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.
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.
Even after the snow had melted on the harsh planet E.D.N. III, Thermal Energy is such a scarce commodity that the scattered human factions are still locked in a brutal war for its reserves, a conflict that further leaves them vulnerable to attacks from the insectroid race of Akrids native to the land. Of course, when a load of T-Eng is being transported by train, a worm-like beast attacks that is so massive, it dwarfs the four people that are forced to fight it back, even with the racks of weapons littered about. As it takes out the rear cars and any player left behind, the only thing that can counter its immense size is the cumulative strength of those standing against it, all focusing their fire into its mouth and tender insides. And when the worm finally falls, the group makes off with the spoils. With its in-mission economy, Lost Planet 2 portrays an ecological system reminiscent of Frank Herbert’s Dune, showing that, on E.D.N., every second is a fight to survive. It’s a metaphor ripped from the history books of every life form that’s ever lived.
Lights Down, Curtain’s Up
Bayonetta’s prologue starts conservatively, with a nun clad in white quietly praying over a grave. It primes the world’s Victorian aesthetics with a puritanical morality up front that wouldn’t fool anyone who had seen even the box art. That a flock of angels descend from heaven and attack, cutting the clean fabric and revealing the scantily-clad Umbran Witch underneath who responds by flying through the air, using the two guns in her fists and the two on her feet to shoot most of them in the head and scissoring her legs around another’s, is perhaps the proper way to open the show.
On my third infiltration into Ground Zeroes Camp Omega, I found an electrical panel that allowed me to cut the power to the surrounding facility, disabling all the lights and the several security cameras so I could quietly rescue the prisoner at its belly. It was the latest in dozens of exploitable gameplay options built into Omega that proved it was a dynamic, multi-faceted place that enabled and rewarded a variety of playstyles. The first game powered by the Fox Engine, GZ introduces players to the new levels of agency offered in the second part of the Metal Gear Solid V saga, The Phantom Pain; ideas that evolve the classic Metal Gear design. Continue reading “The Disembodied Soul of Ground Zeroes”
Asura’s Wrath contains one of the most brilliant player-directed narrative sequences in videogames; a fist fight. The two brawlers dance about the screen, one trying desperately to explain his actions to the other among a flurry of attacks. To evade them, the player must nail the timing for the increasingly frequent on-screen button prompts as any mistake is punished with a fist to the face, interrupting the dialogue and completely ending the conversation.
The Japanese ad for The Saint’s Flow Energy Drink shows Pierce, the hip and youthful face of the Third Street Saints brand division, being mercilessly beaten on a basketball court by armed punks. The situation looks bleak, until an anthropomorphized purple can of Saints Flow descends from heaven and gives him the strength to throw off his attackers, unleash a savage volley of fists, kicks and a clothesline before shooting a Ryu-style fireball from his hands and closing out the performance by atomic dunking a basketball that appeared out of nowhere to a shower of neon stars. The Third Streets Saint’s lifestyle has been canned and is ready to be swallowed.