You say you want a Tekken Revolution

Last night, I switched on my DownloadStation 3 to see what I should grab next and add to my growing digital collection of games that I worry I’ll never get time to actually play. Yes, first-world pains and all that, but really now, the amount of free games being tossed into my face on a weekly basis is staggeringly frustrating. And now the Xbox 360 is getting in on the action with Fable III and more to come. Please pray for my well-being. Anyways, upon seeing that Uncharted 3 is a…40 gig download, which would probably take me an entire weekend to download and then install, I scanned the store for something smaller. First I grabbed Machinarium for free thanks to my PlayStation Plus subscription, and then noticed that there’s a new Tekken game available for all to enjoy. Me like Tekken. Of all the fighting franchises, it’s the one I feel most in sync with, and I think it has to do with the throws.

So, what exactly is Tekken Revolution? Well, in short, it’s a very simplified, non-serious version of the age-old Tekken utilizing a “free-to-play” business model. This mostly involves avatar leveling mechanics in order to lure new players to the franchise, as well as a regenerating token system to limit just how many online fights one can participate in over a given period of time. Currently, there are only three modes: arcade, online player match, and online ranked match. That’s it. No training mode, no silly bowling mode, no local competitive “vs. player 2″ mode. You either fight a random roster of opponents up to the boss Ogre or you test your luck against online combatants.

Again, since this is not a full Tekken game in all senses of the phrase, the roster is quite small. You begin with eight default characters, plus four more which you unlock in a random order by earning gift points at specific amounts. In short, here’s who you can use: Kazuya, King, Paul, Law, Asuka, Lili, Lars, Jack, Leo, Steve, Alisa, and Bryan.

I played through the arcade mode twice and found the experience to be just fine. It’s the same ol’ fighting you know from previous Tekken editions, and it feels good. I played as Asuka and watched as she earned experience points by defeating enemies, eventually leveling up to LV 3. This meant I now had some skill points to assign, boosting her health total, the damage she deals, and her chance of nailing a critical hit. This felt beyond foreign and tacked on, and I have to wonder what the whole point of it is. Probably to make actual money, in that maybe players can purchase more skill points to be one step ahead of the curve, and then their Asuka will always be a slightly bit more powerful than mine. I don’t know. Again, it feels unnecessary. Oh, and once you assign points, there’s no going back.

After that, I was able to log on once to play an online match against someone using Law. The fight was very close, each of use winning two rounds, but I was defeated in round 5. I did not try to play any further rounds after that, but it seems like you have tokens that regenerate slowly over time that allow you to play arcade or online matches. If you run out, you have to wait to play more. Or you can bypass this roadblock by purchasing gold tokens via real money. In the short time I played Tekken Revolution, nothing got in my way of fun, but I suspect if I tried to play a few more rounds I would have hit a wall.

Probably the biggest bummer is the lack of story here. There are no intro videos for characters and, more depressing, no end videos after you take down Ogre in the last fight. These zany pieces of cinema were always a treat and made trudging through the arcade mode over and over worth it. Now it feels kind of pointless, and earning experience points is not enough to satisfy. I want to see Paul and Kuma hanging out and doing flips or something. I want Jack to blow up a planet. I want people tossed into volcanoes.

It’s certainly not a revolution, but it is something to play now and then if you like Tekken and, for some reason, don’t have a copy of Tekken II or Tekken Tag to enjoy. Well, you know.

Doritos Crash Course 2, now with free-to-play gimmicks

Over the years, I’ve stepped away from Doritos. It all really started when I got seriously ill the day Obama was first sworn into office–not because, just using that day in history to place you in the moment–and ended up vomiting a lot back in my teeny, tiny studio apartment before passing out for hours in bed while FX continuously played Troy for like six to eight hours. It was a nightmare. And I had eaten some Doritos Cool Ranch chips earlier for lunch that day, and well…they weren’t any better coming up. Ever since then, I’ve fully stayed away from all things Cool Ranch–called Cool American in Sweden, something I learned recently from Giant Bomb–but have, on occasion, enjoyed a Nacho Cheese chip now and then.

But I’m not here to just talk about chips. Doritos does other stuff, too. Like videogames. Well, they support folks making games and use their name to brand it. If you’ll recall with me, back in late 2010, a game called Doritos Crash Course was released for free on the Xbox 360. It was surprising, for sure, an energetic mix of timed platforming and region-related spectacle, but fun all around. As well as free. It’s now been a couple years, and we’re getting the sequel for free too, though it has changed quite dramatically, even if it looks and–for the most part–tastes the same.

Instead of having levels based around specific regions like the United States or Japan, they are now built thematically. The first one is a jungle, maybe Mayan-based. And the second one appears to be snowy. Don’t know what the other two look like. Originally, your goal was simply to get to the end of the course in the best time, avoiding pitfalls along the way; now, as you run left to right, you can collect Stars, tackle secondary objectives, and use alternate paths to get to the end faster and much more successfully. Stars are used to purchase things outside of the level–these can be Avatar accessories, which do come with a stat and flavor text, or additional levels, side paths, and jinxes. And then this is where Doritos Crash Course 2 shows its free-to-play side, with you being able to buy additional Stars with real money. Well, real money that you turn into Microsoft Points. But still: microtransactions.

Just like in Happy Wars, I can easily ignore all the FTP gimmicks until it gets in my way of actually playing the game. So far, that hasn’t happened, though it looks like I’ve have to return to previously completed courses to find hidden stars if I want enough to unlock more levels. No big deal. I just don’t want to have to pay for power-ups or extra Stars in hope of progressing forward. The game suffers from tiny text syndrome, which makes reading some of the level requirements and secondary objectives dang difficult, but when in full screen, the game is pretty and runs smoothly. You can now run up walls, too, which I don’t remember being in the original, and it can be tricky, though Tara found a way to squirrel hop from wall to wall which is pretty effective. Hey, we also played some local multiplayer, too, which zooms out extremely far, but we were still able to run and climb with the best of ‘em.

Looking forward to checking out more. Oh, and it is still a ton of fun to slide down a slope, jump to a trampoline, and fly over some deadly obstacle to finish in first place. Mostly because my Avatar whips out an electric guitar and jams.

Gordon Freeman loves exploding Striders and collapsing portals

Well, looks like I’ve finally caught up with the videogaming community, having to now join the hordes of many waiting for Valve to release Episode Three for its Half-Life 2 series. Or the hordes that have given up waiting. Take that, you sneaky headcrabs, bullet-sponge Hunters, and dozen-plus Striders from the final battle. No, really, take it, and never bother me again because that final fight was a bit overwhelming.

Yup, that’s right. Over the weekend, on a random whim–are there really any other kind?–I popped in The Orange Box, loaded up my last hard save for Half-Life 2: Episode Two, and remembered why I walked away from that game some many months ago. First, for those keeping score at home, I played through maybe fifty or sixty percent of Half-Life 2, but ended up getting stuck on the “Nova Prospekt” level due to a nasty switch glitch. Bummed out on that, I simply skipped over to Episode One, and burned through that adventure rather fast, enjoying it quite a bit, especially for its bite-sized aspects. I don’t remember when I started Episode Two, but it probably wasn’t directly afterwards. I’d check Achievement dates, but I’m too lazy; now there’s some stark honesty for y’all.

According to my last manual save, I stopped playing at the part where two large and very aggressive antlions are attacking Gordon, Alyx, and one of those Resistance-friendly alien dudes. If he/she/it had a name, I no longer remember it. Gorbak? Zymla? Naaaah. Anyways, took me three attempts to figure out how to kill both antlions effectively without losing too much health and ammo. Once they were out of the way, the path was pretty clear, and Freeman and Alyx hurried down it, eager to reach White Forest and pass on the data they had, which could help in closing the Combine’s looming sky-portal. Along the way, there was a bridge puzzle, some seriously great zombie sniping by Alyx, a short bit of sneaking, really bad driving from points A to B to C, and then a pretty tough final fight with a lot of to and fro and frantic shooting. I had to try that final fight two more times before I got it right.

Despite being released about six years ago, Episode Two still holds up extremely well, mostly from a story and pacing perspective. The graphics are fine though clearly dated to what most current gen titles can produce, like how boxes break into large, polygonal chunks. Some gameplay elements like no third-person view for driving and a lot of first-person platforming feel stiff and unfriendly. Also, you can’t zoom in with all the weapons and shoot, which is a bit weird, considering every FPS these days at least lets you look down ironsights. Also, this is one of those rare games where I actually used the shotgun more than any other firearm, and that’s because it can take down enemies wielding headcrabs in one clean shot. Pistols were complete junk, as was the Gravity Gun, surprisingly. The Magnusson Device, which is introduced during the final fight, is not easy to pick up, especially since you mostly have to guess how to arc the sticky bombs; I would have appreciated getting it earlier on to test it out on the field against live, moving targets. Oh well.

Thanks to Alyx, D0g, and Alyx’s father, the story is emotionally engaging, which makes the adventure to White Forest feel burly and vital, and like I mentioned, once I got past those two antlions, I burned through the remainder of it all, having to see it through. I appreciate that for most dialogue, Freeman is free to walk around and explore the area while still listening to whoever talk. Sometimes, like with Alyx’s father, I just stood there, locked into his words, but it is nice to know that you are not forced to. Shame the whole story ends on one crazy big cliffhanger…

Maybe one day I’ll go back and see how Half-Life 2 played out, though I kind of already know from Episode One and Episode Two. And now we wait…

Be stealthy or be deadly or even both in Super Ninja Slash

Something is happening to me lately, and I’m not sure if I should fight it or just sit down and embrace it: I am moving away from mainstream titles. Sure, sure, I recently burned through BioShock Infinite, but I’ve also been spending a lot of time playing browser-based indie gems like Kingdom Rush and unknown point-and-click adventures like Patchwork and under-the-radar SRPGs like Fire Emblem: Awakening. Well, one could totally probably argue that, with the latest in the series, Fire Emblem has reached it big time. But whatever, I am digging a lot of freeware titles as of late. Which brings me to the latest freebie title I’m enjoying: Super Ninja Slash.

Created as “another game jam game” by Kyle Pulver and with music by Danny Baranowsky, Super Ninja Slash clearly takes inspiration from the not-so-surprising success of Mark of the Ninja, the XBLA title that, in one swoosh, seemingly redefined the stealth genre. Based on its name, you’d think it was a straightforward slice-and-dice action game in the vein of many SNES romps, with you taking down enemies left and right thanks to your untouchable ninja skills. Well, sure, you can do that if you want, but the main goal of the game’s nine levels is to reach the exit alive. You can either avoid guards or, so long as you are quick enough, take them out with a single slash. Other pitfalls include holes in the floor and electrified barriers.

The game looks rather retro, but moves surprisingly smoothly. You can double tap the arrow key to give the ninja a speedy boost, and he/she can wall-jump, though sometimes jumping from a wall to another platform is a little clunky as you have to hold an arrow key in one direction and then hit another as you jump to change directions. Orange-colored guards carry flashlights, which represent their vision cones, and getting spotted once is an instant kill. I appreciate the swift violence they drop on the ninja once alerted. Again, if you can jump and swing your sword fast enough, you can take out some guards. I’ve been doing a bit of both; some levels I snuck through completely unnoticed, and others I had to take out a guard or two to make the path a little easier to tread.

I got up to level 8 (of 9) during my first stint with Super Ninja Slash, but had to close out for work-related reasons. I kind of wish that, just like in Kingdom Rush, local progress data was still saved somehow, but I won’t mind replaying the levels again too much as it is all training for the later, more difficult parts. The website even keeps track of who is the fastest ninja, the deadliest, and the most peaceful, though I suspect I’ll never hit the top of any of those lists due to my lackluster keyboard skills, but that’s okay. Ninjas aren’t meant to be seen, anyways.

The Cave, a labyrinthine moral adventure for the tested and tedious

Excited about exploring and seeing what was next, the scientist ran ahead, but fell too far from a high platform and died, turning into a magical puff of white smoke and re-materializing earlier in the level. The Cave, ever watchful and ready to quip, remarked, “There’s no dying in the Cave.” Except there is. There totally is. I died dozens of times in my first–and probably only–playthrough, mostly from falling, but also in a few other scenarios, one involving a hot dog. It’s not a crazy huge deal, but the contradiction exists, and it’s just one of several problems I found with The Cave despite appreciating the dark humor, quirky charm, and wonderfully realized character designs.

Right. So, The Cave. It’s the latest brain-baby from Monkey Island creator Ron Gilbert,  a point and click adventure game in the skin of an action puzzle platformer. You start out by selecting three of the available seven characters, each with a unique ability, though you have to mostly figure this out for yourself. Unless you press pause and select “How to Play” like I did, which states each character’s special talent. That’s how I learned that the knight’s glowing ring of light meant invincibility an hour or so into the adventure. Anyways, I went with the scientist, the knight, and the monk. You begin exploring standard levels of the Cave as it berates you for your moral choices, and then you have to tackle specific ones designed for the characters you locked into. That means if you want to see the hillbilly’s level or the time-traveler’s level, you’ll have to replay The Cave, experiencing levels you’ve already puzzle-solved to see fresh ones. You could call that replayability, but it appears more tedious than rewarding, especially when you consider that you’d have to do it all again a third time, since there are seven characters in total, replaying two characters to see the last picked one’s level finally. And don’t even get me started on the element of good/bad endings–for all seven of ‘em.

The puzzles are pretty old-school. At least that’s how they felt to me. On more than five occasions, I had to go to the Interwebz and look up a walkthrough after seemingly trying everything. Nothing is spelled out for the player in The Cave; there are no on-screen hints; no nudges from our verbose narrator if left standing still for too long. This was both refreshing and a bit frustrating, as there really is only so much our characters can do: they each can hold one single item, and they each have one special ability. It’s figuring out what to do with all that within the environment that proves tricky. And tedious. Since I was playing solo, that means I had to manually control all three characters, which is easy thanks to the touch of the d-pad, but boring, as it often meant a ton of back-tracking or just moving everybody to be together instead of spread apart. On occasion, when the story deems it so, the other two characters will magically appear near you, but that never happens when you really need them. I wish there had been a “call over” kind of command.

Another problem The Cave has is with its platforming elements, which make up just as much gameplay as the puzzles, since you’re always jumping up, jumping down, climbing ropes, climbing ladders, and moving about. There’s never any urgency, but once you begin to feel the back-tracking blues, you’ll just want to get to where you need to be, especially if you’ve figured out the puzzle, as fast as possible. However, The Cave makes that difficult because grappling ledges and moving up and down ladders is clunky and not 100% reliable. It’s easier to climb all the way down a ladder to the bottom then jumping from the three-fourths mark, as you’ll most likely end up jumping higher up on the ladder, defeating the purpose entirely. It’s a gaming habit you’ll have to learn to break, at least for your sanity’s sake.

Despite being a cave, the level design is quite varied, and I really liked the pristine vacation-esque appearance of the island near the end, as well as the castle level from the knight’s story. If anything, The Cave has a look. A stellar one, with kooky, but charming characters, and nice, multiple descriptions of fire. The voice acting, minimal as it is, does its job well, especially the musing Cave, who I believe is the same voice actor for Captain Quark and DeathSpank though toned down somewhat. He actually doesn’t say all that much throughout the game, and there’s quite a lot of long, quiet stretches throughout.

I don’t know. In the end, I explored The Cave, and all I was found was disappointment. You pick morally coruppted characters, see what makes them bad, and choose whether they continue being less-than-good or head to the light; the Cave comments along the way. There isn’t a whole lot to gain from this. Not going back for a second or third time.

Joe Danger 2, a colorful crash course in prodigious puns

To my honest surprise, I enjoyed Trials Evolution despite having no appreciation or interest in all things motorcycle riders traversing over obstacles. In my youth, I did do some light biking with friends, but it was mostly bunny hops over curbs or riding on the back pegs for a period of time. Nothing crazy or life-threatening. I could also ride handless down a hill, but those skills have certainly vanished since that lifetime. If Trials Evolution is all broken necks and flailing limbs, then Joe Danger 2: The Movie is bouncy castles and winky faces. That’s not a bad thing.

Joe Danger 2: The Movie was recently given out to PlayStation Plus subscribers for free, and so I immediately downloaded and then forgot about it. No time, people. I have no time for racing platformers. Well, maybe I do, considering this write-up. Anyways, the plot, which should really just be called “its reason for existence,” is as follows: Joe has gained favor with a movie director in Hollywood and has been hired to perform all the stunts on set. The movie consists entirely of cliché action stunts, such as chase scenes on mini carts, skis, and police bikes, and obstacle courses with jetpacks and tricycles and other crazy things. And so you go through a number of movie scenarios, each with their own specific missions, trying to earn stars and complete tasks to move on to the next theatrical adventure. Pretty straightforward stuff.

For some reason, I was not expecting puns. At least not this many. Joe Danger 2: The Movie is crazy in love with puns, as they should be. As we all should be.  Here’s a sampling of some movie level names: Lord of the Springs, Gulp Fiction, Das Boost, Temple of Boom, Dr. Snow, A View to Chill, Coldfinger, Doom Raider, Indiana Bones, and so on. I love them. I genuinely do, and for me, they help transform a rather by-the-books racing platforming game–collect items like stars/bananas/the letters to spell DANGER, do specific tasks like 100% combos, finish the level, and move on–into something quite endearing.

Getting through the levels is rather easy. In truth, I could blow through this game in one or two sittings, but I’m instead taking my time and trying to complete some of the side missions within each level. This is where the game can become a bit more like Trials Evolution, close to the point of frustrating. Physics and time limits and hidden paths/items are all constraints that make finishing a level and doing other stuff a struggle. Thankfully, the puns, colorful commentary from the director, and bright look to the game keep things from becoming too dark.

The next movie level Joe Danger must perform in is called Eggstinction, set in prehistoric times. I fully expect to drown in dinosaur-based puns.

The sky’s the superpatriotic limit in BioShock Infinite

The way my brain works, I can literally come up with any excuse to buy a new videogame. The latest? Well, I’m trying this juicing fast thing for a few days, and the worst days are generally the worst, which I planned ahead for and made sure were on the weekend where I could hide out at home and crawl into bed if the hunger troubles growled too loud. I figured I could also use something new to play on either the Xbox 360 or PS3 as a way to distract myself for several hours. And so, on my way home from picking up more green groceries, I snagged a copy of BioShock Infinite and immediately flipped the cover art from macho-man-centric to art deco. I kinda wish all game boxes came with reversible cover art.

Anyways, before I get into Infinite, let me talk a bit about the original BioShock, a game I came to late that I can appreciate, but had a lot of trouble playing. I found Rapture and its inhabitants to be frightening; no, really. The creaking of floorboards, everything wrapped in shadow, the way voices of enemies would find me in any corner–gah, I can’t. It made for slow playing, as I was continuously anxious about moving to the next location, especially once I got the ability to turn invisible when standing still. But I did eventually soldier on, comprehend what the Internet had been talking about, and finished the game. Never even picked up BioShock 2.

However, the look of BioShock Infinite is too good to ignore. We are no longer deep underwater; in fact, just the opposite. The city of Columbia, which separated itself from the United States for reasons, floats high in the sky among the clouds. Buildings bob up and down, and zeppelins move to and fro, with streets disconnecting as sections of the city move around. Mechanical skylines allow for speedy travel, too, if you’re into high-soaring sensations. You do go inside places as well, but nothing so far has been as stunning as throwing open a door and walking over to a balcony and just sitting the world below, opaqued by a layer of clouds.

You play as Booker DeWitt, a less-than-good man who is tasked with stealing a girl from a locked tower in Columbia to wipe away his past crimes. What his past is all about is a mystery, as is the girl who he is off to steal; her name is Elizabeth, and she has the power to open “tears” to other realities. Stealing her from the tower happens relatively early in the game, and the plot only becomes more complicated from there. In honor of spoilers, I won’t say much more about it just yet though the racial themes presented throughout make me very uncomfortable, much more than the religious elements.

Story aside, BioShock Infinite is a videogame, and just like in the original game, you have magic spells in the left hand and guns in the right hand. At this point, I have four spells unlocked–now called Vigors instead of Plasmids–and my favorite is naturally Shock Jockey, which sends lightning into an enemy, temporarily stunning them just long enough to get popped in the face with a gun. Weaponry is rather standard, with pistols and shotguns and RPGs, and I’ve been most comfortable with smaller guns, relying more on Vigor powers to take dudes down. The Possession one is also great for turrets or the larger-than-life Patriots, letting others do Booker’s dirty work.

I’m enjoying the game despite the turmoil it puts in my non-superpatriotic heart, and a part of that has to do with the fact that, thank Comstock, it’s not very scary. The old-fashioned music and art style puts me at ease, as does being out in the beautiful videogame air, swinging wildly on the skylines. I am definitely taking my time as there is a lot to grok in Columbia, from posters to shop windows to audio logs and those movie things that I can’t recall the name of. It all exists for a reason, to make a world whole. Most fights so far often take place in well-lit areas, and I’ve done absolutely zero crouching, just confidently tossing open doors and seeing what’s on the other side. However, sometimes the movement of the vendor robots freaks me out if I turn around and don’t remember they are there. That said, nothing to keep me at bay here.

I’ll be back later to talk more about BioShock Infinite. Especially that lottery scene.

Borderlands 2 level cap will increase, but at a price

Well, it’s finally happening. The level cap in Borderlands 2 is set to increase from 50 to 61 on April 2, 2013. Woo, yay, and exploding buckets of confetti! Well, no, maybe not all of that. This has process has taken longer than many Vault Hunters first imagined and hoped for, as this change required re-balancing, re-tuning, and re-testing the entire game, according to Gearbox Software. Granted, I don’t remember how long after the original Borderlands came out that we got a level cap increase, but I do remember this much: it was free.

That’s right. You’ll be able to gain more levels past 50, but you will have to chalk up $4.99, unless you have already purchased the Season Pass, which I have not based on the lackluster second and third DLC packs. Phooey on that, and phooey on me. Granted, you get more than just the level cap increase with this purchase, as powerful new “Ancient” E-Tech relics and rare Pearlscent-grade weapons will now be found within the Ultimate Vault Hunter Mode (more on that in a sec). Pearlscent-colored weapons are originally from Borderlands though I never found one back then.

At this point into Borderlands 2, I don’t really play as much as I did during its initial months out, especially when I had some friends online also playing, like Lee Bretschneider and Thomas Rothlisberger. My specifically specced Siren has been capped at 50 for awhile now, and I’ve been lucky enough to find and trade for some amazing legendary guns like the Rapid Infinity through friends and farming. Even got a (now nerfed) Bee shield all on my own. Anyways, I’ve felt pretty over her at this point since there’s no more room to grow, and I have been tinkering with an Assassin character (somewhere around LV 25), but it’s not how I like to play. So I’d love a chance to get back and see my Siren enhance her abilities and get even crazier weapons and take down bandits in the upper 50s.

Now, alongside this paid level cap DLC, Gearbox is patching Borderlands 2 with some free additions. Here’s the list they’ve come up with:

• Adds new items to the Black Market:
  • One additional ammo upgrade for each ammo type, at 50 Eridium each.
  • Two more backpack storage space upgrades, at 50 and 100 Eridium respectively.
  • Two more bank storage space upgrades, at 50 and 100 Eridium, respectively.
• Increases the maximum amount of Eridium players can hold from 99 to 500.
• Adds a new playthrough balanced for top-tier play: Ultimate Vault Hunter Mode.
• Various bug fixes.

Hmm. So, Gearbox is giving us a free third playthrough, but for most Vault Hunters, by that point you’re probably capped or near the cap. And so this is their way of nearly forcing you to buy the paid level increase; otherwise, there’s no point to UVHM. I do like that I’ll be able to expand my bank and backpack a bit more though increased Eridium doesn’t matter to me as I never go after those raid bosses. I beat Terramorphous the Invincible once, and that was good enough.

I don’t know. I’m rather conflicted over this. Five bucks to continue strengthening and playing with a character I love? Sure, it’s not a high cost whatsoever. It just feels rather undermining. Ugh. We’ll see. Chances are high I’ll get this, though maybe not just yet, as the fourth DLC won’t hit until the end of June, and a lot of my continuing on with Borderlands 2 depends on what that is and how it changes things for good.

Luigi’s Mansion: Dark Moon tasks you to ghost hunt like a pro

During my junior and senior years of college, I dated a girl called the Giraffe. Relationship stuff notwithstanding, she played videogames in a fairly casual manner, except for a few specific titles like Crash Team Racing and Pikmin, which she ate up with glee. In fact, I was there the day she bought her Nintendo GameCube, slyly suggesting she also pick up Final Fantasy Crystal Chronicles, an RPG I knew she’d never like, but one that I was most definitely curious over; to sum up that game, not so good. As we dated, her GameCube collection grew, and one game we ended up enjoying together was the original Luigi’s Mansion, but for altogether different reasons.

In Luigi’s first ghost-hunting adventure, he ends up in a haunted mansion after winning a contest that he never entered. He told his brother Mario to meet him there to celebrate his…uh, victory. Upon arrival, Luigi realizes that Mario arrived before him, but is now missing somewhere within the mansion. To help Luigi find his red-coloring sibling, an old professor named Elvin Gadd equips him with the Poltergust 3000, a vacuum cleaner used for capturing ghosts, and a Game Boy Horror, a device used for communicating with Gadd. You then explore the mansion room by room, sucking up ghosts and looking for any clues related to Mario’s disappearance. It’s a very charming game, with a lot of style and cartoonish sense of horror, and that’s what the Giraffe ate up the most. She would literally spend fifteen minutes just walking around a room pressing the “Call out to Mario” button, eating up Luigi’s uncertain, shivering tone. Me, I actually liked playing the game, though I never got too far into it.

Some ten-plus years later, and we now have a sequel with Luigi’s Mansion: Dark Moon for the Nintendo 3DS. This time, the adventure is set in a region called Evershade Valley, which is where Professor E. Gadd lives in his laboratory and studies friendly ghosts. The Dark Moon, which hangs above Evershade Valley, shatters thanks to a nefarious Boo, which causes all the local ghosts to suddenly become hostile. Luigi is summoned by E. Gadd to re-collect the five pieces of the Dark Moon, scattered in different mansions, to restore peace.

Currently, I’m still in the first mansion, and it’s been a lot of light-hearted, ghost-sucking-up fun, hampered by all things Professor E. Gadd. Firstly, he talks way too much, calling you constantly on your Nintendo DS phone device thingy. And this isn’t helped by the fact that he sounds completely like an Ewok. I’ve been rushing through his dialogue as quickly as possible, even though there are some great zingers to be read. I really enjoy sucking in ghastly ghosts via the enhanced Poltergust 5000, which can be likened to many fishing mini-games, where once you have a ghost “hooked” you need to pull in the opposite direction its moving to “reel” it in. And every new room feels like an unopened present, especially since there is so much that Luigi can interact with–blowing ceiling fans to reveal hidden floors, sucking up window curtains, moving rugs, exploring vases and desk drawers. My gaming OCD doesn’t allow me to leave a room until I’ve fully explored every crevice and interactive set piece, and that’s just fine by me.

Luigi may be all shivers and quivering words, reluctant to see what’s behind the next door, but I’m pretty excited to explore onwards. Will report back later if anything else surprises me about Luigi’s Mansion: Dark Moon though I suspect it’s going to kind of be a lot like the first mansion, but four more times until the end credits roll. Have not been able to unlock the online multiplayer stuff yet though my non-love for online multiplayer experiences tells me to try it once and then promptly ignore it. We’ll see.

Owl Creek has been invaded by ghosts in Phantasmaburbia

Well, I’m back for round 2 of digging into Box in a Bundle‘s latest package, which I covered previously in a post about the non-game Dinner Date. This time, I’m most definitely playing a game, and I know that because after two hours I’ve switched between three different playable characters, gained levels, equipped special items, killed ghosts and skeletal rodents and unshapely shades, and died during a particularly tough boss fight. If that doesn’t summarize me playing a game, well…no, that’s it exactly. I mean, I literally did mostly the same thing over the weekend in Ni no Kuni, calling it quits when Moltaan, the Lord of Lava, wiped Oliver and friends off Old Smokey.

So, with that, I’m here to talk about Phantasmaburbia, a long-name game that appears capable of going the distance. To summarize, the year is 201X (twenty-X-teen), and the small modern neighborhood of Owl Creek has suddenly been overrun with ghosts. No one knows exactly why or how just yet. Four local kids, assisted by spirits of their ancestors, will group together on a suburban adventure to save the place they call home.

I’ve only gotten far enough in the game–roughly two hours and change–to have three kids in my party. I named the first boy Todd, the goth girl Rayne, and the gun-wielding, blonde-haired kid Drogo. Screenshots from the developer’s website show that the fourth character is another girl, so feel free to leave name suggestions; otherwise, she will be called something dumb, like Jam.

Anyways, it’s an RPG, with all the things you’d associate with the genre present. Its strongest element is its battle system, which is seemingly based around the active time battle model, with no room for pausing or breathing. Best plan your attacks before you even select them or the enemy, which consists of things like Catdavers and Roadents, might slip in an extra swipe. It makes for lively fights, but alas, many are over too soon, and the battle music takes a few seconds to really kick in and sound amazing. There are some other special elements to battles that involve you clicking dangerous tentacles away or loading bursts of light into a spectral gun, all timing-based.

The graphics are perfunctory, if not elementary. This is not a slam against Phantasmaburbia, as its story and gameplay more than carry the title forward, and graphics never are everything. Am I right, Minecraft? Anyways, there’s quite a bit of dialogue here, and the best is between each kid and their respective spiritual assistant ancestor. Everyone speaks in an Animal Crossing-like fashion, just making noise, but don’t take that as a reason to rush through the dialogue. The ghosts are particularly well-written, showing off their unique personalities.

It seems like most of Phantasmaburbia is spent either outside or underground in weird space/time dimension dungeons. These are where the puzzles are, as each ghost can interact here in a different way. For instance, one ghost can highlight invisible panels to walk on, and another can take over animals to move them onto special tiles. I suspect that once all four kids meet up and are one team, a lot of dungeon levels will involve switching between different ghosts to get everybody from point A to point B.

Oh, and one really small touch that I liked are the garage door motion sensor lights. You go near them, they go on. You walk away, they go off. It’s especially great when you’re nearby and see a wild animal trigger them. I don’t know. It’s the small stuff that can make a world feel big, and despite its rather generic look at times, Phantasmaburbia seems like a fully realized place, one I look forward to exploring more. Though that means I have to figure how to properly use Todd and Drogo to beat the current boss I’m stuck on. But for this sleek and somewhat goofy RPG, trying again is a must.