games, two giants in the gaming industry. A lot of money was invested in this project. Criterion ceased a year's worth of development on a reboot of the popular NES (Nintendo Entertainment System) skateboarding series 'Skate or Die' to focus on this title, while the collaboration actually came to fruition thanks to Bruce McMillan from EA Canada, who worked hard to ensure a good working relationship between the two companies.

First of all, the Burnout series was no stranger to innovation. The Original Burnout (2001) was described as "The game that leaves GT (Gran Turismo) 3 standing" by PSM (Playstation Magazine) 2, a significant commendation to be sure. Burnout 2: Point of Impact (2002) was described as the "Jack Daniels" of arcade racing games by Gamespot, and GT3 as the less-appealing "Dom Perignon". In short, both of Burnout 3's predecessors introduced the trademark high-speed racing and spectacular car crashes to the series. However, it is Burnout 3 which put all of these aspects together with an unparalleled degree of polish, while introducing new features as well

For example, Burnout 3 features the largest diversity of tracks in the series on three continents, the USA, Europe and Asia, between which there are 10 circuit tracks, 4 point-to-point tracks and 4 marathon tracks. Whether you are drifting through the historic alleyways of Winter City (Europe), glimpsing the giant golden Buddha statue in Island Paradise (Asia) or avoiding traffic in the Kings of the Road (USA), Burnout 3 keeps you on the edge of your car seat from one continent to another.

Burnout 3 is also the first game in the series to feature 'Takedowns'. In Road Rage or Race events, you can boost shunt your opponent into oncoming traffic or other obstacles to gain more boost. It is very rewarding to successfully takedown a rival car, and is one of the highlights of Burnout 3. In addition, there are the so-called 'Signature Takedowns' when you crash your opponent into a specific obstacle. If you manage to get a takedown over the cliffs in Silver Lake, for example, you will get the Signature Takedown 'Gone Fishin''. The tradmark 'Aftertouch Takedowns' were also introduced in Burnout 3. If you crash yourself, you can steer your wreck in slow-motion to try and crash into your unfortunate rivals. In Burnout 3, even as a wreck you can cause insane amounts of damage.

Another feature introduced in Burnout 3 are the Crash Events, which motivate the player to smash their vehicle into traffic in the most reckless way possible to rack up Crash dollars in 100 different Crash Junctions. Some of these are pretty challenging, and will have the player use the 'crashbreaker' (when a certain amount of cars have been destroyed, the player can detonate their car one more time) to its full potential. But, most importantly, they Crash Events are very fun, and offer a good alternative to the other Events.

What makes Burnout 3 so much fun, however, is that it makes no pretenses when it comes to rules and realism the way other racing games do. In fact, the game mechanic's rewards a$%hole drivers. You get boost for driving on the wrong side of the road, you get rewarded for almost crashing into another vehicle, for crashing other vehicles and for crashing into other vehicles. Burnout 3 is every driver's fantasy, and that is what makes it such a success as a videogame, with one of the best soundtrack in a videogame to boot.

The Bad
Burnout 3 is a near flawless game, but there are some aspects which have frustrated me personally all the same. Some of the special events are much more difficult than anything else in the game, such as those involving the US circuit racer. Trying to get gold in the infamous World GP using this racer was a nightmare I soon abandoned, for example. And while the overall graphic of the game were exceptional for the time, some of the oncoming traffic is barely noticeable at times, which makes you wish this game was designed with 720P/1080P resolution in mind. Though crashing is almost an inevitability when you are driving at 200 mph on the wrong side of the road...

The Bottom Line
Its degree of polish is what makes Burnout 3 the undisputed king of arcade racing games.

By Carmelo Lia on June 2, 2016

inFAMOUS (PlayStation 3)

Sucker Punch's Electrifying New Entry on the PS3

The Good
From the creators of the 'Sly Cooper' trilogy on the Playstation 2, 'inFamous' is Sucker Punch's first endeavour into the seventh generation of videogame consoles, exclusively released for the Playstation 3 in 2009. It remains one of the most original and free-flowing sandbox games ever made.

The concept revolves around bike messenger Cole McGrath, who is tricked into making a delivery containing an electrically-charged explosive device which blasts the once thriving Empire City (fictitious) into an apocalyptic wasteland. Thanks to his girlfriend Trish's (who is a nurse) attention and help, Cole regains consciousness on day fourteen after the catastrophic event, which is referred to by the people of Empire City as 'The Blast', with new super power abilities powered by electricity.

Cole is soon branded a terrorist by the people of Empire City and by his friends and close ones as well, who begin to suspect that he had something to do with it. Trish, in particular, blames Cole for the loss of her sister Amy when she learns that he was the one who delivered the bomb. Despair, paranoia and chaos overcome Empire City. A plague breaks out, numerous factions are constantly competing for control over the game's three districts, and the authorities have seemingly abandoned the people. The player is tasked with the choice of the path Cole must follow, either good or evil, in his quest to find the truth, avenge himself or the people of Empire City and to unleash the full extent of his newly found super powers.

First of all, a super hero/villain, depending on which path you follow, who depends on electricity as the source of his power is genius. In the brightly-lit streets of the Neon district, the district the player starts the game in, you really feel like an electrified superman, even with so many enemies harassing you at every corner. However, as you progress through the game you can 'liberate' certain areas from enemy control by completing certain side missions, like destroying a fixed number of surveillance cameras or racing past and collecting information from satellite uplinks. 'Liberated' areas then start to be re-inhabited by civilians, for although the city has been significantly devastated by 'The Blast', the city's resilient citizens are keen to restore it to its former glory.

Later on, you get to throw shock grenades, summon lightning storms and fly using static thrusters (!), to mention but a few of Cole's amazing abilities, besides his normal 'jolts' (or lightning shots) which do not drain his 'energy'. By 'energy' what is meant is Cole's capacity to use these special abilities, which drain a certain amount of energy from him each time they are used. This forces Cole to be resourceful and recharge at every possible opportunity. And in areas which have the power cut off by the enemy, you really feel the difference and it just shows how much Cole, like the modern man, is heavily dependent on electricity.

The game’s style is probably one of its most redeeming features as well. It is inspired by the storytelling common in graphic novels, which perfectly suits this sort of super hero type game. And its characters also fit such a style perfectly. From Cole's best friend Zeke 'Jedediah' Dunbar's humour, to the main Villain Kessler's petrifying aura, 'inFamous' sets the standard for future super hero games.

As a PS3-exclusive title, it is obvious that 'inFamous' pushes the PS3's hardware to its limits. First of all, there are no loading screens throughout the game, and the game never lags even with ten plus enemies on the screen, numerous explosions and enemy gunshots, and countless NPCs helping and running away from you. A huge plus is that every time you die, you are immediately respawned at the nearest medical clinic, saving you a lot of time. The graphics were exceptional for the time as well, especially when it is sunny (during certain segments of the game the weather becomes very dismal). Looking at one of the game's vistas in the district of the Warrens next to a medical clinic, at one of the bridges I very laboriously helped to lower to connect the Neon and the Warrens districts together, made me more emotional than any game has made me feel for a long time.

The Bad
'inFamous', despite all of its redeeming qualities, does have both major and minor oversights.

Since the game allows the player to choose either a good or evil path, it challenges the player with some hard moral choices throughout the game. One of the most memorable is [spoilers ahead] when Kessler asks you to choose between opting to save Trish or to save six doctors, a typical super hero dilemma. Kessler also emphasizes the good that six doctors are able to do for the community and that there is no way to save them all at the same time. If you save the doctors, you are doing a good deed and is rewarded with Karma, and viceversa for Trish. However, the choice the player is given is ultimately gimmicky, as I learnt on my second playthrough of the game. There is no way you can save Trish, for example. If you decide to save the doctors, then Trish falls and dies. If you decide to save Trish on the other hand, it turns out that Trish is one of the doctors hanging from the other building.

The only choice that is given a substantial amount of significance is whether or not to destroy the ray sphere, the mysterious device that gave Cole his powers, near the end of the game. If you choose not to destroy the ray sphere, you are give some extra blast cores (sort of batteries enabling you to use more powers) and some more power, but this supposedly causes the death of thousands (the effect is not really felt) and Cole gets a permanent evil Infamous ranking, even if the player had been following the good storyline up till this point. That is clearly a minor oversight, because some people have commented that it is impossible to beat the game from that point with a new karma choice.

Also, it kind of sucks that the game is much easier if you opt to collect evil karma instead of good, because, instead of cumbersomely restraining an enemy every time, you get to drain his life when Infamous instead, which replenishes Cole's health and energy. Civilian casualties count in your favour when Infamous as well, while it is a real challenge to hurt as few people as possible with your attacks when following the good path. The only advantage I got is the personal satisfaction I felt after helping Empire City's community instead of crippling much more [spoiler end].

Another element that I dislike about this game is that you are forced to collect blast shards. Blast shards, charged remnants of 'The Blast', are scattered throughout the map and there are 350 in total. After collecting a certain number, you will gain an additional blast core. It would have been alright if they were simple collectibles, but you simply have to collect at least 300 if you want to beat this game for those blast cores, which is a very laborious task to complete. Take my case as an example. I have already beaten the game and collected all the blast shards, but I decided to play the game again. I was forced to collect all the shards again, which is a bother to say the least.

I did experience some minor glitches as well, such as falling through the ground, but beyond that there is really nothing else to complain about such an excellent game.

The Bottom Line
'inFamous' was PS3's 2009 game of the year in my opinion. Its critical success marked the beginning of an excellent series, which is well into the eight generation by now, and which I am sure will be around for much longer.

By Carmelo Lia on March 26, 2016

Pirate Ship Higemaru (Arcade)

One of Capcom's first Arcade Gems

The Good
'Pirate Ship Higemaru' (or 'Higemaru' in short) was first released by Capcom in 1984 as a coin-operated arcade game, following the success of 'Vulgus' and 'Sonson' that preceded it during the same year. Many of the younger generation of gamers have probably discovered this game in the compilation 'Capcom Classics Collection', which attempts to mimic the original arcade experiences without spending a small fortune.

Older, more discerning gamers, will realize that 'Disney's Goof Troop' for the SNES (Super Nintendo Entertainment System console), also produced by Capcom, was primarily based on 'Higemaru''s game mechanics. The similarities are so obvious, that some people actually consider 'Goof Troop' to be 'Higemaru''s spiritual successor.

The gameplay involves the pirate Momotaro, who must use barrels to defeat the Higemaru's pirate crew. For some reason, I always thought that the protagonist was the one called Higemaru. The first level a brief tutorial segment which illustrates how the game's fundamental gameplay mechanic works. You grab barrels and some other items which you can throw vertically or horizontally at enemy pirates. Those caught in the way will be hurled off the screen, earning the player points.

While the tutorial segment is not skippable, it is still a very significant part. In fact, you can learn an important strategy from it. There are three enemy pirates and three barrels located vertically from them. At first, I hurled each of the barrels from the top position, knocking down the enemies separately. Later I learnt that you could defeat the three of them with one barrel by simply hurling it sideways and knocking the three of them simultaneously, bagging me more points in the process. Points are vital for extra lives.

There are special items hidden beneath certain barrels as well, which flash every once in a while. The further you advance throughout the game, the more points these items will be worth. It is an addictive and rewarding point system, similar to many arcade and Atari 2600 games (such as 'Taz' released in 1983) popular at the time.

Instead of levels, 'Higemaru' has what are called 'decks' instead. The 4th 'deck' is a sort of bonus stage referred to as the 'Hi-Point Stage'. In these stages, the player has to contend with numerous captains, called Bous, which are worth more points than normal enemies. In total, 'Higemaru' offers 16 different decks, with 4 bonus levels in between, after which the game will start all over again.

With regards to the soundtrack, Vahan Nisanian, writing for hardcoregaming101, notes that:

"The soundtrack was among the first to be composed by Tamayo Kawamoto, who's other BGM works for Capcom include the arcade versions of Legendary Soldiers, Commando, and Section Z. She now works for Taito, as a member of Zuntata, a popular (in Japan, at least) band."

Once you figure out the game's mechanics, you will not stop playing 'Higemaru'. It is undoubtedly one of Capcom's more inspired arcade games.

The Bad
Besides the difficulty that was typical of all arcade games, 'Higemaru' has very few problems with it. The game's mechanics rely principally on the player's ability to avoid and eliminate all obstacles, therefore the player has only himself to blame whenever he loses. Nobody criticizes Pacman for being too hard or unforgiving, for example. The enemy pirates do get very fast near the later decks of the game, but since it is almost impossible for the player to run out of barrels and strategies, there is ample motivation for the player to retry the game should he lose all lives.

There is a time limit to the game, but is very hard to exceed the time allotted to you to defeat all enemies, and even then it gives you a fighting chance.

The Bottom Line
'Higemaru' has all the right ingredients of a classic arcade game, and it is a pity that few people have given the game a chance.

By Carmelo Lia on March 25, 2016

The Bugs Bunny Birthday Blowout (NES)

Bugs Bunny 50th Anniversary Disappointment

The Good
'The Bugs Bunny Birthday Blowout' for the NES, first released in 1990, on the 50th anniversary of everybody's favourite Looney Tunes character Bugs Bunny, is a rather simplistic 2D platformer similar to Super Mario Bros. 2.

In the game, Bugs gets an invitation to his 50th birthday party. However, the other Toons are envious because nobody ever celebrated a party in their honour, so they decide to stop Bugs from going to his party. At the end of each level, the player faces one of the Toons as a boss. There is Daffy Duck in your way, who is impervious to all attacks. So how can he defeated? By reaching the big carrot, of course. Tweety throws tomatoes at the player, while Yosamite Sam and Elmer Fudd shoot corks and nets, E. Coyote charges at you with his fork and knife and so on. It is a bit strange fighting these beloved characters, but they are all here.

The gameplay is as simple as possible. You collect Warner Bros. squares (which are converted in Bugs' preferred currency, carrots) and bash enemies with your wooden mallet, Looney Tunes style. There is also a fun bonus round after every level in which you can get some extra lives. It seems that the party was organized very far away from Bugs' home, as you get to traverse many different 'stages' throughout the game, such as forests and deserts. There are six stages in total, which are further divided into four separate rounds each. Each round does not take a lot of time to complete, including the boss fight, which is ideal for younger players (which the game was targeted for).

The Bad
For Bugs Bunny 50th anniversary, this game lacked inspiration. The birthday-themed concept is certainly zany enough for a Looney Tunes episode, but for a videogame it doesn't make as much sense. The enemies in the game that the player encounters have nothing to do with Warner Bros' franchise, such as what I assume to be a soda bottle and a glowing sun. Yes, a glowing sun.

Each time you get hit, you are unable to attack for a period of time, which forces the player to flee instead. There are a lot of times when you try to skip ahead as much as possible when you are hit, since you are invincible during that period, which is surely a sign of bad game development.

But, I disagree wholeheartedly with the AVGN's review on Youtube of this game. At the end of the day, it is just a bit of harmless fun for youngsters, even though the Looney Tunes show appeals to everyone.

The Bottom Line
'The Bugs Bunny Birthday Blowout' is definitely a disappointment for me considering it is a licensed game. It settles for mediocrity, maybe with the excuse of targeting a younger age group. However, for an NES game, it is not without its redeeming qualities, however few they may be.

By Carmelo Lia on March 20, 2016

Red Faction (PlayStation 2)

Is 'Red Faction' the revolutionary FPS the critics make it out to be?

The Good
The answer to that question is a complicated one. Truth be told, THQ's 'Red Faction' did not revolutionize first-person shooters (FPS) or games in general. But, having said that, this game is also not the "disappointment" and the "soulless clone" many disgruntled user reviewers have described it, either.

The 'Playstation 2 Official Magazine UK' praised 'Red Faction' as the "Playstation 2's deadliest game" upon its first release in 2001. It wasn't kidding. 'Red Faction' is a really challenging game, which gets more difficult as you progress. It is not the puzzles that are tough, usually they are pretty straightforward. 'Blow a hole there to get to there', 'push that switch to open that gate', that kind of stuff. It is learning how to survive from one gunfight to another that is the real trick here. Even on the lower difficult settings, this game is relentless. One wrong move, one unnecessary encounter, one careless mistake, and you are dead. 'Red Faction' provides a real challenge for the most veteran of FPS players out there. This forces the player to find all the available strategies available to him before engaging an enemy, such as finding an armored vehicle or an alternate route in the game's expansive environments.

'Red Faction' is obviously inspired by such videogame classics as 'Half-Life' and 'Deux Ex' (not to mention the obvious, like 'Doom'). However, to its credit, it does feel like its own unique game. And for its time, it was certainly avant-garde as well. 'Red Faction''s so-called 'Geo-Mod technology' was an innovative feature in 2001, even though there are a lot of limitations imposed upon the player in this regard. But I find these limitations to be justified. The game tries to make you think outside the box, at least occasionally, and there is no other way but to strategize accordingly if you want to make it out of Mars in one piece.

The story is also pretty satisfying, especially for an FPS. Ultor, a mining corporation operating in Mars, maltreats its employees to the point of enslavement. Eos, Orion (named after gods from Greek mythology: Eos being the goddess of dawn and Orion the legendary huntsman) and a couple of other miners organize what starts to be known as the Red Faction. As Eos explains:

"It was Orion who came up with the name of Red Faction for our team. He thought the political sense of 'faction' would have meaning only for us. And the 'Red' symbolised that we represented all of Mars. The name clicked with everyone..." (from the instruction Manual).

Sure, the story is nothing more than a quest of retribution against an unethical and oppressive company, so don't expect anything Shakespearean. What makes matters more interesting is that there is a 'plague' reaping death among the miners; although, most mysteriously of all, it does not seem to affect Ultor's security guards. While it is revealed that a scientist called Capek had something to do with it, the 'how' and 'why' are never really explained. Still, it is decently intriguing stuff, and the ideas and concepts explored in this game were eventually actualized in the newer generation 'Red Faction' games.

What is probably the game's most redeeming feature is how ambitious it is, even if its budget and the technical limitations of its time may have prevented it from achieving more of a classical status. By 'ambitious' I mean what the game was trying to do even if it is arguable whether it has succeeded or not. From the in-game selection of five vehicles, including a submarine and an aerial fighter craft (the Aesir Fighter), the number of paths the player can occasionally choose to the 'rail driver' weapon, which allows you to shoot through walls and so on, there is no end to the game's innovative and ambitious vein. Even if you do not like the game per se, you have got to admit that it is really impressive what the game had attempted to do.

The Bad
However hard the game tried to be innovative, which it was and still is, not everything turned out the way they should have. The 'Geo-Mod technology', for example, despite being fun, is gimmicky. There are only a few places where you can use it to a good purpose, and I rarely used it in my playthrough. The graphics, although for their time they weren't atrocious, could have been better. Even the lighting could have been improved. At one point I could not find a switch I need to open a door because I could barely see it.

I have already mentioned the game's difficulty, but some parts are so relentless that they are ridiculous.You will be loading your last save file a lot of times, because the game does not have any checkpoints. So having multiple save slots and saving often is a must. Even then the game is frustratingly tough. Later on in the game, heavily armored mercenaries can kill you in almost one shot. The stealth sections did not facilitate anything as well. I almost had an easier time finishing Killzone 2 on elite difficulty than beating this game on Medium, no joke, because I am not someone who is accustomed to saving every few paces. Good luck finishing this game if you haven't already, and I dare anyone who thinks he is a veteran of FPS games to try to beat 'Red Faction' on impossible mode!

Another thing that could have been improved is the artistic direction. Although there are sections that take place in the grand canyons of Mars, underwater caverns and even one level on a space station orbiting Mars, the majority of the game takes place in industrial complexes or drab environments. They did try to create a sort of Flora and Fauna for Mars, but there are only a handful of examples, such as fern-like trees and small bat-like creatures. Nothing special.

The Bottom Line
I have the impression that 'Red Faction' tried to be for PS2 what 'Doom' was for PCs. In that respect, it has arguably failed. But it did show what could be done, and there lies the true success of any revolution.

By Carmelo Lia on February 20, 2016

SpongeBob SquarePants: SuperSponge (PlayStation)

SpongeBob's first nautical 2D-adventure on the PS1

The Good
We all love SpongeBob. There is no questioning the sheer charm, originality and style of Nickelodeon's now classic TV series. So it is no wonder that there are a variety of video-games on a multitude of platforms that capitalized on the TV series' popularity at the time of their release. 'SpongeBob SquarePants: SuperSponge', first released in 2001, is the only SpongeBob game available on the PS1 (excluding 'Nicktoons Racing' in which SpongeBob, Patrick and Plankton appear as playable characters).

The story is no less zany than your typical SpongeBob episode. SpongeBob wants to give Patrick the best birthday present ever - autographs from their favourite superheroes: Mermaid Man and Barnacle Boy. But when SpongeBob asks them for their autographs,he is sent to complete some 'challenges' for them, in what may be a clever attempt to get some much-needed peace and quiet. In the very first episode of the TV series, 'Help Wanted', Mr Krabs sends SpongeBob to find "a hydro-dynamic spatula with port and starboard attachments and turbo drive" to get rid of him. The game itself incorporates many elements from the first few episodes of Season One.

The levels are a good example of how the game is clearly inspired by the TV show. In the first chapter, which takes place in Bikini Bottom, the player gets to explore such recognizable locations as Sandy's Tree Dome, in which the player constantly needs to refill the water helmet and Fish Hooks Park, in which the player has to watch out for suspicious-looking fish hooks. SpongeBob also faces enemies and bosses from the show, such as clams and The Flying Dutchman himself in the fourth Chapter (that takes place in Rock Bottom), with the aid of his friends and items such as the Jellyfishing Net, Karate Glove, Bubble Wand and Coral Blower. These are all items that were, in one way or another, the focal points of the first episodes.

The game's soundtrack is one of its most redeeming features. As Matt Paddock writing for 'Playstation Illustrated' put it, it has a "distinctively Lounge feel about it. Tiki Lounge, that is." In other words, the music is distinctively SpongeBob.

The Bad
However true-hearted 'SpongeBob SquarePants: SuperSponge' is to the TV series that inspired it, it suffers from an annoying range of almost game-breaking flaws.

Throughout the game, the player is additionally tasked with collecting 100 golden spatulas in every level. Similar to 'Sonic Adventure' (1999), collecting all 100 gives the player an extra life and additional hit points, since if the player is hit by an obstacle without having collected at least one spatula, the player will lose a life. Collecting a certain percentage in at least one level in every chapter unlocks the bonus stages (in which you can also unlock additional items for Patrick's birthday party). What is annoying is how unfair the player loses all the collected spatulas. Certain hits take away all of the player's hard-earned spatulas, and in boss fights certain attacks are unavoidable. This makes the game virtually impossible for a collectionist, as it is not unusual to complete a boss level with only 6/7 spatulas left from a possible 100.

According to Paddock, the PS1 version also made a lot of changes from the GBA version. Why the ability to switch between items was removed from the PS1 version is beyond me, especially since certain levels require you to do exactly that. On a more minor note, some of the voice-acting, like that of Mr Krabs, is abysmal. Sure THQ could have gotten someone better for a licensed SpongeBob game?

The Bottom Line
'SpongeBob SquarePants: SuperSponge' is only a piece of light entertainment for young SpongeBob fans as numerous as a sea of anchovies. To quote Paddock's concluding remarks:

"I have to admit, I'm disappointed as someone who looks for solid gaming over a license or franchise, but the young kids that watch SpongeBob Squarepants faithfully may be more than willing to overlook minor glitches to control their animated friends on PS1... As a vehicle for nothing more than the license, 'Supersponge' succeeds. Take away the license, and you've got a game that some people might try, most people might enjoy and almost nobody would recommend."

By Carmelo Lia on February 9, 2016

Assassin's Creed II (PlayStation 3)

The Way of the Shadows

The Good
From the moment Assassin's Creed 2 (AC II) was first released worldwide in 2009, it has received a remarkable amount of critical acclaim. The average critic score here on mobygames.com is an impressive 91%. On the other hand, many of the more comprehensive user reviews (that are written on this website) consider AC II to be the game of the year of 2009. 'Kadath Bird' writes that "AC II was the best game of 2009", and 'Big John WV' similarly believes "it really stands out in the action/adventure genre of the consoles and can even be considered for a Game of the Year nomination for just about every organization out there." Unsurprisingly, AC II is considered to be one of the highest rated games in the whole franchise, and to contribute my own opinions to such a list of commendations is no easy accomplishment.

AC II is set in the golden age of the Italian Renaissance, more specifically during the second half of the Fifteenth Century. Desmond, after he escapes from Abstergo Industries with the help of Lucy Stillman. uses another animus to relive the genetic memories of his ancestor, Ezio Auditore da Firenze, who lived in Italy during this period. The way the game's artistic designers have rendered the beauty and diversity of Renaissance architecture throughout the game is truly worthy of much of the critical appraisal the game has received in this regard. The cities of Florence and Venice stand out in particular, you cannot but appreciate the detail that has been given to all of their numerous historical landmarks. From 'Palazzo Medici' in Florence to Venice's 'Palazzo Ducale', there is no shortage of awe-inspiring vistas in this game.

Having played the first Assassin's Creed to exhaustion, I must emphasize what an improvement AC II is, gameplay-wise, over its predecessor. The first major change is the addition of the so-called 'economic system'. You can accumulate a certain amount of money (florins), by doing certain missions, by looting crates scattered throughout the game or by simply stealing someone's money pouch, which you can use to buy paintings, weapons, armor, medicine and so on. Later on, you even get to manage your own villa and estate in Monteriggioni, where all of the items you have collected are stored. As you increase the value of Monteriggioni, by upgrading the properties found in the debilitated commune, the whole town starts to change for the better. You literally get to witness the fruits of your labour. This gives the player a huge incentive to collect and find everything the game has to offer, and it is very satisfying to fully upgrade Monteriggioni to its Renaissance glory.

Navigation has also been facilitated. Swimming is now possible, and there is, thankfully I must add, the option to fast-travel from one place to another (with the exception of the Apennine mountains). The player can use a gondola for the first time in Venice and also traverse the skies with Leonardo's so-called 'flying machine', but, unfortunately, only at two specific story segments. Another new feature is the way in which Ezio can hire groups of thieves, courtesans, or mercenaries to help him remain incognito, and every group has its own unique characteristics. Thieves follow you while platforming from one building to another, courtesans automatically distract suspicious guards and mercenaries are more adept with heavy combat.

The 'notoriety system' (similar to the 'wanted system' in the Grand Theft Auto series) was introduced in AC II as well. Since the more the notoriety level is increased the more guards become suspicious of Ezio, this system makes the player stay more vigilant when s/he is up to no good. Removing wanted posters or bribing heralds reduces your notoriety, but it is sufficiently cumbersome to help a master assassin perfect the way of the shadows.

Furthermore, AC II's story, without divulging anything here, is as epic as we have come to expect from an Assassin's Creed game, and the major characters are all captivating. Let me just say that the 'revelation' at the end of the game is one of the most memorable that I have ever observed in a videogame.

With such an immersive and detailed game as AC II, there is obviously a lot more to say about its redeeming features. However, that is not my intention here. Considering all the critical appraisal the game already has in this regard, I will not attempt the impossible.

The Bad
'Is AC II a great game?' 'Is it better than its predecessor?' Yes, it undoubtedly is. But I believe that the substantial part of its overwhelming positive critical reception is a result of the almost inevitable comparison with the first Assassin's Creed (AC I) game. However, it should be remembered that it was AC I that laid the foundation for the whole franchise. AC II perfected its structure, to be sure, and is altogether a far better game. But it borrowed everything else. Sure, there are a lot of new side quests in AC II, such as a number of 'assassination contracts' for the players to complete, and a series of races and 'beat-up missions' as well. However, they get repetitive quick, and I did not manage to complete every single one of them in my first playthrough, which is unusual for a traditional 'collectionist' like me. Sure, there is also a new arsenal of weapons at Ezio's disposal, but the differences between one weapon and another are marginal, so I stuck with the sword.

There are also some minor problems that tend to decrease the overall outstanding quality of AC II. I had encountered some 'freezing' issues with my PS3 version of the game, for example, while I was trying to collect the 'No-hitter' trophy. True, this may be an issue that may have resulted from the deficiencies of my own console, but there are plenty of other games that have never malfunctioned on me, especially when I was trying to obtain one of the game's own achievements. My remaining complaints are all minor. At one point, Antonio de Magianis, the leader of the Thieves Guild in Venice, repeatedly got 'glitched out' while he was trying to follow me platforming to a specific roof. Some glyph puzzles are too confusing to figure out on one's own, even with the help provided. And the countryside, that is the areas outside the cities, are not as expansive as they were in AC I.

One of my more consequential gripes about this game is its total lack of religious sensitivity concerning the Christian faith. I understand that, as a videogame, AC II was not meant to be taken that seriously, even though this is a game which assures its players that it was created by a "multicultural team" coming from different religious backgrounds. However, as a Christian, I found the game to be insensitive to my beliefs, at best. It is true that Rodrigo Borgia was quite possible the villain that he is portrayed in this game. It is true that the church was not perfect then, as it is not perfect now. Nevertheless, that does not diminish the game's own self-proclaimed responsibility to be as religiously sensitive as possible, especially with its storyline that puts so much emphasis on the 'truth'.

The Bottom Line
AC II is a masterly game. However, despite some major additions and improvements, I did feel nostalgic at times about AC I. I still think that game was too heavily criticized, for its time it was one of my favourite games. Both games have indulged in the same defects, no matter what the critics say; repetitiveness and religious insensitivity being some of them. But, to their credit, both games have pushed the boundaries of what was expected of a next-generation videogame, and what we will expect in the future, and for that they will always be treasured in my collection.

By Carmelo Lia on February 1, 2016

Bujingai: The Forsaken City (PlayStation 2)

Taito's fading rainbow

The Good
This game, as Hiryu pointed out, was Taito's 50th anniversary release when it was first published in Japan in 2003 (although the European version, Bujingai: Swordmaster, which is the version I am reviewing, was released in 2005). It is a pity that Taito, which was once hailed as 'the king of the late NES era (1992-94)', and which is popularly known for the creation of some of the most coveted games in the NES library, such as Little Samson (1992) and Panic Restaurant (1992), has now fallen into a state of virtual obscurity. In fact, it only stands to reason that Bujingai, which should have been the franchise that symbolised Taito's transition to the epoch of modern console gaming after the millennium, is now cemented with an aura of 'lost potential', as Hiryu put it. So before I describe the game's positive features, it is fundamental to understand that Bujingai should have been so much more than it is. Before I proceed, I must clarify my critical position. Although I will focus on the positive aspects of the game in the section, it is important to understand that, unfortunately, in Bujingai the good is tarnished by the bad, more specifically by the ashes of wasted opportunity. The game's story may have a good concept behind it, for example, but it is ultimately sullied by very poor exposition. One of the game's most redeeming features is undoubtedly the game's artistic direction. Which is probably no surprise, since Bujingai was designed by Hiroshi Aoki and the game's characters were designed by Toshihiro Kawamoto, whose credits include the anime television series 'Cowboy Bebop' and 'Wolf's Rain' (source: Wikipedia). From Lau Wong's quasi-feminine appearance and costume to the kaleidoscope of colours that is left behind every time Lau swings his words, Bujingai is a really scintillating game, despite the occasionally dull level. Yōsuke Kuroda, the game's scenario writer, described Bujingai as ''a game with an 'Asian flavor' as seen through Japanese eyes'' which focuses on imagery using Asian mythological creatures like the dragon and phoenix; which is also manifested in the ''beauty of the flow of action during the sword fighting scenes''. All of these features contribute to Bujingai's distinctive Asiatic and mythological style. Indeed, IGN's Jeremy Dunham has stated that Bujingai's ''unique approach to the genre isn't necessarily found in gameplay, but rather, it's style and presentation.''

That is not to say that the gameplay is substandard. It is true that most enemies in the game, except the bosses, are simply no match for the simplest of Lau's combos. But it is very gratifying to pull off. I particularly enjoy it when a 'clashing sequence' (''when an enemy strikes you from the front with a series of blows, you automatically become locked in a whirlwind of swordplay called a clash'' - James Hogwood) is executed, although in my case it was more a matter of luck than skill in this game. This aspect of the gameplay, among others, does indeed offer a ''fantastic cinematic display'' to Bujingai, as Hiryu notes in his review.There is also an extensive arsenal of spells at your disposal, which add another dimension to the gameplay and are found scattered in crates throughout the game's stages.

What is left to discuss are minor points. There is a lot of bonus material to unlock by collecting a series of coins which are hidden in some of the stages. Unfortunately, the European (Pal) version is different from the US (NSTC) version in this regard, as even after collecting 55+ coins I did not unlock anything besides some character displays and a different costume for Lau. Playing the game on hard and extreme unlocks even more secrets, so there is a fair amount of replayability to this game as well for the 'collectionists' out there.

The Bad
First of all, there is the game's confusing story. The game's case advertises the story as follows:

''Lau Wong has finally returned to reality after having been banished for 400 years in a parallel world. During his long exile he has trained his mind and body for the ultimate showdown against Rei Jenron - his old friend who betrayed him. It's now time for revenge, brandish your swords and prepare your magic skills for the final battle.''

That is basically the entire explanation you will get, so do not expect any exposition throughout the game's cut scenes. Indeed, the game's cut scenes leave more questions asked than answered. Almost nothing is revealed in the cut scenes about the characters, except maybe their motives. Likewise, almost no backstory is given, you might as well just explain everything to yourself as you are playing the game. It is a shame really, for there was a lot the writers could develop with regards to the story and plot. This is the first layer of wasted potential that permeates throughout Bujingai.

It is not so much that the game starts in media res or that the story is not the reason why this game is interesting for buyers in general, as Hiryu argues. I believe that the game required a proper narratorial thread that would have interweaved the game's storyline together. This could have been easily achieved with the inclusion of backstory explanations. Furthermore, as beautifully rendered as the cut scenes are, especially considering the year the game was first released in, they are very disjointed and confusing. 'What happened? How did I end up here from there?', are both questions I had to ask myself in bewilderment while watching Bujingai's brief cut scenes at one point or another. At one part, I honestly had to find and rewatch a particular cut scene on youtube to understand how I ended up on the moon while fighting the game's last stage boss, Rei.

One of the worst crime this game commits, however, is that it completely squanders the talent of the popular artist Gackt in this game. You get the feeling that Taito just wanted to attach a big celebrity to Bujingai in the hope that it would make the game much more marketable and nothing else.

I already mentioned that the story and characters are one-dimensional, but so is the finished product that is Bujingai. There is simply nothing to recommend it besides what it actually is, a pretty, button-mashing action game inspired by Asian mythology. I sincerely wanted to like this game, even though I am not a fan of the genre of Wuxia cinema as such. Honestly, I am not Gackt's biggest fan either. But with a little more effort and inspiration, Bujingai could easily have been the next Devil May Cry. As it is, it is worth remembering only as Taito's lacklustre attempt to revive its standing in videogaming.

The Bottom Line
Bujingai is one of the biggest disappointments in videogaming that I have ever experienced, even if Bujingai isn't necessarily a bad game. It just reeks of the odour of wasted opportunity to be of any real enjoyment to anyone

By Carmelo Lia on January 19, 2016