Wednesday, July 27, 2011

Samurai Warriors Chronicles

3DS review by Justin Boot, published on Tuesday 19th July 2011

Japan is on the verge of destruction. Philosophy and warfare have blended together, plunging the country into chaos. Whole armies of rivaling factions are fighting for every scrap of available territory. They?re led by ambitious politicians and cunning generals, all of whom are determined to shape the future of their country. While these individuals intend to bring about an age of peace, their methods of attaining it are at odds with each other. Some dream of a world in which everyone is happy and prosperous, while others plan to rule an empire with an iron fist. Those who represent the previous establishment are rendered obsolete, mere victims in the crossfire between unstoppable forces. Only those with superior tactics and boundless idealism will survive to see the next era.

Will you be one of them?

screenshot

Samurai Warriors Chronicles has you play the role of a fledgling warrior attempting to make it through the war unscathed. You?ll start off being drafted as a no-name recruit, steadily gain recognition for your heroics, and eventually cross paths with the prominent figures from Japan?s Sengoku period. You?ll fight alongside the likes of Oda Nobunaga, Toyotomi Hideyoshi, Akechi Mitsuhide, Takenaka Hanbei, and several other characters. The story focuses on how these individuals? personal philosophies help shape your perspective with regards to the war and the future of the country. The pacing, however, doesn?t allow for much depth or insight; some characters are killed or written out long before you have a chance to care about them. The frequent team changes make your alliances short-lived; your closest friend could become a deadly enemy in the next battle. Such disjointed storytelling will make you want to skip over the mission explanations and dive straight into the combat.

You?ll typically be put into situations in which you?re practically surrounded and outnumbered. New objectives are steadily fed to you over the course of the level, ranging from occupying forts and escorting allies to defending territories and assassinating certain targets. Since all of this happens in real time, the sheer amount of goals can be overwhelming. The opposing army?s strength and morale ? and thus the tide of the battle ? are determined by how many missions you complete. Even with the ability to toggle between multiple characters, it?s entirely possible to fail several missions and screw yourself over. The trick is learning how to prioritize the objectives and place your characters accordingly; your forces need to be spread out to cover the warzone, but not so far out that they?ll be forced into solo confrontations. Or, if you?re not keen on strategy, you can simply rush for the nearest group of enemies or their bases ? helpfully highlighted on the touch screen map ? and murder their ranking officer. Doing so will not only drop morale, but it?ll probably complete an objective or two. It?s not the fanciest way to beat the game, but it gets the job done far quicker.

screenshot

It?s not like you?ll have much of a challenge, anyway. The game?s difficulty doesn?t kick in until the last parts of the campaign, which makes most of the battles mind-numbingly boring. The AI in this game is horrendous; you?ll mow through dozens ? eventually hundreds ? of enemy NPCs that simply stand there and wait for their deaths. Those rows of archers and riflemen look intimidating, but you?ll usually be able to rush them before they can take any shots. Even if they do, their ridiculously poor aim ensures that you won?t get hurt. The rare exceptions to these boring and unintimidating foes are the ranking officers, who have just enough presence of mind to actually attack and defend against you. But aside from the relatively overpowered boss characters, the officers pose only a slightly bigger threat than their underlings. Killing them usually involves striking hard enough to break their blocking moves, then following it up with some lengthy combos. There?s little depth or complexity involved; you mash the regular and strong attack buttons to rack up hits, and occasionally use temporary stat-boosting skills. Dishing out enough punishment eventually leads to the summoning of your Musou spells, which basically annihilates any weaker enemies in your immediate vicinity. There?s also the option to ride a horse into battle, but the slippery controls and the lacking combos make the already repetitive combat that much more tedious.

The worst part, however, is when there aren?t enemies. There are moments during battles in which you find yourself completely alone, running from one objective point to the next with no opposition whatsoever. Such a break would be welcome, if there was anything to look at. The battlefields are massive, three-dimensional open spaces of interconnecting routes. Some areas try to look fancy with buildings and set pieces ? the Honnoji stage is gorgeous ? but the majority of them are nothing more than empty fields with blocky fortifications and poorly-rendered grass. Just when you start to notice how desolate and washed-out everything looks, a small group of enemy soldiers will materialize out of thin air to distract you. Their wooden animations and bland costumes help the main cast stand out more; your playable characters are decked out with all kinds of ornate armor and slick attacks. There?s nothing more awesome than gliding in for a killing blow with Nobunaga, or wasting whole squads of foes with Ieyasu and Ujiyasu?s projectiles. It?s just a shame that the rest of the presentation didn?t get the same kind of treatment.

screenshot

The game tries to make up for its shortcomings by providing weapon and item crafting mechanics. You?ll find all sorts of swords and trinkets strewn across the battlefield, and each of them has different effects on your stats. Some improve your attack power and elemental affinities, while others give you speed and defense buffs. By combining things together and earn experience points in battle, your character will steadily level up into a killing machine in no time. You?ll also get help from the rest of the main cast, who can be made playable by completing parts of the story and gaining access to bonus missions. Some of them require more effort, though; you?ll frequently have to complete dialogues that, depending on how you respond to the person?s questions, will determine their friendship and loyalty to you. Become close enough allies with them, and their weapons and skills will be at your disposal. That?s the true challenge behind Samurai Warriors Chronicles; the combat may be easy, but unlocking everything else certainly isn?t.

It probably won?t be enough, though. Those characters and weapons won?t seem like much of a reward when you?re plodding through one tedious battle after the next. It?s unfortunate, considering how much potential this game has. The combat system could have been fleshed out beyond mashing attack buttons and occasionally summoning super-powerful moves. The AI could have been drastically improved, allowing for more satisfying combat and a better difficulty curve. The mission objectives could have more refined tactics, thus giving more depth to your strategies. The stages and enemies could have been rendered better, which would have helped the atmosphere and better demonstrated the 3DS?s graphical capabilities. There could have been so much more to Samurai Warriors Chronicles?but there isn?t. Unlike its source material, this game will never make history.

Thunderbolt score: five out of ten

About the author

Justin Boot is a Senior Staff Writer at Thunderbolt, having joined in February 2005.

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Sounding Off On Brink

Brink is certainly one of the most striking looking shooters coming in 2011, but it's also going to sound amazing. The attention to detail on the aural side of things is staggering, and the lion's share of the credit goes to Splash Damage's Audio Director Chris Sweetman, who has gone to great lengths to create a layered soundscape, as you'll find out if you read on?



IGN AU: You started out working in film ? how different is the approach to directing audio in a game as opposed to film?

Chris Sweetman: If I'm honest, the process of actually designing the sounds is really no different. The big difference is the non-linear approach video games take instead of the linear approach you see in film, plus the implementation of sounds and music within memory constraints.

In film, you will generally approach it scene by scene and multiple sound editors will work on different scenes. The supervising sound editor will manage these teams and make sure that the sound is consistent through the reels in collaboration with the director. This process will normally take around four months.

AAA video games are worked on for upwards of two years, so the process is much more iterative. You might also find that certain features won't arrive until the last six months (such as cinematic or dialogue recording). Implementation is the big difference with us having to orchestrate thousands of sounds in real-time over the course of play!

IGN AU: How did the transition across to games come about? What appealed to you about working in this medium?

Chris Sweetman: When working in film during the early 90s I began to feel that the video game industry was pioneering in a lot of areas, and I figured that eventually the audio would follow a similar model to film. In my opinion everything had been done in film audio that could be done, but interactive audio excited me, and I've been passionate about it for over 15 years now.

In film you don't tend to have one person doing all the audio - you play to individuals' strengths and experience by having specific roles, such as sound designers, dialogue editors, foley editors and so on. The games industry hadn't started doing this in 1995, so there were practically no specific roles as "Sound Designer" when I began looking for a way in.

Luckily I met with a like-minded chap called Pat Phelan who was the audio manager at Gremlin Interactive. He was as forward-thinking as I was, and I had a job!

From films like Goldeneye to games such as Burnout Paradise, Sweetman has worked his audio magic on some cool projects.


IGN AU: What are the challenges of working with sound in an active soundscape where you don't have complete control?

Chris Sweetman: It can be a real challenge, but we do have control over most aspects of audio playback.

One of the biggest challenges is creating space so that every sound can be heard properly, especially in first-person shooters when you potentially have 16 characters all firing their weapons at the same time! We use many tools at our disposal to make sure that when this does happen -- and it will -- you are not faced with a wall of cacophonous sound!

One of my processes is to look at how to create harmony very early on in the development cycle by making sure that three main focus areas are all designed with that in mind. In the case of Brink, these were Weapons, Explosions & Foley:

Weapons:
I made sure that each faction would have different weapon sounds even if they were using a re-skinned version of the same weapon. Each faction's weapons are designed as different timbres (kind of like voices in a choir). This means that when you hear lots of weapons being fired at the same time in the game, your chances of it sounding harmonious are greatly increased.


Explosions:
We designed the explosions so they were different timbres to the weapons, which in turn means that they don't occupy the same sonic space as the weapons.

Foley:
Each character class has its own set of footsteps and Foley. This even changes depending on how much clothing you are wearing, again meaning that the chances of the sonic landscape cluttering up are limited.

It's like betting on a horse race while knowing which horses will cross the line first.

IGN AU: In a game like Brink, where there are multiple class-types, is an effort made to make each one sound distinctive? Could a trained-ear tell the difference between classes on the battlefield just by listening?

Chris Sweetman: For Brink I decided to let the dynamic mission auto-chatter handle most of that work. For instance, the Medic is the only one who will hear people shouting for a Medic, while an Engineer is the only class who hears "I'm stuck on a mine."

Aside from that, each body type has different sets of footsteps, so it is possible to tell what size of character is coming around that corner up ahead.

Your footsteps betray you, Luke. Oh, sorry, n00bpwner69.


IGN AU: One aspect of sound creation that is generally overlooked is Foley work. How much detail did you go into to try and achieve realistic sounding movement for all the physical abilities at the player's disposal? Are these sounds distinguishable enough to know whether someone is sliding towards you or vaulting over your head?

Chris Sweetman: I'm really glad you guys picked up on this, as I wholeheartedly agree.

For me Foley is the undiscovered country in video games. It can be so powerful in aiding the player experience, but sadly it's never given the attention it deserves in most titles. Foley was a massive focus for me on Brink; we spent three days at Shepperton Studio recording every footstep, every gun rattle, and every slide, so that we could really go to town on the Foley detailing. Each of our three different body types has its own set of footsteps, scuffs, stops and starts on every surface in the game.

Weapon Foley was another big focus, with each weapon having its own set of weapon movement. -- for example, the sounds change depending on if you are walking or using the SMART system. We also have sets of sounds for mantling, wall jumps, climbing and sliding.

I've taken an unusual approach with particular sounds in Brink. One such example would be the sliding, where you can actually hear the slide further away than you would normally. I felt it was an important gameplay choice, and made sure that even from a fair distance away you would hear it.

So yes, you can definitely hear if someone has just vaulted over your head or is sliding around a corner!


IGN AU: Your game features different ranges of sound depending on how you're shooting and how close you are to another player's gunfire. How did you achieve this and do you feel it will make the sound effects stand out significantly?

Chris Sweetman: The major difference with Brink is that we change the sound when aiming down the sights and focus more on the mechanical aspect of the weapon. The reason for this is twofold: first, it really allows the player to focus on the target without a huge weapon sound creating a distraction, and second, it also permits me to play with the style aspect of the weapon sounds. The iron sights are designed specifically for each weapon, and sit underneath the main weapon sound. When the player moves into iron sights, we lower the normal weapon sound in volume and add the mechanical layer in real-time.

In regards to the other player's gunfire, we use varying stages of distance from the player to play back different sound content. There are three distinct stages - near, mid and far - and the engine crossfades these samples depending on how far the other player is away from you. The great thing about this method is that it fills out your background ambience with an interactive battle. Every weapon sound you hear is what is happening on the battlefield right now!

On top of that, we also filter the ambience of each player through our auto chatter system, so when you get a message from another player over the radio, the soundscape at their location can be heard in the background.

Auto chatter sounds awesome, but can it also filter out foul-mouthed 12 year olds? Now that would be valuable tech.


IGN AU: How do you achieve clarity of sound when you have up to 16 players in an area, all running, jumping, speaking and firing at the same time?

Chris Sweetman: We decided early on that achieving sonic space was the most important thing for us to solve, and our Audio Programmer Simon Price and myself spent months on working out different systems to cull sounds.

Eventually we settled on various solutions. One of the big ones was Simon creating our version of HDR (High Dynamic Range) audio, which at its most basic is an automatic mixing system that scans the volume of a WAV file and decides what the playback volume should be based on the distance from the player.

Alongside HDR we also have a snapshot mixer system which ducks groups of sounds dependent on game states that we set up. For instance, when one of the commanders is speaking to the player about pertinent game information, we duck all other sounds in the world by about 30% to allow him to be heard.

IGN AU: What aspect of your work on Brink are you most proud of? What should we strain our ears to hear when the game comes out?

Chris Sweetman: I'm most proud of the Foley and sonic clarity that we have in Brink. You can hear every sound -- and when you have massive battles raging that's a real bonus!

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Mortal Kombat - Tip - How to Beat Shao Khan

Mortal Kombat for Playstation 3
 
 How to beat Shao Khan
 
 by AdrianHORE (jtomlinii | AOL)
 
 There are basically two ways to easily kill Shao Khan.
 
 Projectile spamming from afar or jumping over Shao Khan, let him do his move,
 then hit him.
 
 You can also jump over him and kick him, but that only does one hit. When you
 jump over him, he may hit you with an overhead hammer attack.
 
 It seems he does a random attack every time you jump over him, so it's a random
 luck game.
 
 When he is on the ground, do not jump over him right away, especially in the
 corner, or else he will shoulder rush you in the air.
 
 Wait for him to do his move by blocking. Odds are, he will taunt or do his
 X-ray attack. If it's an X-ray attack, teleport or jump back.
 
 Projectile spamming is the easier by far. Duck under his spear attacks and jump
 over his hammer attacks. He normally does 3 spears, then throws his hammer,
 then taunts.
 
 If you can pull off a projectile between spears, great. If not, wait until he
 taunts or does a shoulder rush. He can't hit with the shoulder rush from afar,
 so your safe.
 
 

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Tuesday, July 26, 2011

Level-5 CEO Talks About the New U.S. Studio in Fan Oriented Video

Over on the official website for Level-5's North American studio comes a video for fans from the company's president, CEO, and founder, Akihiro Hino. Level-5 International America, as it's called, has officially begun operations according to Hino, who explains that it will be focused on both releasing games developed in Japan and creating original content designed for the United States.

In North America, Level-5 is probably best known for the Professor Layton series and Dragon Quest IX, though it was also behind Dark Cloud, Rogue Galaxy, Dragon Quest VIII, Jeanne D'Arc, and White Knight Chronicles. It also has produced a fair number of games that have yet to make it to North America, including Ni No Kuni and the Inazuma Eleven series.

Level-5 Akihiro Hino

With Level-5 IA open, it's been assumed that we might see some of that Japan (and sometimes Europe)-only content make its way over here. Hino noted that the Japanese and U.S. markets are "quite different, but we hope to make innovative games that our fans in the U.S. will enjoy."

You can see at our of the new office at the company's official website, where you'll also find the obligatory social network links.

Source: Siliconera

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OnLive Expands To Include Square Enix Titles Tomb Raider, Deus Ex, Thief & Hitman

OnLive Service Works On Cell Phones, Too

OnLive announced today that they will be expanding their monthly subscription "Playpack" plan to include more than twelve major franchise titles from Square Enix, including�Tomb Raider, Deus Ex, Thief, Mini Ninjas and Hitman. The Square Enix titles will begin arriving in the OnLive PlayPack service in a few weeks. For the uninitiated, OnLive's Playpack option allows "all you can play" gaming for $9.99 per month, either on your television via the OnLive Game System, or through your Mac or PC via a small browser download.

Steve Perlman, founder and CEO of OnLive, said "We?re proud of our strong partnership with Square Enix and we look forward to providing a solid and effective platform for their current and future game titles." Phil Rogers, CEO of Square Enix Europe added, �"In the dynamically changing environment of digital distribution, it?s a natural fit for Square Enix to support an innovative offering like PlayPack from OnLive. We?re pleased to be able to share some of our classic games with the broader digital audience."

That might sound like plain marketing yammer, but what it translates to is "I can now play the classic Deus Ex games, on my TV!" That's all I needed to hear.

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The Legend of Zelda: Twilight Princess - Walkthrough

The Legend of Zelda: Twilight Princess Walkthrough ? Part I: Goatherder

  • go left
  • follow path
  • go right
  • mount horse
  • go back
  • go down other path
  • go left
    • herd goats (press A to whoop)
    • don't run into goats or whoop too many times
  • dash at fences to jump them
  • leave ranch
  • exit house
  • go to village
  • climp outcropping
  • jump across
  • pick grass
  • blow
  • set free on bee's nest in tall tree
  • jump onto roof
  • jump across outcroppings
  • blow grass
  • set free on monkey's cradle
  • jump onto roof
  • jump onto land
  • go left and meet woman
  • go left to her house
  • go across right bridge
  • go around house
  • step onto dock
  • press -
  • press B
  • press A
  • press B twice
  • hold remote vertically once lure sinks
  • catch another fish
  • press A
  • go around house
  • climb ladder
  • go right
  • climb up
  • climb onto roof
  • collect yellow rupee
  • blow grass
  • set free on chicken behind the house, to the left
  • fly to cliff next to where the chicken was
  • press A
  • collect yellow rupee
  • pick up both rocks and collect rupees
  • go to the front of the roof and collect two green rupees
  • jump off
  • collect green rupee under bridge
  • collect green rupees in the grass around the house, across the bridge
  • go back across the bridge
  • go up right cliff
  • collect two green rupees
  • climb up tall tree
  • hold Z to collect two rupees
  • jump safely down
  • enter pink shop
  • buy slingshot (approach lady and press A)
  • head home
  • equip slingshot in front of spider
  • hold Z and B (Z targets)
  • release to shoot
  • enter house
  • open chest
  • exit
  • speak to kids
  • shoot all targets (Z-target scarecrows)
  • teach them how to swordfight
  • swing remote horizontally to draw sword
  • swing again to slice scarecrow
  • Z-target, step forward and swing to stab
  • lightly shake the nunchuck horizontally to spin attack
  • Z-target and press A to jump attack
    • try pressing buttons and swinging simultaneously
  • mount horse
  • go across bridge past spring
  • follow path
  • jump fence
  • continue
  • receive lamp from man
  • ride back to gate
  • dismount
  • kill plant (slice open seeds)
  • get out lantern
  • continue
  • light all torches and webs along the way
  • go right
  • open chest
  • go back
  • go down other path
  • once out of cave, put away lantern
  • from now on collect more than 100 rupees
  • go to NW cave
  • light both torches
  • put away lantern
  • open both chests
  • go through NE gate
  • continue
  • buy lantern oil from bird for 1 rupee
  • continue
  • open chest to right before ramp
  • continue
  • break open cage
  • blow grass
  • mount horse
  • herd goats
  • go home
  • go to basement
  • get out lantern and open chest
  • exit house
  • give boy sword
  • go left
  • crawl through right tunnel

The Legend of Zelda: Twilight Princess Walkthrough ? Part II: Midna

  • dash around until Midna comes
  • do the same as the horizontal slice to break the box
  • press the down arrow to dig under the bars
  • go in other cell
  • pull chain by pressing Z and A
  • continue through open gate
  • go left
  • follow path
    • avoid water
    • kill any shadow creatures by pressing Z and A to bite them
  • go left
  • go left again
  • pull chain
  • go North
  • go right
  • pull chain
  • go West
  • crawl through left tunnel
  • go around to Midna
  • go up stairs
  • go up stairs again
    • jump across huge gaps by pressing the up arrow, and then pressing Z and A
    • climb across ropes when necessary
  • when you reach the top, kill the bats by biting them
  • climb up the stone rubble to the right of the door
  • use Midna to reach the top door
  • go North
  • push the box against the wall to the left, by holding down A and moving forward
  • climb up the box by moving forward and pressing A
  • go West
  • kill the bird by biting it
  • go North, killing the other bird
    • you can run back South to kill the next bird easier
  • go on the right platform
  • use Midna to jump onto the roof
  • go East
    • you can outrun the birds, but killing them is less heart-pounding
  • climb the stairs
  • meet Zelda
  • climb down the stairs
  • go left
  • go to the village
    • watch out for trolls along the way
  • cross the right bridge
  • get close enough to the villagers to hear them
  • go back across the bridge and dodge the bird
  • get on the rock by the cat
  • use Midna to jump on the roof
  • approach the guy
    • this is the funniest part of the whole game
  • use Midna to jump on the next roof
  • go in
  • climb on the table
  • use Midna to jump on the second story
  • dash into the wall under the shield twice
  • pick it up
  • jump out the window
  • go to the right side of the SE house, without being seen by either humans
  • press the right or left arrow to use your senses
  • dig under the sparkling area, next to the house
  • take the sword off the couch
  • go to the spring
  • kill the shadow beast by holding Z and pressing B continuously, to bite it more than once
  • go North
  • keep using the spin attack on the shadow beasts, until Midna lets you use the energy field
  • hold B, then release once all shadow beasts are in, to use the energy field
    • avoid leaving one shadow beast alive
  • go North
  • get the Vessel of Tears from the spirit
  • go and use your senses to kill the first bugs on the map
  • collect the tears
  • go to the lantern guy's house
  • go up the left ramp
  • use Midna to jump on the house
  • talk to the guy inside
  • kill the bugs
  • exit
  • dash into the right side of the house
  • kill the bug
  • dig under the gate to the cave
  • kill the bugs
  • go through the cave
  • run into the left wall
  • kill the bugs
  • go on the left platform
  • use Midna to jump across
  • climb up the ramp
  • use Midna to jump across
  • kill the bugs
  • use Midna to continue to jump across to the West
  • Z-target and dig up the bugs to kill them
  • use your senses and dig up a yellow rupee behind the sign
  • go through the tunnel
  • kill the shadow beasts
  • go to the hidden chest and dig to the right of it to get a blue rupee
  • go up the ramp and kill the bugs
Contact author - artemis850.blogspot.com

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Catch ?Pokemon Rumble Blast? on the 3DS this October

Pokemon Rumble Blast Release Date on the Nintendo 3DS

If there?s one handheld franchise that the masses (myself included) can?t get enough of, it?s Pokemon, and Nintendo knows this bit of information all too well. That?s why it was far from shocking when Nintendo announced that it intended to bring the franchise to the 3DS, though how soon they planned on doing so turned out to be a nice surprise. Pokedex 3D hit the system as a free download via the 3DS? eShop, but fans of the series have been eagerly been waiting news on something more ? until today.

Nintendo has officially announced plans to bring the first retail Pokemon title to the 3DS in the form of Pokemon Rumble Blast, due later this year on October 24th. The new game is a follow-up to the popular WiiWare title Pokemon Rumble, but unlike its predecessor, Blast features all of the Pokemon from Black and White. This means that there will be over 600 different Pokemon that are scattered throughout the entirety of the game, just waiting to be collected. Technically, the actual Pokemon in the game are wind-up toys that players will use to battle other toys, as well as other players, thanks to the 3DS?s handy-dandy SpotPass feature.

The official debut trailer for Pokemon Rumble Blast can be seen below.

Super Pokemon Scramble was the name of the game when it was announced for Japanese consumers, but Nintendo has changed the name for the game?s North American debut ? a move that everyone was kind of anticipating. Still, the new name has a nice ring to it, and the fact that the name ?Rumble Blast? just sounds like it?s an entire bag full of awesome really doesn?t hurt.

It may not be the type of game that fans wanted, but Blast should keep Poke-fanatics everywhere preoccupied. Meanwhile, Nintendo can work on what are hopefully remakes of Pokemon Ruby and Sapphire for the 3DS.

Pokemon Rumble Blast releases October 24, 2011, for the Nintendo 3DS.

-

Follow me on Twitter @GnarleySquid

Source: Nintendo

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