Devil May Cry may be revered for merging fighting game’s pugilist science with brawler’s crowd management, but it was driven by its arcade-inspired scoring system. Dedicated fans can easily spend dozens of hours honing their skills against the game’s difficult enemies and massive bosses, all to improve their final scores. With DMC3, Hideaki Itsuno expanded the single player fighting game’s combat and worked in replayable missions. When that amazing foundation jumped to the PS3 and Xbox360 for the fourth release, Itsuno could further distill the series down into an arcade experience and offer new characters for those chasing that high score high. Let’s look at how it succeeds.
For the third time, legendary agent Solid Snake destroyed the walking tank Metal Gear deep behind enemy lines and saved the world from Armageddon, this time from his old unit FOX-HOUND led by his newly-revealed twin brother Liquid Snake. Until then, Metal Gear Solid had been an action-packed bonanza told through expertly produced cinematics that rivaled Hollywood blockbusters. And then the story pivoted at its climax. What had been a politically charged narrative about terrorism and the threat of nuclear war changed into an examination on genetics, using the very technology and rendering techniques that brought the game to life to reinforce its deep and complex themes. With MGS, Hideo Kojima merged his narrative and gameplay abilities into a deep metaphor about biology, technology, and destiny.
On Characterizing Potential
Devil May Cry 3’s first fight between the twins Dante and Vergil is set at the highest point of a large tower jabbing from the Earth, lit by the full moon. The differences between the brothers’ fighting styles are as striking as their fashion senses, the hot-headed Dante in his red trench coat unleashing his Rebellion sword and dual pistols a contrast to the cool-as-ice Vergil in his blue jacket and air slicing katana, Yamato. The two clash swords and exchange gunfire, taking advantage of any opening in the other’s defense to chop ‘em down. And then they flaunt their success with a cool taunt, unconcerned by the time it takes to mock their opponent. Every second of this brawl is intense and fast, and, by product of the game’s design, requires the player to fully realize the personalities of the sons of the legendary demon warrior Sparda.
Sin & Punishment’s single best setpiece captures the essence and versatility of its design. With your character Airan on a platform zipping around a naval carrier fleet, you evade the barrage of artillery fire from massive aircraft carriers, dogfight squadrons of enemy aircraft, and bat missiles back at their launchers, while unleashing a constant stream of shots to send them to the bottom of the ocean, all as the world soars and reorients in full cinematic splendor. It’s one of the most exhilarating action spectacles of the generation and combines the best elements of the classic shooter and brawler genres into one unique game. The scene ends with the freedom fighter chasing down a comet-sized missile shot from low-orbit as it hurtles at your ally-turned-monster Saki.
Depending on whether you chose to play as X or Zero, the fight against Web Spider requires a different set of tactics. With his X-Buster, X can dash around the small jungle room until Spider descends from the canopy, wall jumping over the webs he shoots and firing from afar. With his Z-Sabre, Zero is forced to stay close to the bug on his line, dashing away from the web only to careen up and around over it in a circle and strike before your foe scrambles back to safety. The fight gets harder when the Repliforce member lays an electric grid and starts scurrying about the scene. Because of their different playstyles, the remaining seven robot masters will present X and Zero with a similarly different dynamic. Continue reading “Going Maverick: How X4 Upgraded Mega Man’s Hardware”
God Hand’s penultimate fight pits Gene against his rival Azel in a knuckle-breaking slug-fest that demands that the player understands every pillar of the games mechanics. To stop him from resurrecting the ancient devil Angra, you need to pick and choose your moves to beat his, to reposition to gain a tactical advantage, and to bob and weave around counter attacks that can lead into a button mashing power struggle you’ll feel all the way down your arm. And just like main character Gene, Azel can activate the supreme powers in his arm and execute a fast-action barrage thanks to his God Hand. To beat him, you need the full cooperation of a focused mind and tuned body.
Contra: Hard Corps opens to a robotic army assaulting a sprawling future city only to be decimated by a charging tank that ejects your character guns blazing into an active warzone. Not only does this succinctly indicate where the games tonal priorities are, it’s also the designers giving you some honest advice: charge forward until every enemy is demolished. Hard Corps distilled Alien War’s brazen creativity down to its run and gun foundation, creating a single minded epic that is equal parts twitch shooter and blockbuster action flick.
Adam Freeland’s ‘Fear’ is an inspired anthem for the push into Rez’s fifth area. The true expression of its ideas, Rez uses its slow opening tempo to kick start a metaphor for the beats of early life, the sample ‘Fear is the mind killer’ scratched over the vacant landscape of a vast digital world as you blast a squadron of enemy planes out of the sky. The techno-trance composition builds as the environment does, the basic geometry evolving terrain and developing an ecosystem of flora and fauna. But it’s also a lyrical representation of its central theme. Rez is a sensory saga of sound and light, a metaphor for the pursuit of knowledge and the quest for enlightenment.
Considering how Other M picks up directly after the events of Super Metroid, it’s easy to assume that it was a traditional 3D interpretation of that seminal classic. However, the minutes-long opening cinematic’s copious VO that characterizes a Samus Aran deeply affected by the baby metroid’s sacrifice, quickly reveals that Yoshio Sakamoto and Nintendo SPD Group No. 1 are willfully neglecting that influential games intuitive storytelling. Other M is the logical conclusion to the misguided ideas implemented in Metroid Fusion.
The first great fight in Mario & Luigi: Superstar Saga is against the corrupted form of the matriarch Queen Bean. The brothers Mario have several offensive targets to select, her crowned head and her two gigantic, body-builder-caliber arms that pound the ground and send shockwaves that injure any plumber that doesn’t properly jump over it. Pouncing on her noggin’ awards you nothing more than damage thanks to those pointy golden spikes, so you quickly decide to avoid that strategy, choosing instead to deflate her arms to knock the thing off and reveal her soft skull underneath. In this dazed state, she takes full damage and hacks up beans that hatch into additional enemies if the timing of your jump is off by more than a few frames of animation and you crack one open.