I haven’t played much of Dyad, outside of a quick level or two. Its Tempest style gameplay is something I should enjoy, but generally don’t. It isn’t the first game to riff off of Tempest with a psychedelic style (that’s Jeff Minter’s wheelhouse), but it was the first one available on the PlayStation 3. Controlling a particle, players slingshot through a tunnel taking inspiration from the Large Hadron Collider. Slingshotting and lancing through other particles extends one’s combo, and thereby score, which, at its core, is the name of the game. I’ll likely play this more, at some point.
Dyad was developed by Shawn McGrath and published by Right Square Bracket Left Square Bracket. It was first available on PlayStation Network July 17, 2012, with a PC release following on April 24, 2013. Perhaps best of all though, is the PC commercial.
Arguably, video games had their strongest hold on me when I was in high school. It was the middle of the 2000s before the disappearance of practically all video game magazines in the United States. My friends and I were glued to them almost more than the games themselves. For us, it was hard to ignore Advent Rising, even if none of us had an Xbox, nor had the ability or the desire to get one. Particularly, Game Informer’s cover story comes to mind, along with EGM and Play’s coverage. When I finally played it a couple of years ago, I was able to experience the lackluster sci-fi epic myself. The story was undoubtedly the high point, and I did eke some enjoyment out of the combat, but it was a mediocre affair overall. I’m glad to have played it but feel no need to return to it.
Advent Rising was the sole game GlyphX Games developed. It wasn’t their sole output however. Curiously, it appears they also designed many box arts in the late 1990s/early 2000s. When the studio floundered, key personnel went on to form Chair Entertainment and they’ve produced many noteworthy titles since. The game was published by Majesco and is perhaps most infamously known for the million dollar contest that never materialized. It was released on the Xbox and PC in North America on May 31, 2005.
When I think of Sam’s Club, I tend to look back fondly on my middle school/high school gaming habits. With the plethora of $13 games I added to my collection, I experienced some of the best low sellers of that period. One of those titles was P.N. 03 – a futuristic character-action game from Shinji Mikami. It was set in a clean science-fiction environment, looked stunning, but played tepidly. Much of the game is lost to me now, but I do remember it being poorly received. In fact, I remember not being that big of a fan, although I played through the entirety of it, and played more to unlock additional costumes for Vanessa Z. Schneider. I’m willing to pop it in again, but I’m afraid I’ll be greeted with stilted combat that hasn’t aged well.
P.N. 03 was developed by Capcom Production Studio 4, and naturally, published by Capcom. It was spearheaded by Shinji Mikami and was one of the “Capcom Five.” In fact, this was the sole game of the lot that remained exclusive to the GameCube. Thankfully, this game turned out to be more of a testing ground for Mikami’s ideas; ideas that went on to create the brilliant Vanquish. P.N. 03 was originally released in Japan on March 27, 2003 and was released in North America on September 9, 2003.
Now here’s a genre that has subsided as the cost of video game development has risen. Thinking back to the period that this game was released, both Microsoft and Nintendo had first party snowboarding games, while Sony had the original SSX exclusively, not to mention a few other third-party snowboarding games. This period also saw the bubble of extreme sports video games, which we don’t see as often anymore. I haven’t played Amped: Freestyle Snowboarding, but I recall it (and its predecessors) being well received. A quick scan of its Wikipedia page reveals that it made use of the Xbox’s built-in hard drive. It allowed for entire mountains to be played on (instead of single courses as in SSX or 1080°) and the ability to create custom soundtracks. I’ve always enjoyed this style of game and look forward to playing Microsoft’s answer to the genre.
Amped: Freestyle Snowboarding was developed by Indie Built. The studio had a long history dating back to the early days of commercial PC video games (then known as Access Software), and are perhaps most known for their Tex Murphy or Links series’ of games. This was a launch title for the Xbox, releasing November 19, 2001 in the U.S. Microsoft purchased the studio in 1999, and thus published this game under their Microsoft Game Studios label.
I came to Radiant Historia with high expectations. After all, it arrived from Amazon on a Friday with my first case of Surge since the late 1990s. But seriously, having waited to play it for a few years, I’d built it up in my head, and for the most part, it met my expectations. The characters were well-defined and featured substantial development while the time-traveling story touched upon many mature themes. In general, the game featured a high level maturity – something I rarely, and unfortunately, don’t associate with many JRPGs.
What I wasn’t expecting was that my attention would be diverted while I played through it, turning the middle third into more of a slough. Coincidentally, this was also the same section where I began to notice poor qualities surrounding the battle system. I grew to strongly dislike the combat, and for a while, avoided enemy battles altogether. My opinion never rebounded, even though my overall opinion of the game did when I once again devoted my full attention to it.
The game is set on the war-torn continent of Vainqueur, home to a handful of key countries and races. The setting is mostly fantasy, but there is a strong steampunk influence. Although I haven’t played much of it, this game reminded me strongly of Final Fantasy VI. Among the countries calling Vainqueur home, Alistel and Granorg are dominant. They’re the two archetypal western civilizations, populated with modern folk living in the capital cities. Less prominent nations included those occupying sandy desert oases and forest villages, home to beastkind. In other words, this game is in the mold of classic JRPGs.
On a more personal level, the game also featured typical characters that ran the gamut from amnesiac protagonist, closely related and destined royal heiress, to the strong silent beastman. Despite the seeming caricatures in play, the characters themselves were actually much more complex than I’d lead you to believe. As the plot unfolded, allegiances changed and personal feelings were put on the backburner for affairs more important than simply seeing one country dominate another; affairs such as the revelation of truth to the masses and the salvation of the world.
Ultimately, the game featured two types of characters: leaders and followers. When untruths became ever more evident, some characters rallied behind their misplaced beliefs and held firm to the orders of their leaders. Others saw through to the eventual outcome and changed course as needed. Regardless, the actions of all involved were compelling because the characters were well-defined and acted in ways resonant to their continual evolution. The final third was particularly engrossing as the story was reaching its climax and the true antagonist was revealed. That character’s actions were understandable, and the pivot made to the “dark side” was something palpable. That character was human and not just a soulless antagonist, à la Final Fantasy IV’s Exdeath.
And still, there was one more piece binding the narrative together: time travel. Thanks to an item bestowed upon the protagonist early on, two timelines were accessible and freely available to jump between at all times. The standard and alternate timelines illustrated how things would be different through decision making, although both culminated in a shared conclusion. Often, I would stick to one timeline until I reached an impassable portion. Jumping to the other timeline would eventually yield a resolution to my problem in the other. Both had to be seen through to their conclusion to reach the end, but there were many sidequests to perform all the while, reminding me a little bit of The Legend of Zelda: Majora’s Mask and the Mass Effect series.
What dragged down my otherwise high opinion on the game was the battle system. Encountering on-field enemies led to battle scenes featuring said enemies on a 9×9 grid. Using the three members of my party, I did my best to group as many enemies together on the same grid. When done correctly, I could damage these enemies with each attack or apply the same status ailment. Beyond learning new moves to assist in this goal, that was the extent of combat development. In itself, that’s not a negative, but around the second third of the game, just dealing with the basic enemies was a tough task.
This turned into such an annoying aspect for me that I turned to avoiding enemy encounters. I never allowed my party to get under leveled, but it really felt like I was missing something. I turned to GameFAQs for recommendations, but sure enough, my party level was in keeping with suggested levels. However, I never deviated from using the same two optional allies. Due to timeline jumping, my party consistency was always changing, with the exception of these two characters, generally. Using other party members would’ve required much grinding to get them on the same page, so why bother? This probably contributed to my dislike for the combat and battle system, but it wasn’t that great anyways.
Ultimately, Radiant Historia left me pondering the topic of personal purpose and contributions to the greater good of the world. On a more granular level, many other themes were touched upon, and it was a wholly engrossing game with great character development. What’s more, the time traveling mechanic was more than a fun novelty, although it was that too. It offered a diverse creative opportunity for the story to develop while providing many ingenuitive sidequests. The battle system was a letdown however, leading me to try and entirely forego any unnecessary experiences with it. Finally, I learned that I can’t hope to enjoy an involving video game, if I’m also trying to watch The X-Files.
When you have a video game collection like mine, it can be hard to play all of the games. This is especially true when additions are made on an almost weekly basis. Still, I appreciate nearly every game I’ve accumulated for this reason or that. In the hopes of improving my writing through continuous effort and promoting ongoing learning of these games, I’m going to compose brief, descriptive articles.
This is a surprise recent acquisition of mine. Having gone through a period seeking out arcade compilations on home consoles, this game was of course on my radar. But, I never found a copy in the price range I was expecting to pay. Just a few weeks ago, Jenny and I made a trip to the mall to get a filter for our fridge, and I felt like popping into GameStop. They had a display of heavily discounted Wii games along with loose GameCube and PS2 games. This was in the bunch, complete for a few dollars. Eureka, my search had ended! I also picked up Sin & Punishment: Star Successor for a few dollars as well; complete no less.
Both games hail from your movie theater lobby, circa 1999. Actually, Gunblade NY was released in 1995 while L.A. Machineguns followed in 1998, but you get my point. Sega was responsible for both, and since I haven’t played this compilation yet I can’t say with certainty, but I believe they were developed by Sega AM3. This compilation was originally released for the Wii in Australia on August 26, 2010, with releases following in Europe and North America on the 27th and 30th, respectively. After enjoying Ghost Squad, I’m looking forward to these. Plus, they’ll take around twenty or thirty minutes to beat and should provide a fun co-op experience.