Developed by Crispy’s, a seemingly now defunct developer based in Tokyo’s Chūō ward, Tokyo Jungle was published for the PlayStation 3 on June 7, 2012, with western releases following in September of that year. The middle release of their output, it followed MyStylist, their self-described “fashion life support tool” which remained exclusive to Japan following its February 2008 release for the PlayStation Portable. And to my knowledge, their 2014 endless runner Short Peace: Ranko Tsukigime’s Longest Day, made in collaboration with Grasshopper Manufacture, remains their last published work. Oh, and they also revamped Tokyo Jungle for mobile devices and the PlayStation Vita, although that version is shamefully unavailable to play anymore.Continue reading Tokyo Jungle [PlayStation 3] – Review
A little more than nine years later, I’m finally making good on the parting words from my review of Blue Toad Murder Files’ first episode. That is, a review of the game in full. In actuality, my friend and I did see the game through to the end back then, but I failed to follow up. And I suppose it’s because there really wasn’t much to add. Rereading that review all these years later, I’m surprised above all else that I didn’t cringe. There are some things I would change were I to write it now, but I honestly think it summarized the game pretty succinctly.
To recap, the multiplayer orientated, puzzle solving whodunit was rich with British charm and a variety of brain teasing puzzles. Each episode followed the same formula, and in replaying them all for trophy cleanup last week, the experience wore thin. This is definitely a game best experienced with others, and with a day or week break in between each hour-long episode.
Even now I don’t have much to add to my original thoughts, but one point I didn’t touch on back then, and this is the accountant in me speaking, is how efficient the developers at Relentless Software were. At the time of this game’s release, they were making a go at independence after a number of years developing the Buzz! games for Sony. The concept for this game allowed for a single setting, a small number of environments that didn’t need to be overly detailed, characters that didn’t require much animation (including no visuals below the waist), and relatively simple interaction for the puzzle gameplay. And still, it was an enjoyable experience all the same. Brilliant!
After experiencing the three titles that make up the Kingdom Hearts HD 1.5 Remix compilation in quick succession last year, I needed a break. It was a desire to join in on the zeitgeist surrounding the release of Kingdom Hearts III that prompted me to finally jump into the series, though truth be told I’d always been interested. I started itching to get back into the series while playing the F.E.A.R. games last year, if anything to experience something a little more uplifting. First up: Kingdom Hearts II Final Mix. Continue reading Kingdom Hearts II Final Mix [PlayStation 3] – Review
Spearheaded by Sony’s Japan Studio and developed by Acquire, Rain is a somber adventure game available for the PlayStation 3. Released worldwide at the beginning of October 2013, Rain’s debut was no doubt overshadowed by the impending launch of the PlayStation 4. In fact, looking back on how I came to own the game, I didn’t even buy it; I received it through the settlement for the 2011 PlayStation Network outage. Unlike my ownership of the game, my decision to give it a go was intentional. Wanting to play through a batch of shorter games in the wake of Fire Emblem: Three Houses, and thinking it might tie into the Halloween season, it topped the short list of games I had put together. Continue reading Rain [PlayStation 3] – Review
I’ll keep this brief, since I’ve already talked at length about Kingdom Hearts: Final Mix and Kingdom Hearts Re:Chain of Memories, two-thirds of the entries that make up Kingdom Hearts HD 1.5 ReMIX. They’re fantastic games in their own right, and the remastered versions included in this compilation are without a doubt the best way to experience them. Instead, I’ll turn my focus towards Kingdom Hearts 358/2 Days, which rounds out this compilation in cinematic form, and the Limited Edition release itself. Continue reading Kingdom Hearts HD 1.5 ReMIX [PlayStation 3] – Review
With Kingdom Hearts completed, the logical next step in my exploration of the series was Kingdom Hearts Re:Chain of Memories. Designed as a connecting thread between the first game and the then-impending sequel, Chain of Memories was outsourced to Jupiter Corporation, the Japanese developer perhaps best known for their Nintendo published Picross titles. It was released for the Game Boy Advance in Japan on November 11, 2004, with its American debut following less than a month later. Square Enix then remade it for the PlayStation 2 and included it as a bonus with the Japanese release of Kingdom Hearts II Final Mix on March 29, 2007. This version received a standalone release in North America on December 2, 2008 and was eventually enhanced further in the PlayStation 3 compilation Kingdom Hearts HD 1.5 ReMIX, which is the way I experienced it. Continue reading Kingdom Hearts Re:Chain of Memories [PlayStation 3] – Review
Up until my recent playthrough of Kingdom Hearts Final Mix, I hadn’t touched a game in the series. More than anything, I just never started. The prospect of diving into a notoriously convoluted series of games was honestly daunting, especially considering my desires to experience the whole of a property when I dive in. Well, the hype surrounding the release of Kingdom Hearts III, the long in-development conclusion to the core trilogy, got to me. Continue reading Kingdom Hearts Final Mix [PlayStation 3] – Review
When I began writing about Uncharted: Drake’s Fortune, I considered it the high-water mark of the PlayStation 3’s library, at that point in the platform’s lifecycle. Having completed its sequel, Among Thieves, I can testify that it unquestionably usurped that role, and deserves recognition as one of the best games of the contemporary cinematic era. Originally released in North America on October 13, 2009, Naughty Dog maintained the excellent blend of third-person, cover-based shooting and wowing traversal that put the series on the map with the first game. What carried my interest however was the engaging narrative. Characters both familiar and fresh intertwined with Nate’s search for Marco Polo’s lost fleet. Danger and drama kept Nate busy across the game’s dozen hour runtime and the numerous set pieces often had me in disbelief and culminated in an experience that played like a greatest hits of the action-adventure genre. Continue reading Uncharted 2: Among Thieves [PlayStation 3] – Review
Something clicked. With the release of Uncharted 4: A Thief’s End this May, purportedly the final entry in Naughty Dog and Sony’s acclaimed action-adventure series, I knew it was time I checked it out. The first game that is, Uncharted: Drake’s Fortune. Yes, after nearly ten years of opportunities, I finally got around to playing the Uncharted series in typical fashion, by starting at the beginning. Released on November 19, 2007 for the PlayStation 3, a couple days past its one-year anniversary on the market, Drake’s Fortune was arguably the high-water mark of the platform to that point. Continue reading Uncharted: Drake’s Fortune [PlayStation 3] – Review
Touting itself as one of the most critically polarizing games of recent times, the Director’s Cut release of Deadly Premonition highlights a quirky game with many inspirations. When it was originally released stateside for the Xbox 360 on February 23, 2010, the game was met with critical reception that ran the gamut of the traditional 1-to-10 rating scale. Almost every aspect of the open-world horror game caused a rift that placed players in a love it or hate it camp. Released on April 30, 2013 for the PlayStation 3, the Director’s Cut rectifies nothing and instead doubles down on the cult following it created. Having played it myself, I can safely say I’m in the love it camp but that doesn’t mean I enjoyed every bit of it.
Set in the fictional town of Greenvale, Washington, the game follows FBI Special Agent Francis York Morgan as he investigates the grisly murder of a young woman. The case deepens as more young women are murdered by the mysterious Raincoat Killer. At the crime scenes and around town, York encounters a recurring symbol and the presence of red seeds, both of which play an important role and portend an otherworldly quality to the plot. In regards to the general plot, setting, and characters, the developers at Access Games, and likely the game’s director Hidetaka “Swery” Suehiro, seemed to have drawn heavily on another instance of cult entertainment: Twin Peaks.
Besides the similarities listed above, many of the townsfolk that York deals with through his investigation are representative of characters from Twin Peaks. So much so there’s even a Log Lady equivalent! Most everyone has a ludicrous trait that keeps the experience from feeling like a representation of the real world; such as York’s tendency to monologue about famous movies and directors to Zach, another personality of his – the result of his dissociative identity disorder. Or the fact that York finds himself in otherworldly versions of the real world while profiling his suspect. On the other hand, Emily Wyatt, the deputy sheriff, came off surprisingly grounded, in part because of her girl next door portrayal. The relationship between her and York depicted a budding romance that culminated in a wrenching conclusion, one that really made me sympathetic for the two.
The significance of the ritualistic killings, symbology, and red seeds are eventually made apparent and everything relates back to a gruesome night in the town sixty-odd years prior. The pace really picks up around this point and I didn’t want to stop playing the game. I spent about fourteen hours playing in the weekend leading up to its completion; a feat that I haven’t done in a long time. It was also about this point that all semblance of reality began getting stripped away as the game’s true villains were revealed, leading me to find commonalities between the final third of the game and Inuyasha.
The final sections showed off an array of noteworthy boss fights (I had to call Jenny in to see some of them), although the rest of the combat was defiantly rote. Combat sequences took place in closed off areas, usually with the objective of finding clues to aid in York’s criminal profiling. While trying to push the narrative forward, York dealt with innumerable zombielike creatures that populated these otherworldly versions of existing locations. Combat was highly derivative of Resident Evil 4, down to York planting his feet while I aimed. A lock-on feature reduced the ire caused by the troublesome aiming but couldn’t help the combat from growing tiresome after a section or two. The few run-ins York had with the Raincoat Killer did result in tense and stylish escape sequences, with a fair amount of quick-time events for good measure.
When not in combat, York was free to explore the town of Greenvale and perform a wealth of favors for the townsfolk, totaling fifty sidequests in all. This fact didn’t dawn on me until about halfway through, coincidentally, about the time the plot was striking my fancy. Completing the sidequests not only broadened my understanding of the characters and their relationships, but also served as the open-world “collectible” to obsess over. It doesn’t take much to convince me to collect everything of something (thanks Pokémon!) but the fact that trophies were tied to these meant I was going to collect them all, and “platinum” the game in the process.
For the most part, the sidequests were very simple, although their variety and outcomes were immense. They ranged from block-pushing puzzles and collect-a-thons to the retrieval of specific items strewn about Greenvale. Starting them was simple, just talking to the quest giver but finding them at a given point wasn’t so simple. The town of Greenvale operated no different from ours, with individuals performing tasks and working based on the time of the day and the weather conditions. While I could solicit tasks from the owner of the Milk Barn grocery store during the day as he was working, I wouldn’t be able to at night when he was home resting. The criteria for these were openly displayed and I found the overall structure to be reminiscent of the Bomber’s Notebook from The Legend of Zelda: Majora’s Mask.
It’s somewhat surprising to think about the quantity of influences that this game draws upon. I’ve made mention of so many at this point, I’d be remiss if I didn’t compare the open world qualities to be evocative of Grand Theft Auto, by way of Shenmue. Overwhelmingly, these influences come together with a surprising degree of competency. Despite this, it’s hard for me to walk away from my time without criticisms. I felt many of the combat sequences dragged on far too long considering how unrewarding the combat itself was. And, not to stigmatize too much but this was a budget game originally, and the quantity of “open-world jank” I encountered is a testament to that; not to mention the near-PS2 quality of the graphics. There are so many other grievances I have with the game, but I still spent forty largely enjoyable hours with it and if that’s a testament to anything, it’s to the redeeming and endearing qualities of Deadly Premonition.