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Star Fox review

Posted : 11 years, 9 months ago on 24 June 2012 08:23 (A review of Star Fox)

In this wild world we live in, time never stops. Time is an unyielding force and an undeniable truth. Faced with its ebb and flow, we often demonize its passage, from classics like "I don't have the time!" to "Where did all the time go!" we'll come up with any excuse to make ourselves feel better and minimize its impact.

As automatic as such denial becomes for anyone, such a realization smashed me upside the in the head while I stood at the local game store waiting for the clerk to unearth of a copy of Star Fox from the back room. Ironically, I had sold a copy of Star Fox to the same store three years prior, the urge to revisit it fueled by my disappointment with Star Fox 64 purchased a week earlier. Striking me as a game that I would have enjoyed much more had I played it during its prime (I ended up in Sony's camp during the 32/64 bit era) I couldn't shake these thoughts of the original being the superior game. So, here I was, ready to reenlist and retake control of those magnificent arwings. Did those memories survive the present, or did they crash and burn much like an Attack Carrier on Corneria?

Obviously, despite boasting the first appearance of the Super FX chip, anyone familiar with console gaming will immediately realize that Star Fox's graphical presentation is out of date. We have true polygons on the SNES, which is impressive feat in itself, but objects are simple representations of what they are. This is mainly due to the fact that texture mapping is kept to absolute minimum, mainly for performance reasons and the fact they would be at a lower resolution than those found in a PlayStation game. So how is it that a game that mainly consists of flat, shaded polygons still looks impressive? Well, to be honest, it's a case where the beauty of simplicity challenges the player. Sure, that may seem like a boring column of gray matter coming at you while flying through Corneria, but we all know it's a building, and crashing into it would hurt. With video games being all about imagination, is it so hard to extend a hand and meet this element half way in such a respect, especially with the game being the first of its kind? Reinforcing such a point is how cinematic Star Fox can make a small handful of polygons appear. I can't be the only one who gets chills watching the arwings soar through the sky as they depart from the base on Corneria or when Fox enters and escapes the twisted corridors of Andross' lair on Venom.

While some will obviously have concerns with Star Fox's graphical presentation (which was out of date circa 1995) most will find its gameplay has a bit more resolve. Like most first party Nintendo games, the fact that things are kept simple doesn't mean that the game lacks depth or that it would automatically be surpassed by future titles. For the most part, the game dodges a lot of the problems you would expect to crop up in a game like this (due to the fact there is no free/all-range mode) but then there are some problems that are simply unavoidable. In certain skirmishes you'll be pretty prone to smashing your aircraft into boss enemies despite your best efforts. Because of this, a few battles feel pitched when you're expected to dodge structures you can't see (Macbeth boss Spinning Core) because they're behind your view or the camera is zoomed in so far you can't see the boss' appendages (Fortuna boss Monarch Dodora). The failure of the barrel roll to activate at times (although it may just be my ancient controllers), slowdown (which is much more noticeable today than it was when the game came out) and continue point/twin blaster issues can also put a damper on the proceedings but are relatively minor annoyances.

Still, if there is any one area where Star Fox could succeed blindfolded, it would be audio. While most are quick to equate Hajime Hirasawa's score with what John Williams whipped up for the Star War movies, I find such a label grossly misleading. Sure, the bombasity behind some of the game's numbers may remind you of "The Imperial March," but I don't think it's as big of a complement as people think it is, and, while I'm not musically inclined in anyway I don't think it's hard to imitate such music. Listening to great tracks like "Corneria" and "Player Down (Band Version)" I find that while Star Fox's music may have taken influence from the above, by no means is it a copy and paste job. The only real hiccup is the credits theme which reminds me a little too much of Final Fantasy. Koji Kondo of Mario fame handles the sound effects with dead-on accuracy, the crack a downed arwing makes when it explodes being very penetrating. Rounding out the sound is Star Fox's use of voice and presidio-speak. Characters communicate in unintelligible jabber that is geared towards each character during game play and is a wonderful alternative to the wretched voice acting in Star Fox 64. The use of real-life voiceovers on the stage introduction screen (Good Luck!!) and during events like the appearance of a boss enemy ("Incoming Enemy!") and the ending is wisely executed despite its limited application and low sampling. Its use in the ending sequence is especially powerful and puts a real cap on the whole adventure.

As far as replay and challenge, Star Fox offers three paths to the same finale. Level one is perhaps the most known because it is easiest, but is essential in building your skills. Level two requires a minor increase in skill over the first path (although there is one boss that can throw a real kink in your progress if you don't know how to handle it) and Level Three is an altogether different (but awesome) beast when it comes to difficulty.

In the end, picking the game up after being away for it for three plus years I was able to revisit everything the game had to offer in two (non-full) days of gaming. A little disappointing but it was rather fulfilling and worth all five hundred and ninety-five pennies. While it's obvious Star Fox's three-dimensional graphics can't hold anything against games even one generation ahead of it like a late era, two-dimensional masterpiece like Donkey Kong Country 2 can, underestimate the game at your loss. Highly recommended for anyone interested in rail shooters like Panzer Dragoon II Zwei.


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Star Fox review

Posted : 11 years, 9 months ago on 24 June 2012 08:23 (A review of Star Fox)

In this wild world we live in, time never stops. Time is an unyielding force and an undeniable truth. Faced with its ebb and flow, we often demonize its passage, from classics like "I don't have the time!" to "Where did all the time go!" we'll come up with any excuse to make ourselves feel better and minimize its impact.

As automatic as such denial becomes for anyone, such a realization smashed me upside the in the head while I stood at the local game store waiting for the clerk to unearth of a copy of Star Fox from the back room. Ironically, I had sold a copy of Star Fox to the same store three years prior, the urge to revisit it fueled by my disappointment with Star Fox 64 purchased a week earlier. Striking me as a game that I would have enjoyed much more had I played it during its prime (I ended up in Sony's camp during the 32/64 bit era) I couldn't shake these thoughts of the original being the superior game. So, here I was, ready to reenlist and retake control of those magnificent arwings. Did those memories survive the present, or did they crash and burn much like an Attack Carrier on Corneria?

Obviously, despite boasting the first appearance of the Super FX chip, anyone familiar with console gaming will immediately realize that Star Fox's graphical presentation is out of date. We have true polygons on the SNES, which is impressive feat in itself, but objects are simple representations of what they are. This is mainly due to the fact that texture mapping is kept to absolute minimum, mainly for performance reasons and the fact they would be at a lower resolution than those found in a PlayStation game. So how is it that a game that mainly consists of flat, shaded polygons still looks impressive? Well, to be honest, it's a case where the beauty of simplicity challenges the player. Sure, that may seem like a boring column of gray matter coming at you while flying through Corneria, but we all know it's a building, and crashing into it would hurt. With video games being all about imagination, is it so hard to extend a hand and meet this element half way in such a respect, especially with the game being the first of its kind? Reinforcing such a point is how cinematic Star Fox can make a small handful of polygons appear. I can't be the only one who gets chills watching the arwings soar through the sky as they depart from the base on Corneria or when Fox enters and escapes the twisted corridors of Andross' lair on Venom.

While some will obviously have concerns with Star Fox's graphical presentation (which was out of date circa 1995) most will find its gameplay has a bit more resolve. Like most first party Nintendo games, the fact that things are kept simple doesn't mean that the game lacks depth or that it would automatically be surpassed by future titles. For the most part, the game dodges a lot of the problems you would expect to crop up in a game like this (due to the fact there is no free/all-range mode) but then there are some problems that are simply unavoidable. In certain skirmishes you'll be pretty prone to smashing your aircraft into boss enemies despite your best efforts. Because of this, a few battles feel pitched when you're expected to dodge structures you can't see (Macbeth boss Spinning Core) because they're behind your view or the camera is zoomed in so far you can't see the boss' appendages (Fortuna boss Monarch Dodora). The failure of the barrel roll to activate at times (although it may just be my ancient controllers), slowdown (which is much more noticeable today than it was when the game came out) and continue point/twin blaster issues can also put a damper on the proceedings but are relatively minor annoyances.

Still, if there is any one area where Star Fox could succeed blindfolded, it would be audio. While most are quick to equate Hajime Hirasawa's score with what John Williams whipped up for the Star War movies, I find such a label grossly misleading. Sure, the bombasity behind some of the game's numbers may remind you of "The Imperial March," but I don't think it's as big of a complement as people think it is, and, while I'm not musically inclined in anyway I don't think it's hard to imitate such music. Listening to great tracks like "Corneria" and "Player Down (Band Version)" I find that while Star Fox's music may have taken influence from the above, by no means is it a copy and paste job. The only real hiccup is the credits theme which reminds me a little too much of Final Fantasy. Koji Kondo of Mario fame handles the sound effects with dead-on accuracy, the crack a downed arwing makes when it explodes being very penetrating. Rounding out the sound is Star Fox's use of voice and presidio-speak. Characters communicate in unintelligible jabber that is geared towards each character during game play and is a wonderful alternative to the wretched voice acting in Star Fox 64. The use of real-life voiceovers on the stage introduction screen (Good Luck!!) and during events like the appearance of a boss enemy ("Incoming Enemy!") and the ending is wisely executed despite its limited application and low sampling. Its use in the ending sequence is especially powerful and puts a real cap on the whole adventure.

As far as replay and challenge, Star Fox offers three paths to the same finale. Level one is perhaps the most known because it is easiest, but is essential in building your skills. Level two requires a minor increase in skill over the first path (although there is one boss that can throw a real kink in your progress if you don't know how to handle it) and Level Three is an altogether different (but awesome) beast when it comes to difficulty.

In the end, picking the game up after being away for it for three plus years I was able to revisit everything the game had to offer in two (non-full) days of gaming. A little disappointing but it was rather fulfilling and worth all five hundred and ninety-five pennies. While it's obvious Star Fox's three-dimensional graphics can't hold anything against games even one generation ahead of it like a late era, two-dimensional masterpiece like Donkey Kong Country 2 can, underestimate the game at your loss. Highly recommended for anyone interested in rail shooters like Panzer Dragoon II Zwei.


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Felix the Cat review

Posted : 11 years, 9 months ago on 24 June 2012 08:15 (A review of Felix the Cat)

I remember the first time I saw a Felix the Cat NES cartridge. As happy as I was in actually knowing who Felix the Cat was, something I think would be lost on today's youth even more than those who grew up during the early nineties, I was skeptical how a game based on a character from the 1920's/1950's would turn out. Upon popping the game into my friend's Nintendo, I was pleasantly surprised.

Felix the Cat plays out like most platformers of the time and is more-or-less a copy of Super Mario Bros.2 with its own cast of enemies and power-up system. The events of the game are set into motion when The Professor (Felix's arch nemesis) holds Kitty (Felix's love interest) hostage in an attempt to retrieve Felix's "Magic Bag," a satchel capable of transforming into anything its owner desires. Using his "magical bag of tricks," Felix must confront The Professor, his cast of cronies and rescue his beloved.

Of course, getting there is half the fun. For the most part, each world Felix visits on his way to the mad doctor has it's own theme: there's an Egyptian like area, a climb up a snow covered mountain, underwater excursions and mid-air encounters that lead up to the battle-scared wastes of space. As adequate as the stage design is, the better half of the gameplay lies with the power-up system. By collecting Felix icons, the player can increase Felix's magic level which provides the player with a variety of attack options, not to mention providing additional hit points. While the forms available vary depending on the type of level being played, these transformations are fueled by hearts. Hearts are consumed naturally over time and can be restored with milk, another power-up that appears upon retrieving a fixed amount of icons.

As well-rounded and creative as the power-up system is in general, there are some areas of Felix the Cat that could have used some more work. The boss encounters that conclude each world are easily the game's weakest link, the battles centered on enemies with insultingly simple attack patterns that make those used by robot masters in Mega Man look like an art form. The relatively lax level of difficulty spills over into the levels as well, as it's easy to work up a reserve of lives and beat the game in little over an hour. Still, the most disappointing aspect of the game has to be the music. The title theme and selection for world one are magnificent but the remainder of the score quickly looses focus.

While I can't exactly say I would have paid full price for Felix the Cat when it debuted, the game is easily worth what a general, non-top tier NES title goes for these days. The experience may not have longevity in its favor, but it's a well-crafted product that deserves a look after you've acquired all the other, must have NES releases.


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Final DOOM review

Posted : 11 years, 9 months ago on 24 June 2012 08:11 (A review of Final DOOM)

I have to admit, despite not being a fan of the first person genre, I love Doom. There is something about the exploits of a lonely space marine single-handedly taking on the forces of hell that draws me in and refuses to let go. Still, as enjoyable as Doom and Doom II were, these games generally don't deliver on the challenge front for the seasoned player. While some may consider that a drawback, it was a non-existent problem to me since challenge isn't the most important thing I look for in a game. However, for those that do, they can easily up the ante with Final Doom.

To some, Final Doom for the PlayStation will never be anything more than a haphazard potluck. This port doesn't contain every level from the two thirty-two level PC campaigns nor does it contain every level from the twenty-one level Master Levels expansion. In other words, out of pool of eighty-five possible levels, only thirty make an appearance here. So how does this affect the experience? The answer depends on which episode one's talking about and which levels made the cut.

Things start out with The Master Levels where thirteen of the possible twenty-one levels make up the core of Final Doom. These levels are meant to test one's mettle with relentless enemy attacks and complex level design, something they do quite well. Players will find a level like Vesperas is hard to tackle regardless of what difficulty level their playing on. Still, the real attraction of the master levels beyond the challenge is the fact the player can carry their status and weaponry from level to level. This isn't possible on the PC since the data for each level is its own file, something that was purposely done so each map would be considered its own separate "entity" by players. Final Doom on the PlayStation proves how unnecessary this was since each level still feels like a separate experience even though they follow one another.

Next up is TNT Evolution, the first of the two Doom II follow-ups presented in the PC version of Final Doom. Taken as a whole, TNT Evolution is an excellent and balanced expansion that just can't make its case with the eleven levels presented here. It could have been better with a better selection of levels, but it's just better to buy a copy of the Doom Collector's Edition for the PC and play it in its entirety. Additionally, while I have nothing against the ambient score whipped up for the PlayStation versions of Doom, I just don't have patience towards it when reflecting back on the wonderful midi-based soundtrack Team TNT created for the PC original.

Last up is Plutonia with six levels. Cruel as it may sound, I'm absolutely thrilled this episode got the short end of the stick. Take the challenge of the Master Levels, throw in every cheap shot and tactic in the book and you've got Plutonia in a nutshell. Challenge quickly eclipses entertainment when it comes to levels like Congo, Ghost Town and Onslaught. That said, if you're really serious about tackling the hardest levels Doom can throw at you, I'd again suggest going the PC route so you can save your progress at will. Regardless, while the levels are still well designed at this point I have no problem billing Plutonia as Doom's weakest and ugliest link.

The shortcomings of its experiences aside, Final Doom is a worthy and refreshingly different follow-up to Doom. At it's simplest level it may be more of the same, but those who immerse themselves in what it has to offer will find it contains a feel all it's own. It's not always fun, and some parts are of more value than others (The Master Levels being the main draw here) but those with a little patience will have no problem in adding this to their collection.


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Mega Man 8: Anniversary Collector's Edition review

Posted : 11 years, 9 months ago on 24 June 2012 08:05 (A review of Mega Man 8: Anniversary Collector's Edition)

As most Mega Man fans know, Mega Man 8 on the Sega Saturn is somewhat of a rarity. Originally intended as a Saturn exclusive along with the excellent Mega Man X4, this plan was quickly changed when Sony made it known they were interested in bringing the games to the PlayStation as well. To the enlightened, such a story is riddled with irony considering it's widely believed that Sony was more interested in showing off the 3D capabilities of their system than allowing 2D sidescrollers live on to the next generation. Tongue-in-cheek as it ended up being, in what was more of a trade-off for the lost of the exclusive, Capcom gave the Saturn version the edge in bonus material. So what's so different about Mega Man 8 on the Saturn compared to the PlayStation? Not much, but enough to make the value of these releases as different as night and day.

As silly as it may seem, I remember being extremely upset that I couldn't fight Cut Man and Wood Man when I played through the PlayStation version all those years ago just because of what console I was playing on. These battles (and the remixed tunes that play during them) are nice touches, as are the sound, music and hidden animation test that appear in the additional bonus mode, but when you get down to it, these things mean ultimately mean little when the whole picture is considered. What am I talking about? Well, before one can really say how much these extras add one must ask how good the core game is. So, for a Mega Man game, how good is Mega Man 8? Does it sail towards the heavens or does it dwell in the darkest depths?

Shallow as it may seem, the deciding factor in Mega Man 8 failure and success ends up being graphics and art direction. Why? Well, when one considers that nothing of significant note has really changed in the gameplay department in eight games you can't really call that a defining element. For better or worse this is true, blue Mega Man. So, given that there is nothing truly new, it's easy to see why a rather superficial element such a graphics becomes important yet this is where the game ends up divided upon itself. From a graphical standpoint the game is beautiful; I have no qualms about the quality of its 2D prowess. So what's the problem? The art direction. As if Mega Man 7 on the SNES wasn't bad enough, Mega Man 8 takes the characters and world we grew up with on the (blissfully limited) NES and shoves them through the cuteness grinder once again.

Now, I expect some to fire back with the argument that Mega Man has always been "cutesy," not necessarily in the games themselves (where the NES thankfully prohibited it) but in official artwork Capcom has produced throughout the years. Point taken, but that doesn't mean we have to indulge this and splash it all over the freaking screen. Okay, I'll admit if I want a dose of stone cold seriousness I could always pop in a Mega Man X game but I find it hysterical how Mega Man 8 is just the tip of the iceberg when it comes to this. Quite honestly I thought this game would go down as the cuddliest Mega Man game in existence but Capcom proved me wrong with Powered Up on the PSP. What's even more surprising (i.e. downright wrong) is how Mega Man 8 outsold Mega Man X4. Let me repeat that: Mega Man 8 sold more copies than Mega Man X4. How is that even possible? Here we have a game that literally adds nothing to its continuity while Mega Man X4 is a series highlight that gives the original Mega Man X a serious run for its money.

As a product I have to say I somewhat loathe Mega Man 8. I know you can't teach an old dog new tricks but that doesn't stop pet owners from dressing up their dogs in ridiculous outfits. The truth is dogs aren't meant to wear clothes and there's no reason Mega Man needs to look uber cute. What's cute about robots fighting robots? Anyway, as hopelessly off track as I've become, I can't say this bone Capcom threw Saturn owners (it's more like a treat than a bone) is worth the extra green. Stick with the PlayStation version if you're a casual fan and only indulge in this take if you have the obsessive compulsive desire to own everything that is Mega Man.


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Wild Arms Alter code: F Original Score review

Posted : 11 years, 9 months ago on 24 June 2012 01:10 (A review of Wild Arms Alter code: F Original Score)

The idea behind Wild Arms Alter code:F reminds me of the Star Wars special edition. In what seems to be a great idea - taking solid, successful source material and touching it up for the fans - is a risky proposition. Regardless of the medium involved history has shown that revivals are a crapshoot if anything; the old adage ā€œthe original was betterā€ didnā€™t just appear overnight or for no reason. Looking back at Star Wars' updated ventures, I can remember questioning my friend's reaction over Greedoā€™s itchy trigger finger in A New Hope. In not being a hardcore fan, I couldn't relate as to why this change brought about such wrath. However, after reflecting on the similar nature of Alter code:F and my qualms concerning it, who am I to judge?

Just like anything that receives a fresh coat of paint, Alter code:F isnā€™t invulnerable to scorn or the plethora of inevitable comparisons to that which it originates. Sure, I could sit here and pretend not to have knowledge of original score, hiding my fondness for it by avoiding any and all association but the result would hardly be honest. So while this review is already doomed to become an old versus new rant, hopefully such comparisons will only serve to describe the strengths and deficiencies within.

Alter code:F wastes no time in posing questions, starting things with off the title theme rather than the opening theme. This is a rather insignificant issue in the grand scheme of things, but why not open the score with ā€œTo the End of the Wilderness,ā€ a strong, central theme most listeners immediately identify as a series hallmark? Herein lies the effort of Alter code:F to be seen as more than a remake; itā€™s a novel idea that isnā€™t without merit, but why fight against such a common preconception? Such intent can be seen throughout the game where there seems to be a constant strain to make more out of past ideas despite their previous success. The result can be heard in tracks like ā€œCompanionsā€ that hopelessly meander on in their search for a sense of being - something they already had.

Beyond its transparent attempt to separate itself from its origins while still firmly embracing them, the other problem that haunts the score is the persistence of time. This isn't referring to how well Narukeā€™s compositions stand eight years later but rather how well they translate given the advancements in sound technology. With advancement comes pressure to use more mature samples. Evolution isn't a bad thing in and of itself, but throwing around phrases like "cleaner" and "more precise" doesnā€™t automatically equal out to a better piece of video game music. Unfortunately, the necessity of staying on top comes at a price.

Itā€™s a common belief that a person can receive the same amount of enjoyment from an 8-bit chip tune that they can recieve from a full-featured orchestral piece. Part of why this is possible is due to the underlying beauty that can be found in simplicity. Despite not being at the 8-bit level, this ā€œbeauty of simplicityā€ was one of the elements the original Wild Arms had in its favor; it was hardly the antithesis of composition but it was easy to access and appreciate. This kind of accessibility is lost to a certain degree in Alter code:F due to the power and thickness of the instruments. Take pivotal tracks like ā€œBoy of Hopeā€ and ā€œAlone the Worldā€ for example. That rustic, western feel may be enhanced but it comes at the cost of emotional context. There are numerous tracks guilty of the same thing - especially when it comes to the darker numbers - but itā€™s hardly the one-way street I'm making out to be. Some tracks like ā€œMaldukeā€ greatly benefit from the extra ā€œoomphā€ the instruments provide, transforming what was an interesting yet flaccid dungeon theme into a piece with some preverbal bite.

One of the more debatable changes in Alter code:F is Naruke giving each Quarter Knight his or her own battle theme. Lady Harkenā€™s ā€œMurdering Princessā€ is the best example of how well this works, painting the picture of a character with a tragic, hidden fate. In retrospect however, in crafting battle themes for each specific villain, a important sense of unity is lost. While they usually attacked on a one-by-one basis, the Metal Demons were a unified front that represented a single, formable threat. Unlike these individual tracks, the original, universal Metal Demon battle theme from 1996 ā€“ ā€œPower Fighterā€ - capitalized on this and captured something these tracks can't. So, where is that fear-provoking, unifying powerhouse in Alter code:F? Check out ā€œKa Dingelā€ on disc four for the disappointing answer.

As much time as I've spent deciphering Alter code:Fā€™s shortcomings, you may be wondering when we're going to get to what went right. Ironically, like a cosmic slap in the face, itā€™s the newer pieces that make the album worth owning. This isnā€™t to say that there arenā€™t any good renditions of classic pieces - I seriously canā€™t get enough of ā€œThe Power that Supports the Worldā€ - but its new tracks like ā€œSense of Solidarity,ā€ and ā€œDetermination, and thenā€¦ā€ that remind one of why they fell in love with Narukeā€™s music in the first place. While it is unfair to pit the old against the new when one considers the newer pieces aren't going to be subjected to the same level of scrutiny, these are kinds of things these scores leave themselves open to.

After reading this, most will probably think I look down at Alter code:F with distain when compared to the original. I wonā€™t deny the various misgivings outlined above, but I will say that Narukeā€™s work was one of the better aspects of the 2004 remake, a remake that failed to recapture the spirit of the original in almost every other category. Those who enjoy Narukeā€™s PlayStation Wild Arms entries but find her work for Wild Arms 3 a bit too textured for their taste will find that Alter code:F is an enjoyable visit to a simpler time despite itā€™s effort to be more than it really is.


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Castlevania Lament of Innocence Limited Edition Music Sampler review

Posted : 11 years, 9 months ago on 24 June 2012 12:55 (A review of Castlevania Lament of Innocence Limited Edition Music Sampler)

Over half a year ago, I sat down to write about two Castlevania scores: Lament of Innocence and Curse of Darkness. Dissecting the contrast between these works was nothing short of interesting, one soundtrack prevailing where the other would fall short and vice versa. Despite believing my opinions were solid enough to materialize in text, only my thoughts about Curse of Darkness would see daylight as the remnants concerning Lament of Innocence would be brushed off to the far corners of an untitled text document. Soon after, the album would be surrendered from the hands of an uncertain listener. However, much like Dracula himself, this was hardly the end of the story.

Half a year later my interest in Castlevania music was tapped once again, its influence as unrelenting as the denizens of the night. Armed with knowledge of what the original soundtrack had to offer, a solid yet bloated banquet filled with some rather undesirable additives, the Castlevania: Lament of Innocence Limited Edition Music Sampler seemed like a fitting solution. Still, the question remains: why would anyone settle for less when the main dish offers more? The answer lies somewhere in between what both releases offer; such a realization being the missing piece of the puzzle that was previously thought to be complete.

Containing a little more than one-third of the pieces that appear in the game, how can a sampler feel more fulfilling than a complete soundtrack? The biggest addition found here is actually an omission, the omission of the music Yamaneā€™s wrote for the gameā€™s cut scenes. By no means is it horrible, but despite achieving its desired effect in-game it severely disrupted the flow of the original soundtrack. While Curse of Darkness' own soundtrack release was set up in a similar fashion, the size of these speed bumps were minimized by incorporating some of the gameā€™s character/battle themes. With this in mind, only having one-third of the tracks doesnā€™t come off as a big loss and the ability of the score to go from stage theme to stage theme or stage theme to battle theme makes a world of difference.

Of course, while the track choice may not appease everybody, the more important and prominent themes, like those from the gameā€™s major areas, all make an appearance along with more straightforward battle tracks like the powerful ā€œMelancholy Joachimā€ rounding out an impressive core. Some will undoubtedly miss pieces such as ā€œRinaldoā€™s Cabin,ā€ ā€œPrelude to the Black Abyssā€ and ā€œDeath Flower Succubusā€ but the only track I find myself missing is ā€œStatue Enchanted by the Darknessā€ where the listener is taken aboard an evil, orchestrated train ride to hell. Additionally, ā€œElemental Tacticianā€ and ā€œDark Night Toccata (Walter's Theme),ā€ tracks that were somewhat under the radar when listening to the full-fledged soundtrack, are given more of a chance to stand out here even though the whole set of songs can fly by before you know it.

Yet there is another factor involved with the above however: the tracks here donā€™t loop. On the soundtrack, most tracks make at least one and a half loops before the fade, with shorter tracks usually making the full double. As it is, why would anyone want to limit these pieces so they only play once? With Yamaneā€™s compositions being as powerful as they are (Lament of Innocence being no slouch when it comes to being bombastic) small and concise auditory experiences are ultimately the better alternative, creating a brisker listen rather than an extended tour-de-force road-trip where oneā€™s attention can drift in and out. Even if such an idea was applied to the soundtrack as a whole it would be a moot point: issues with the shorter tracks would arise due to space limitations and the cinematic tracks would still be there to break up the action regardless.

Following the picks from Lament of Innocence is the arranged, three track suite from Aria of Sorrow that can also be found on the second disc of the original soundtrack. This material has only gotten better since it no longer precedes the lackluster ā€œmusic inspired by Castlevania Lament of Innocence/another Castlevania storyā€ suite. There really isn't one particular track that excels beyond the others here; the pitch and emotion maintain a steady level and forms a nice intermission between the two main features.

When it comes to the selection for Symphony of the Night, what can be said that hasn't already been said? Itā€™s easily one of the most defining soundtracks of the 32-bit era but looking beyond the accolades it doesn't feel as bulletproof as it once was. Often praised for the vast variety of moods, such strength seems to have slightly weakened the bonds over time, leaving one to wonder if a little more uniformity amongst the ideas presented could have prevented this. Change Symphony? Thatā€™s tantamount to video game music treason! True, but by the same token itā€™s fine the way it is; itā€™s just the right mood has to strike me for this music to be effective as it is in the game.

Given the scoreā€™s stature and number of area themes presented thereā€™s a lot more at stake here than there was with the beginning of the disc. Accounted for are rocking classics like ā€œDraculaā€™s Castleā€ and ā€œYoung Nobleman of Sadnessā€ as are the soaring angelic numbers such as ā€œRequiem of the Gods and ā€œLost Painting.ā€ ā€œStrange Bloodlineā€ is an interesting pick but others like ā€œWood Carving Partitaā€ and ā€œThe Final Toccataā€ have become victims of time or overuse. As expected, this is no substitute to owning the complete soundtrack; summing up a favorable cross section of Symphonyā€™s music is one hundred times harder than using the Alucard Shield/Shield Rod combo to obliterate the last stretch of the game.

If you feel the original soundtrack for Lament of Innocence is bogged down by the elements described above you canā€™t go wrong with the Lament of Innocence Music Sampler. This great little CD just might change your prospective about the music as it did mine. Despite being a promotional item released over four to five years ago, it is not too hard to come by and usually sells for a fraction of what the full soundtrack goes for. Regardless, when it comes to the music of Lament of Innocence and music in general, this sampler proves less is sometimes more, much more.


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Brave Fencer "Musashiden" Original Soundtrack review

Posted : 11 years, 9 months ago on 24 June 2012 12:47 (A review of Brave Fencer "Musashiden" Original Soundtrack)

When it comes to video games, I often feel compelled to root for the underdog. In such a vast sea of entertainment, there's no shortage of underrated products that lie just below the surface that's home to the big-name cash cows. While most of these titles have more than earned the respect they've worked for over the years, there are times where the endless praise and pageantry becomes too much. Sometimes it's when you look beyond the usual suspects that you find a true gem.

Enter Brave Fencer Musashi. A product of the seemingly unstoppable SquareSoft machine during the mid-life era of the PS1, Brave Fencer's claim to fame for many was it contained a playable demo of the upcoming Final Fantasy VIII. As hungry as I was for that title, which I could easily pass on now knowing what I know, I realized that a pretty fine game accompanied it, a game that had much more charm to it than a simple, copy and paste "Zelda Killer" should have. As much as I despite that term when it comes up in conversations about the game - something the title could never or even tried to achieve - I never the less found myself in the small niche of people that remembers the title for what it accomplished, not what it didn't.

As colorful as the world and characters within the game really are, Brave Fencer owes a lot of it's identity to Tsuyoshi Sekito's musical score. Having been previously employed by Konami, Sekito was no stranger to composing video game music despite the fact Brave Fencer Musashi was his first effort for SquareSoft. Those familiar with Sekito through his more recent works with arrangement groups like the recently disbanded Black Mages will be glad to know that the guitar is a prominent instrument in many of the game's best pieces, but isn't reflective of the score as a whole.

While not a feature that is solely exclusive to the music of role playing games, overarching themes are of vast importance in Brave Fencer Musashi. "The Musashi Legend" has no problem proving this on its own, but there are a lot more connections at play than the soundtrack itself reveals. With seventy-eight pieces spanning two discs, it may surprise some to know that this set only contains two-thirds of the music Sekito wrote for the game. I typically hate it when this kind of thing happens (see the wildly inconsistent Wild Arms Original Game Soundtrack) but before one cries foul, the remaining tracks are mainly variations and small, one-time pieces that are used during in-game conversations and mini-game events. Outside the loss of the night time village and toy store themes there are barely any tracks I miss.

The above omissions actually prove to be beneficial however. Without these small, rather inconsequential speed bumps in the way, the album is free to form a much smoother experience when listened to from start to finish. Still, there are some areas of Sekito's work that simply overshadow others. While there are some great location pieces to be heard like the techno-infused "Corona Jumper," I think you'd be hard pressed to find anyone who wouldn't say the rocking boss themes are the real treat. Dead-on as these tracks are, they present the listener with what some consider the bane of the Brave Fencer Musashi soundtrack - the "ghostly warble."

So what exactly is the "ghostly warble?" The ghostly warble is a vocal effect that appears in a small handful of tracks - most notable being "The Frost Dragon" - and is part of an overarching theme that connects Crest Guardian tracks together. I'll concede that it can be somewhat annoying and shows the limits of the PS1 hardware much like Eve's opera singing did in Parasite Eve, but to say it flat-out ruins a star-studded piece like the aforementioned "The Frost Dragon" is ridiculous. I'd be more likely to agree if it was splashed throughout the score, but it's not.

Still, strengths aside, a score like Brave Fencer Musashi doesn't have the clout to take on the top scores of the era. It's easy to see how a soundtrack like Yasunori Mitsuda's work for Xenogears can trounce it, but then that's a pretty unfair comparison considering Xenogears' music is the best thing that game has to offer. Perhaps the most unfair thing about the Brave Fencer Musashi soundtrack is how Sekito would spend the next decade working on arrangements rather than compositions of his own. In all honesty the man deserved a lot more than that and this soundtrack has little problem proving it despite its problems.

Much like the game itself, the Brave Fencer "Musashiden" Original Soundtrack is a niche item. It will mostly likely end up in the hands of those who can see beyond the unjust labels that were placed upon the game by those in the gaming community. Copies aren't exactly easy to come by but hardly demand as much as other, out-of print soundtracks do. Hell, I was lucky enough to get a near-mint copy off of eBay for a mere ten dollars. That's doesn't paint the prettiest picture, but at least it's in the hands of someone who appreciates it. One can only hope more will do the same.


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Breath of Fire Original Soundtrack Special Box review

Posted : 11 years, 9 months ago on 24 June 2012 12:37 (A review of Breath of Fire Original Soundtrack Special Box)

Born out of the atonement that Capcom Music Generation: Rockman 1~6 and Capcom Music Generation: Rockman X1 ~ X6 provided to fans of the blue bomber in 2002 and 2003, the 2006 release of the Breath of Fire Original Soundtrack Special Box would seek to correct the injustices that defined the discography of another beloved series. Itā€™s true that the seriesā€™ first installment was the only game that didnā€™t receive some kind of a soundtrack treatment around the time of its debut, but these releases wouldnā€™t become truly comprehensive until 2000ā€™s Breath of Fire IV, turning the half-baked albums for Breath of Fire II and III into even greater sore spots than they where initially.

As simple of a prospect as it may seem to offer full-fledged releases for previously unreleased and abridged soundtracks, the concept is complicated by a factor that didnā€™t exist with the Rockman compilations, namely that the music of Breath of Fire doesnā€™t follow a precise formula. It does at first, with Breath of Fire II being an extension of the musical style that was forged in the original adventure, but these kinds of connections are virtually nonexistent once stylistic individuality takes center stage in Breath of Fire III. Variety may very well be the spice of life, but is it the spark that fuels the seriesā€™ flame or is it a hurdle thatā€™s made ever more noticeable in package form? Such a question can only be solved by looking at the boxā€™s highest highs, lowest lows and the objectives of its various composers.

Breath of Fire

Unlike the games that follow, my experience with the original Breath of Fire is more hands-off than hands-on. Because of this, only some of the oddest things surrounding its conception form the basis of my memories. For example, when one boots up the game and comes face to face with the Squaresoft logo ā€“ rather than Capcom's - one just has to wonder why Capcom wouldn't publish their own game abroad when one of their competitors did. Another thing that tends to grab peopleā€™s attention is who is credited with composing the gameā€™s music, or more specifically, the involvement of one of them - Yoko Shimomura. The gravity associated with such a namesake unfortunately leads to some misconceptions about what is here and may erroneously bolster the soundtrackā€™s appeal to the unenlightened. While Yoko may indeed be credited with having a hand in the music, her role was extremely limited (crafting only one track) meaning the majority of the score is a reflection of Yasuaki Fujita (Mega Man 3), Minae Fujii (Mega Man 4) and Mari Yamaguchi (Mega Man 5). Minus Shimomura, thatā€™s still a pretty impressive pedigree but does the gameā€™s music live up to it? Yes and no. The majority of the scoreā€™s strengths and weaknesses revolve around the qualities of the synth more than the compositions themselves. Breath of Fire has a very penetrating sound to it when it comes across oneā€™s speakers, the deep and dark percussion defining the very essence of even light-hearted pieces. Idealistically, this is prefect for picture the composers are tying to paint ā€“ and is just as important in the music of the first sequel ā€“ but along with it comes a rigid texture that not only enhances the experience but deconstructs it. In a way, itā€™s a lot like Ryuji Sasai and Yasuhiro Kawakami's work on Final Fantasy Mystic Quest in that it's almost stuck between the extremes of NES and SNES generations of music, the major difference being that itā€™s thick instead of thin. Regrettably, while Mystic Quest turns what can be seen as shortcoming into a literal goldmine, Breath of Fire canā€™t, itā€™s boisterous sound hindering its fair share of moments. In other words, the heart and direction of the series is here but itā€™s clouded by the tools of its conveyance.

Breath of Fire II

With the second installment of Breath of Fire we have another composer from the Mega Man School of music, Yuko Takehara (Mega Man 6, Mega Man X). Downsizing from four composers to one may appear to be drastic, but this is merely a facade as Takehara maintains the sound heard in the original game and streamlines it, redrawing the same picture with a handful of tweaks and perks. The most obvious of these is the medium being used (the general synth quality) is much improved over the first game, allowing ideas to come across with much less resistance. All the drama and boldness is intact ā€“ ā€œGod of Decadenceā€ being a major highlight ā€“ but the most radical change is what Yukoā€™s done with the battle themes. Forming another parallel with Squareā€™s Final Fantasy Mystic Quest, the hard rock edge of ā€œIā€™ll Do It!ā€ and ā€œDying Corpseā€ are simply delectable and inject an absurd amount of life into battles they preside over. Their ability to co-exist with the scoreā€™s epic side originally lead me to believe this is one score that fires on all cylinders and it still does today. The only thing I've yet to comprehend is why the music of Breath of Fire II reminds me of Uematsuā€™s score for Final Fantasy VI. No disrespect to Takeharaā€™s work, but itā€™s simply a bad comparison that has little to no credence to it. Irreconcilable thoughts aside, Breath of Fire II goes far in defining the seriesā€™ musical identity; something that is quickly turned on its head in the PlayStation years.

Breath of Fire III

Perhaps more than any other game in the series, the music of Breath of Fire III is a fertile playground for debate. Dissecting this jazz-influenced score is no easy task, but one of the most important pieces of the puzzle was only recently revealed. In a 2009 interview, composer Yoshino Aoki tells us how lead composer Akari Kaida wanted to change the preconception that the music in role playing games always had to be of an orchestral nature. In defining such a mission, an obvious amount of weight was placed on the scoreā€™s shoulders from the outset. ā€œProveā€ is a key word here - it may not be the composers choice of words but it seems appropriate given the scoreā€™s attempt to change hearts and minds. However, the story of Breath of Fire IIIā€™s music really begins with a divide between listeners and how they experienced the score. Reviews around the time of the game's release generally gave it low scores in sound, arguing music was its main weakness. The reason this comes into play is that while general gamers mostly reiterated what these scores implied, video game music fans were more apt to embrace it. Looking at whatā€™s here, I canā€™t help but side with those that have certain grievances against it, feeling that those that praise the score turn a blind eye to some obvious negatives. The crazy thing is, the root cause behind these problems can be traced back to the aforementioned interview when Aoki talks about composing each piece of music for its given situation in the game. Such a concept may seem like a no-brainer, but the level it was practiced at quickly leads to a massive and unfortunate amount of filler which likely spearheaded the limited, one-disc soundtrack back in 1997 and engrained a general sense of inflexibly in a vast majority of pieces. Itā€™s dumbfounding how many compositions (e.g. ā€œDragon Asymmetryā€) are backed into a corner because the ideas they represent are not foreshadowed or reciprocated elsewhere. Itā€™s the video game music equivalent of a potluck, a table full of dishes that donā€™t compliment one another. But really, isnā€™t ironic how the original soundtrack release didnā€™t seem like enough, the track selection being stilted out of the desire to present the side of the score that was meant to change attitudes, and the three discs feels like too much? In the end, the real question isnā€™t if the music of Breath of Fire III is successful in proving that a jazz-influenced score can define a role playing game, but rather how the game succeeds despite it and all the self-defeating problems that come along with it.

Breath of Fire IV
In being promoted from co-composer to lead composer, Yoshino Aoki would once again return to the fold for Breath of Fire IV. This time not only would she give shape to the adventures of the iconic, blue-haired descendant of the dragon clan but to those of a raging, reawakened emperor with a chip on his shoulder. Like the majority of other elements in the game, the music of Breath of Fire IV doesnā€™t abandon or embrace the elements of its predecessor - at least not to the level Breath of Fire III did with Breath of Fire II - but the dual scenario system would have a dramatic effect on how the score was tackled. The employment of an epic, brave sound for Ryuā€™s battles and a Asian influenced style for Fu-Louā€™s not only reinforced the general differences between these characters, it also highlighted the importance the worldā€™s geography had in the gameā€™s clash of cultures. The ethnic flavored pieces like ā€œMen of War,ā€ ā€œA Warring Godā€ and the granddaddy ā€œA Raging Emperorā€™s Banquetā€ have a upper hand on straightforward affairs like ā€œItā€™s An Easy Winā€ and ā€œBastard Swordā€ but the remainder of the score does a good job in balancing out these idiosyncrasies. Balance, or rather consistency seems to be one of the keys to the music of Breath of Fire IV; most individual tracks donā€™t pop out and dwarf other tracks like they did on previous soundtracks. In this respect, Breath of Fire IV is more homogenous in nature than Breath of Fire III could ever hope to be, even when uncharted areas like ambient music are added to the mix. As impressive as it is in how many types of music come together in a smaller and more concise package, there are a few hitches to be aware of. The lack of consistent bite can be considered an accurate allusion to the gameā€™s somewhat dry and drawn-out narrative, a catch thatā€™s become clearer as the years have passed. Breath of Fire III has become victim to the same syndrome as well, but its soundtrack covers its tracks in this regard by keeping the listener on their toes with so many styles. More often than not, Breath of Fire IVā€™s yin often times turns out to be Breath of Fire IIIā€™s yang and vice versa. This being so, thereā€™s no clear-cut winner when pitting the two PlayStation scores against each another, everything boiling down to personal preference. The downside to all of this is the negatives are never far behind.

Breath of Fire V: Dragon Quarter

Let me be honest here, Iā€™m probably the last person who should be commenting on the music of Breath of Fire V: Dragon Quarter. Beyond 1997ā€™s Final Fantasy Tactics, Hitoshi Sakimoto is not my thing. Still, there are some general things about the game, its soundtrack and its place in this box set that are worth investigating. As most know, Yasunori Mitsuda was originally slated to compose for the game, but such a plan would never come to fruition due to his busy schedule thus the opportunity was passed on to Sakimoto. Unlike his other works, thereā€™s nothing here that sticks out and grinds my gears outside the occasional Final Fantasy Tactics sounding passage. Ok, I know there is no rule that says a certain style of composition canā€™t appear in game whose world is unrelated to Ivalice, but when that style is so instrumental in forging another world, it feels out of place elsewhere. Additionally, I would expect some to point out calling it the ā€œtactics soundā€ is a gross misrepresentation considering it can be heard in earlier soundtracks like Treasure Hunter G. However, while these small musical asides are the only reservation I hold towards the music of Dragon Quarter, there is nothing that draws me to it. Itā€™s this that will make some view my next idea as more malicious than respectful, and that is if Capcom would have presented this box without including Dragon Quarter. A preposterous suggestion, but again, it is not born out of my take-it-or-leave-it relationship with Sakimoto as composer than it is a personal desire to see two very different worlds maintain a certain degree of separation. The experience Capcom put fourth within Dragon Quarter was vastly different than that of the first four games, and those differences encompassed everything ā€“ the most significant being the environment. Unfortunately, while I can completely agree with the series needing an overhaul, Capcom went so far off in left field for this game it left many fans in the dust. How many times have you heard ā€œOh! I love/loved the Breath of Fire gamesā€ followed by the exclusionary phrase ā€œexcept the fifth oneā€? I canā€™t even begin to count and you have to admit that it has something to do with why the series has been absent for over seven years. Be that as it may, with the original album still available from some online retailers and being common in the secondhand market compared to the previous three, the original release for Breath of Fire V: Dragon Quarter still maintains an importance purpose, especially for Sakimoto fans that are otherwise not interested in the in-house Capcom section of this box.

Unlike the Mega Man and Mega Man X boxes the proceeded it, the Breath of Fire Original Soundtrack Special Box is a product I wish I could be more excited about. What initially seems like a great idea, packaging soundtracks with less to stand on together with those capable of doing so isnā€™t the war of numbers it originally appears to be. There is some good ā€“ make that great ā€“ music to be had here, but there is just so much to sift through its mind-boggling. Itā€™s an impressive product yet the same old arguments come back time and time again. The lack of internal focus and connectivity among the scores, something one may initially view as a positive under the guise of variety, is a mere illusion ā€“ an apparition. I badly want to believe it all comes together but the truth is it doesnā€™t, even after playing the majority of the games. Anyway, as if it needs to be said, if youā€™re going to take the plunge, do your homework. As for myself, Iā€™ll continue pondering how Capcom could create something so attractive yet so unappealing.


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Wild Arms Alter Code: F review

Posted : 11 years, 9 months ago on 23 June 2012 09:35 (A review of Wild Arms Alter Code: F)

When it comes to this player and video games, the past is an all you can eat buffet. The past is a fertile valley of known knowns while the future (while in high definition) is bleak and dark. Games sure do look pretty these days, but beyond that has anything really changed? Gameplay hasnā€™t evolved nearly as much as developers would like one to believe and original ideas are few and far between. Well, the last point is rather moot because originality in the world of video games has become somewhat of a parody of itself. Whenever a game popularizes a genre, in comes a flood of similar products vying for the same slice of the pie. Shooters fit that bill right now while console RPGā€™s where the big thing back in the late 1990ā€™s. Really, looking at the original PlayStationā€™s library of games itā€™s not really hard to see where trends were heading.

Still, as much as I profess my love of video games for systems that have gone to the great cloud keeper in the sky, I canā€™t say I find playing games to be easy. Huh? To put it another way, while I have no problem stuffing my coffers with great games I've previously played and owned, I find it extremely hard to sit down and put time into a game. It really doesnā€™t mater if I enjoyed the hell out of it the last time around, itā€™s just hard. With such a revelation laid bare, one may question why I would even bothered to pick up Wild Arms Alter code:F. Well, it has to do with the PlayStation original, one of my all-time favorites which I recently re-completed. The original finished, I figured why not give the 05ā€™ remake a spin considering it hasn't been touched since it first came out? Unfortunately, six years is decent sized chunk time for memories and opinions to fade, and my oh my did I need a refresher course on this one. So in the spirit of relaying the foundation, letā€™s tackle what Alter code:F has to offer, brick by brick by looking at the back cover of this behemoth.

A treasured classic returns in an all-new RPG saga!

I think most would agree this statement belongs in oxymoron land. I donā€™t think one should get to call a remake an ā€œall-new RPG saga.ā€ It just doesnā€™t hold water. Itā€™s like saying cougars would make good house pets. Tongue-in-cheek as this really is, this overstatement is important because it hints at what Alter code:F wants to be. As for calling the original Wild Arms a ā€œclassic,ā€ well, I try and avoid terms that draw lines in the sand when talking about video games. Personally, I call games Iā€™m smitten with ā€œpersonal classicsā€ but I guess I will indulge some advertising and say, yes, Wild Arms is a classic despite going toe to toe with a game like Final Fantasy VII. If not, why would I have been so excited about this productā€™s impending release?

Wild Arms Alter code: F features a variety of technical and artistic advancements along with an updated storyline.

Without plunging into a bulleted list of what ā€œadvancementsā€ Alter code:Fā€™s has to offer, I find it more pressing to talk about what Alter code attempts do with itā€™s various changes, or rather the message behind it. As most know this is no mere port of the PlayStation classic, but a ā€œrevisioningā€ that most bill as a ā€œremake.ā€ As simple as such a label appears, make no mistake that Alter code:F, as a game, wants to be seen as more than a remake. The game may appear to embrace that which is based but at the same time it wants to be its own separate entity. Itā€™s this dual nature that makes Alter code:F unique, but as most would expect, such a scheme is hardly foolproof. Even from the most basic of viewpoints, itā€™s easy to tell the game tries to be more than it is when it tries to improve upon already successful material. There is perhaps no better example of this other than the music of Michiko Naruke.

Much like the works of other prominent video game composers like Final Fantasyā€™s Nobuo Uematsu, a sizable portion of the series success can be attributed to Naruke. Iā€™m not going to sit here and place Naruke among the elite composers of the industry (she isn't) but itā€™s almost a forgone conclusion for one to think of ā€œTo the End of the Wildnernessā€ when they hear a random whistle. Still, such nostalgia aside, the score for the original game worked so well because its ideas weren't drenched in unnecessary complexity. So how does that concept translate years later given the various the advancements in sound technology? Not so well. Somewhere along the line, Naruke forgot that too much bombast can be a bad thing. Time after time, over zealous instruments take turns - and fail - at making previously successful tracks even more successful. Yet this problem is not limited to just the music but has been ingrained in almost every aspect of Alter code:F. Ironically, Naruke starts to find her groove with new pieces like ā€œDetermination, and then...ā€ which more than make up for the classics she botches. Still, itā€™s somewhat sad that Narukeā€™s score is one of the better aspects of this remake despite its hitches.

Beautifully rendered CGI graphics based on the original material found in the video game and anime series.

Saving my thoughts on Alter codeā€™s graphical prowess for later on, I want focus on design, artwork and sources of inspiration. Out of these three, it obvious that sources of inspiration (ā€œoriginal materialā€) is the most important given itā€™s going to affect the remaining categories. As expected, I have a bit of a bone to pick with using the anime series as ā€œoriginal material.ā€ Like most anime adaptations, Twilight Venom takes a lot of liberties with the ā€œrealā€ original material (the original video game) so calling this ā€œoriginal materialā€ is a gross misrepresentation. Now, given most people picking up Alter code:F in 2005 were fans of the original (why anyone else would play such a dated game is beyond me...) to most it would make sense to keep the originalā€™s art style intact, right? What seems like common sense to you and me is completely lost on those behind Alter code:F.

So why is the art direction so important with Wild Arms and Wild Arms Alter code:F? Because it has everything to do with the impression Japanese culture made on American audiences back in 1997 with games like Final Fantasy VII. Again, sounding like a broken record, Final Fantasy VII introduced a myriad of things to a new audience, one of those things being anime. Yet while many continue to credit Final Fantasy VII with making anime look ā€œhipā€ in the west, the original Wild Arms and its opening video drove that message forward even more, to me at least. So when think of or see anime, Wild Arms is less than a hop, skip and a jump away. This is why the original art style is so important and why the new art style in Alter code:F is such a blunder. The list of things born out of this change that annoy me is never ending: I really hate the way Jackā€™s new gloves look (grrr!), I really hate the look of the Protowing/Gullwing and I really hate how Jack only draws his sword for Fast Draws. Really, youā€™re going to sit there and try and convince me that a swordsman is going to half-heartedly ā€œpunchā€ things instead of sawing them in half because itā€™s a ā€œnormalā€ hit? Sure... thatā€™s a battle youā€™re bound to win Media Vision.

All and all, the taking of ā€œlibertiesā€ is a battle that Alter code:F loses to various degrees, something Iā€™ll point at more as we come across each category but as for the number of changes that result in actual ā€œimprovementsā€ the list is minimal. Iā€™ll give them the concept of Rudy attacking with his ARM on normal attacks instead of a sword, thatā€™s a pretty well thought out change, but it also results in some of the gameā€™s lowest lows. If anyone wants to seriously stand there and tell me that Rudyā€™s collection of cartridges is more impressive than the guns he wielded in the original I would take extreme pleasure in laughing at you until my sides hurt. Quite honestly, if this is the best they can do I rather this game was more of an updated carbon copy of the original. Actually, if thatā€™s what Alter code:F was it be of a much higher quality, not the physical manifestation of uninspired seconds.

A redeveloped script with new plot twists and puzzle solving.

Surely they jest using the term ā€œredeveloped script.ā€ For the most part, what the player reads emulates what was said in the original only, you know, sloppier. The original had its flaws (like Berserk being translated as Belselk which is actually a much better name for a bag guy in my opinion) but like a lot of players out there, I canā€™t say Iā€™m happy with Agetech getting the rights to localize and publish this thing, especially considering the year delay we where hit with. Allowing this game to percolate on the burner for another year certainly didnā€™t help it in the long run. Ironically, the most intriguing changes to the script are things that ultimately mean nothing. Wait a minute, did they just use the pronoun ā€œsheā€ in a reference to Alhazad? I always thought Alhazad was a he, not a she. Other changes are the result of omissions (The Maze of Death and Tripillar were nuked out of existence and replaced with lame substitutions) and the Gate Generator occurs after the Demonā€™s Lab rather than the Fallen Sanctuary. Still, most of the liberties the game makes with its subject matter fail when placed side by side with the original which makes one wonder what makes it so stilted, the original writing or the translation.

The same can really be said of the gameā€™s puzzle solving. While there are some who would hate to admit it, the quality of Wild Armsā€™ puzzle solving has been in free fall since Wild Arms 3. The newer the Wild Arms game is, the more painful the attempt at recapturing that past magic ends up being. The real kick in the pants is how watered down the solutions have become. I remember getting stuck on certain puzzles for days in the original the first time I played it. To some, that would seem more like an annoyance than a virtue, but when I look back at the since of pride I got once I discovered the solution and it was more than worth the temporary obstruction. Alter code:F canā€™t conjure such emotion because itā€™s simply not of the same caliber. Well, thatā€™s not entirely true. The game manages to offer some intriguing puzzle solving with the Puzzle Box side quest thatā€™s much improved over the build seen in Advanced 3rd. Seriously, you could make a game consisting only of these puzzles, call it ā€œPuzzle Box,ā€ charge me fifty dollars for it and Iā€™d line up around the corner to buy it like I did for this game - only Iā€™d be much more content. Itā€™s sad day when a side quest portion of a game is more attractive than the quest thatā€™s meant to propel it forward.

Going hand-in-hand with such disappointment is dungeon design. Does anyone remember when dungeons were more than soulless, flyby item drive-throughs? I can, and that era seemed to end with the closing of the 32/64 bit era. Unlike many of the other problems found within Alter code:F, I canā€™t say this isn't a problem is exclusive to Wild Arms or the RPG genre. Itā€™s dumbfounding how insipid level design has become these days and people wonder why I latch onto memories of ten or even fifteen year old games. Itā€™s not really too hard to comprehend is it? Earlier games had to made up for their lack of gloss with design; now that graphics have became the main event design has taken a backseat, the number of polygons a ā€œengineā€ can push and how speedy the framerate is being everyoneā€™s main concern.

More than 60 hours of game play on a Dual Layer DVD.

I donā€™t know about anybody else, but a game a promising me sixty hours of gameplay isn't quite the proposition it use to be. Sure, there was a time where I saw a lengthy completion time as a virtue, as something that added value to a game. Due to that warped sense of logic, I once believed that the RPG was superior to every other genre out there simply because they were longer. Fifty hours to complete a fifty dollar game automatically meant I got the biggest bang for my buck, right? Fast forward a decade and a half and I realize how dumb those thoughts really were. Sixty hours? I still have no life like I did back then but can barely play a game for more than an hour at time these days. I thought my attention span was suppose to get better (longer) with age but all age has bought with it is an inescapable sense of maturity. I still like to play video games but sitting in front of the TV for that long to play a game? I completed the original Wild Arms in a little less than thirty hours and got a great return on my investment. I would play Alter code: F for over sixty and feel half empty because half of that time was mere fluff, doing inane things for the sake of completeness because of the perfectionist I am ā€“ one of my most annoying flaws.

A mere fifteen hours in I remember looking at the back of game case at this particular buying point thinking ā€œwhat did I get myself into?ā€ Ironically, a good chunk of those hours were spent leveling Jackā€™s lame Fast Draws. Outside the fact these attacks look insanely flaccid to those in the original (what I wouldn't give to have seen a Magnum Fang or Guilty Blade; hell, even the simplistic Meteor Dive would have been a treat) the amount of time I spent making these attacks and Jack economical was psychotic. I can see the need to ditch Secret Signs since they were easy to abuse but to replace it with system that requires so much work when no other character requires such a commitment is completely shortsighted. Okay, so Rudyā€™s ARMS require a heaping handful of Gella to maintain, but in typical Wild Arms fashion thereā€™s a simple method around that and makes the remainder of the game simple. Again, you donā€™t have to level up these attacks, but I doubt anyone wants to use up their MP reserves in two measly attacks. Couple this with Jackā€™s ridiculously low MP, lack of a real MP restoration item, the fact if you are over eager to level up (thereā€™s a trick for this too) the formula behind Fast Draws will screw you and you can start to see how mindful you have to be about certain things compared to, oh I donā€™t know, actually enjoying the game.

New playable characters round out the familiar cast of adventurers, adding depth to the tactics and battle system.

Saying there is any depth and tactical elements to Alter code:Fā€™s battle system is extremely charitable. Once certain abilities are learned (like Gattling Raid, Brave Seal, Great Booster) most battles - boss battles, because these will be the only fights youā€™ll be fighting the more you play (more on that later) will come down to repeating the same pattern. I guess that could be seen as a ā€œstrategyā€ per say and sure, the original game was rather simplistic in that respect but Iā€™m willing to give a game released in 1997 a lot more leeway than one released in 2005. Alter code:F (and to a little lesser extent Wild Arms 3) like to act as if nothing has changed since 1997. Whatā€™s really changed since the first game besides the Inertia Cancel? MP has returned for obvious reasons but besides that nothing. While this evolutionary, dead-end cycle was going on, other games were presenting with intriguing new takes on RPG combat. Iā€™m not going to tout them as flawless (even something as refreshing as Legend of Legaia has its flaws) but at least they were mixing things up.

Adding to the combat crisis are the characters themselves. For the sake of all thatā€™s good and holy, letā€™s get the big one out of the way: Rudy is a god. The supposedly redeveloped script puts more of an emphasis on the power of ARM (I would have said ā€œARMsā€ but I had to poke fun at the oddball way this is written in-game) so we had to make Rudy insanely powerful and destroy any semblance of balance. Remember the good old days where Rudy ARMs and Jack Fast Draws were on somewhat even ground? Okay, so Cecilia had to cast Hyper on Jack so his Fast Draws could equal out to a good strong ARM attack like Rudyā€™s Phaser but offensively both characters carried an equal amount of clout. Jack would occasionally need to fall back on Heal Blade (which I miss) to help out Cecelia giving Rudy the edge as the all-out attack character but you get what Iā€™m saying. A dynamic such as this is totally lost in Alter code:F because the sole purpose of remaining characters eventually becomes turning Rudy a one-man death machine. Unlike Wild Arms 3 where HP totals took the Gattling Force ability into consideration because every character had it, the same canā€™t be said here when it comes to bosses encountered during the main story. Every once in while the game will try and throw a unique boss situation your way but players with even the slightest grasp of RPGs will be able to strong-arm their way through them with little effort.

Stunning FMV cut-scenes relays the story like never before!

If weā€™re talking about the drawn anime FMV one sees when they load a game I have to say the video that opened the 1997 original is vastly superior and more impressive. Iā€™m not just referring to the slightly stilted character redesign (something that should have been left alone) but quality in general. Honestly, there are a few points within where the animation seems to be missing some frames. Obviously, as other aspects of the game imply, the game didn't exactly have the biggest budget, something that would become even more apparent with Wild Arms 4. Now, if weā€™re talking about CGI cut-scenes things are much worse. These scenes are just slightly enhanced, in-game engine videos that leave a lot to be desired. Really, they look like something a fledgling 3D modeler would come up with in a computer graphics class, not something that should be gracing a fifty dollar video game. There are earlier PlayStation 2 games that look better than this despite their age. There are PlayStation 2 games with in-game engines that look better than this. Iā€™m sorry, Iā€™m not usually this much of a graphics nut but when you write loaded statements you should expect some witty retort in return.

Stunning Graphics Engine ā€“ Detailed characters, enemies and environment truly bring this game to life.

They sure do like to use the word ā€œstunningā€ donā€™t they? Unfortunately, despite the emphasis there is nothing stunning about the graphical engine used in Wild Arms Alter code:F. Why? Well, thereā€™s a multitude of reasons, many of which were already explained above. The first is more than obvious: Wild Arms Alter code:F is the original Wild Arms slapped in a Wild Arms 3 shell. The game uses the exact same engine employed by the 2002 sequel and it shows from things like borrowed spell animations to the odd pixilation problem that still exists. (I noticed Media Vision!) Really, itā€™s hard to take any boast about the gameā€™s graphical prowess seriously. The real problem is while it acceptable in and of itself, does everything have to be so uninspired? I appreciate the wider color palette (the lack of which simultaneously hurt and helped Wild Arms 3) but do towns have to be so small? Do all the attacks and enemies have to look so flat and boring? Iā€™m really tired of using that old ā€œitā€™s still well crafted excuseā€ to justify the fact Iā€™m dealing with stuff like this. The original game may have pushed way fewer polygons in battle yet my characterā€™s attacks looked way more attractive? That just isn't right. Additionally, while everything is now three-dimensional, the 3D rarely makes a given scene more impressive than it was back in 1997. There are only a small handful of scenes that truly knock me back with their looks and three of them happen in the Guardian Temple. Still, Iā€™d got chills watching these scenes in 2D. The gameā€™s last great scene is a new addition dealing with Rudy, Surf Village and the guardian of Hope and is the main reason fans should check this game out. So, I guess the graphics can bring the game to life ā€“ once every blue moon.

Evolved Battle System ā€“ Control up to six party members to combat the forces of evil.

Again, ā€œevolvedā€ is pushing it. I guess I understand printing lies and half truths to push your product when itā€™s this outdated, but then given this is a remake I donā€™t think customers were expecting any kind of grand evolution. Anyway, beyond picking on some failed advertising at least the latter half of this is true. The roster is doubled this time around, two of the characters proving insanely useful (in turning Rudy into a behemoth) and the third proving insanely useless and rather surprising. Still, while I could just copy and paste everything I've previously said about combat here, there are some other issues we havenā€™t tackled yet. I donā€™t know about anyone else, but is the encounter rate high enough for you? Seriously, makes the original look that much better even though there wasn't a cancel system. Speaking of the cancel encounter system, about half way through the game itā€™s going to be your best friend if you have enough Migrant Medals. Why? Thanks to the easy level-up method thereā€™s no reason to fight a normal battle ever again! If I can get a level or two between each dungeon/boss by fighting Mega Apples whatā€™s there to keep me from sailing though dungeons outside surprise attacks that come courtesy of low luck? Honesty and integrity? Sure, letā€™s go with that... all I know is fifty million cancels later I can put the game away.

Another sore spot is the fact that equipment is still a thing of the past. Man, where ever you turn the lame ideas presented in Wild Arms 3 infest this game! I donā€™t know about anyone else, but I really enjoyed stumbling upon new pieces of equipment for my characters in the original. Whatā€™s this? Ooooh, a new piece of armor! I wonder who it goes on! Letā€™s see! Yay, itā€™s for Rudy! This experience may seem kind of trivial in the vast scheme of a RPG, but itā€™s these commonplace things that Wild Arms 3 overlooked and took for granted in exchange for one of the messiest the skill systems in existence. And speaking of things related to the skill system, I also miss assigning runes (materials) to my characters! It was always a thrill getting a new rune and seeing who got the biggest bang out of it. Those days are gone and over in Alter code:F now that Cecilia has complete reign over summons in exchange for her mystic ability. You can make enemy pay dearly if you cast the right material (hell, with a decent level and FP Advance you can end most battles before they even begin) but it comes at the cost of character customization. I guess the skill system kind of makes up for that but itā€™s far from exciting. Gee, who would have ever thought to but HP ups on Cecilia or put critical ups on Rudy and Jane? Seriously, you've done this all before in a game called Final Fantasy IX.

Last but not least, can we kill off the Crossfire Sequence yet? I love how Wild Arms 3 touted this like it was next big thing in RPG battles but itā€™s not. Having characters and enemies troll around the battlefield between every attack is just a big time-waster and when one considers how much time they've wasted with the majority of this game itā€™s a poorly concocted combo. I just love how the long distances between enemies and the playerā€™s characters magically disappear during a critical hit. Very realistic. I think most would agree in an old-school RPG like this battles should be as straightforward and as quick as possible. Things are a bit more streamlined when fighting on the high seas, but those moments are the vast minority.

I really wanted to like Wild Arms Alter code: F the second time around, but as optimistic as I was when I first but the disc in my PlayStation 2 my enthusiasm evaporated as the hours dragged by. The reason why is simple: the 1997 original had soul while this remake reminds one how game design has become a blind, corporate mechanism. Wild Arms deserves more than this and thatā€™s why I had no choice but to take each oversold selling point on the back cover and knock them down a peg or two. I may have been able to turn a blind eye to the series' various failings in the past, but I can no longer candy coat the truth to protect my fragile psyche. I have to be honest, pull the band-aid off and admit that playing the later games in the series is like hitting the snooze button over and over again in a vain attempt to sleep in. Sure, you may have gotten a few extra winks, but youā€™re more tired than you would have been if you had just gotten your lazy bones up in the first place.

Additionally, Alter code:F proves it is not just a copy of a previously successful game. No. Alter code:F feels like a copy of a copy of a copy of a copy. Itā€™s a like a message that goes though a handful people and bits and pieces of it get misconstrued. The message may essentially say the same thing in the end, but in no way is it the same as hearing the message oneself. In other words, Alter code:Fā€™s could have been something, it could have been a spectacular companion piece to the PlayStation original. Instead, Alter code:Fā€™s so fake it almost feels like an insult; itā€™s so fake one canā€™t help but wish itā€™s lackluster experience was a dream. Unfortunately, weā€™re not asleep and one cannot fully understand how inferior it really is until they play it and the original.


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