I received an email last week from Nintendo, informing me of the January 21st release of their Wii game Endless Ocean. I'd never heard of the title, but some cursory research quickly earned it my preorder.

Endless Ocean is a scuba-diving simulation game developed by Akira. This is notable because Akira has already proven their expertise in this environment with Everblue 2, which ,despite the relatively low score I gave that PlayStation 2 title, is one of my favorite games for the system. Much of my distance from the current state of gaming is due to its increasingly violent nature, so to find a game that involved all exploration and collection and no combat or weaponry was a welcome relief. Diving into the great unknown and discovering lost ships and treasures was neither "relaxing" nor dull; it was exciting, as was seeing how deep one could dive while leaving enough oxygen to permit a safe escape. The temptation and risk to search down just one more corridor is omnipresent.

What I've seen of Endless Ocean looks like it's more focused on the natural environment and its inhabitants than Everblue 2's claustrophobic wrecks:

I'm not sure I find coral reefs as fascinating as ship graveyards, but for only $30, I'm willing to give it a go. At the very least, the Wii interface will offer the series enough innovation, perhaps featuring environmental interaction similar to that of Metroid Prime 3.

Title	:	Wrath Unleashed
Platforms	:	Sony PlayStation 2, Microsoft Xbox
Publisher	:	LucasArts
ESRB Rating	:	Teen
Game Rating	:	7.3
Review by	:	Ken Gagne

When gods battle, mortals tremble. But LucasArts' release of Wrath Unleashed, for the Sony PlayStation 2 and Microsoft Xbox, is not the world-shattering event I'd hoped for. [Xbox version reviewed here] 

Wrath Unleashed is essentially a repackaging of Archon, Electronic Arts' classic computer game from two decades ago that combined the strategy elements of chess with the uncertain outcomes of an action game. Though Wrath looks like a different beast, anyone familiar with Archon will quickly adapt to this new setting — though they may not like the transition. 

Wrath Unleashed pits two to four fantastic armies against each other on a hexagon-gridded map. Players take turns moving centaurs, genies, dragons, and other creatures to place them in control of temples. On most levels, whoever occupies a certain number of temples, or decimates the opposition, first, wins. 

When two opposing creatures vie for control of the same hex, a real-time battle occurs. Each creature has weak and strong physical and magical attacks, as well as strings of combinations. The strength of the attacks differ, as does the life force of each attacker; a demigod, for example, not only inflicts more damage per attack than a unicorn, but can take three times the beating of said horse, creating an unbalanced engagement. The fields also vary in composition and element and support combatants of matching alignment, such as the fire god's henchmen situated on a volcano. 

Despite (or perhaps because of) these variables, the battles are more frustrating than dramatic. It is very easy to fall victim to a string of physical attacks from which there is neither escape nor opportunity for riposte; the dodge/block button has little effect in either regard. Environmental hazards are too random to be advantageous: the most aggressive strategy proves futile if, on your way to execute it, you're struck down by a stray bolt of lightning. Preparing the battlefield is essential, but the actual battle degrades to a mindless melee in which most of the game's tactical elements go out the window. 

As mentioned, victory in battle should lead to control of the temples. A good strategy game would reward patience and planning, but most of Wrath's scenarios have a fixed limit of only 25 turns, which is even fewer minutes. If none of the winning conditions are met within that frame, the game is a draw, regardless of who has the upper hand. Speed is as key as strategy to ultimate victory. 

Some mechanical minutia further constrains enjoyment of Wrath. This game improves upon Archon by offering three- and four-player battles, but that only balances the absence of online support for downloadable maps or engaging Internet opponents; even Archon was superior in this regard. Even though offline, ten seconds of waiting precede and follow every battle — a difficult time to justify for loading commonly-used battle maps. 

The graphics are serviceable. The fantastic creatures do not always possess a traditional appearance, instead trying to look as intimidating and battle-ready as possible. Their pre-battle and winning poses do little to inspire, though. 

Though multiplayer is best, Wrath Unleashed remains restrained. It lacks the longevity and elegance necessary for a successful strategy game. Advance Wars has more tactics, though less action; even LucasArts' own Gladius serves as satisfactory competition. Sometimes, when mortals tremble, it's not in awe, but disappointment.

---

This article is copyright (c) 2004, 2007 by Ken Gagne. All rights reserved. Not to be distributed without permission.

Original publication: Gamebits, 21-Mar-04

Title	:	Sonic Heroes
Platforms	:	Nintendo GameCube, Sony PlayStation 2, Microsoft Xbox
Publisher	:	Sega
ESRB Rating	:	Everyone
Game Rating	:	7.8
Review by	:	Ken Gagne

Sonic the Hedgehog has been a mainstay of the entertainment industry almost as long as Mario. Yet Sega's mascot has not successfully transitioned to as many genres as Nintendo's plumber, with mediocre racing and party games to his name. Whereas Mario's leap to 3D essentially defined what a 3D platform game should be, Sonic's adventures on the Sega Dreamcast were less inspired, thanks in part to the hedgehog sharing the spotlight with several playable castmates. This tradition continues with Sonic Heroes, the hedgehog's first multiplatform release. [GameCube version reviewed here] 

The variety of gameplay styles in this 3D action game is similar to that established in the episodic escapades of the Sonic Adventure games, except less divisive. Whereas previously, each level would feature a different protagonist, in Sonic Heroes, players remain in simultaneous control of a trio of heroes. Switching between characters is a snap, and a constant necessity, as each has unique moves and strengths necessary to advance past each stage's many obstacles. 

A total of twelve characters, familiar from past Sonic games or new to this installment, offer four unique paths — sometimes treading the same ground, sometimes intersecting with the other heroes (or anti-heroes). Each team has three archetypes: a speedster (such as Sonic), a flyer (Tails, the two-tailed fox), and a powerhouse (Knuckles the Echidna). 

Whether it's fighting or fleeing, solving puzzles or flying to new heights, the Sonic squad can do it all. There are some excellent moments of high-speed freneticism, which have always been what Sonic does best. Unfortunately, such moments comprise only a third of the action. Sega had the wisdom to split various gameplay styles further among the different teams — Team Chaotix, for example, has goal-based missions, such as finding specific hidden items on each stage, while Team Rose is aimed at beginner players — but this doesn't change the fact that a sudden burst of Sonic speed may be just as suddenly halted by a hurdle only Knuckles can overcome. 

Other gameplay vices are present. The game exercises the archaic practice of bottomless pits, where one misstep can send players to their doom, no matter how much health they have or progress they've made. One character's main attack often sends him charging forward, regardless of his proximity to precarious perches, which decreases the usefulness of his primary function. 

The presentation is enjoyable but not without flaws. The prerendered sequences that advance what passes for a plot (as though we needed one) are gorgeous enough to warrant lamenting their rarity. But once inserted into the actual gameplay, players will find the camera is often tightly focused on Sonic's destination, presenting a poor view of his immediate surroundings and leaving him open to attack. Mostly cheesy, yet catchy pop tunes compose the soundtrack. 

Given the game's ternary nature, a cooperative multiplayer mode would seem natural. Instead, only a two-player, split-screen, competitive option is available, and doesn't offer much beyond standard races and ring-collecting sessions. 

The gameplay provided by the hedgehog's pals is not poor, but it does create unbalanced enjoyment which ultimately drags down the whole product. Perhaps it's time for the hedgehog to go back to his roots and take his next adventure solo.

---

This article is copyright (c) 2004, 2007 by Ken Gagne. All rights reserved. Not to be distributed without permission.

Original publication: Tech News, 03-Feb-04

Title	:	Spy Hunter 2
Platforms	:	Sony PlayStation 2, Microsoft Xbox, Nintendo GameCube
Publisher	:	Midway
ESRB Rating	:	Teen
Game Rating	:	5.5
Review by	:	Ken Gagne

Spy Hunter, a classic coin-op of the Eighties, was successfully remade into a modern title that captured the spirit, if not the mechanics, of the original. 

Developers often hunt for innovation to enliven sequels. But in this case, what made the original Spy Hunter remake a triumph has been abandoned, leaving publisher Midway with a mundane and unspectacular husk for PlayStation 2, Microsoft Xbox, and Nintendo GameCube. [PS2 version reviewed here] 

Players still engage in vehicular combat as they progress through global stages, fighting terrorist cells. Though the concept is the same, the execution is not. The faults begin with the vehicle of choice, as vintage Interceptor super spy car has been remodeled for this sequel. The original G6155 has been emasculated into a far less effectual, "new and improved" G8155. The amount of damage the main vehicle can sustain is minimal, shedding its shell at a moment's notice into weaker motorcycle and jet ski models that look like rejects from a Terminator movie. As any of these units become damaged, their capacity to locomote decreases; what good is a crippled spy vehicle? Even the ability to traverse rough terrain is impaired, requiring players to manually engage an off-road mode. The speed boost, once a finite but renewable utility, is now granted a set number of times per level. 

The changes don't stop with the wheels. Formerly a loner, Alec Sects, the man behind the wheel, has teamed up with a female spy, and though Bond set the precedent of working with attractive counterparts, Alec has always been a mysterious loner. Making him part of a team has, in my eyes, weakened his "cool" factor in this sequel. Granted, he always had help from the mysterious weapons van, but its form in this game is just silly, especially when players briefly take control of its turret. 

The game structure has also been altered from the original's controversial requirement to complete multiple goals to access further levels. I found this style added depth to each stage, requiring gamers to fully explore and master each course beyond the primary objective. Along with perfect execution, the pre-rendered entrances, exits, and passing attempt at a plot cemented the game's cinematic spy style. 

Spy Hunter 2 is more focused on getting players from start to finish without looking back. Secondary goals are just that, and are no longer essential to unlocking further development. The story and non-interactive graphic sequences are mostly absent, shedding the polish of its predecessor. 

The graphics have also been reduced from their original quality. The vehicle itself has become a more solid mass of gray, lacking the lustre and detail of the prior Interceptor. An intuitive health meter, decreasing with damage, has been replaced with a damage meter that increases. The cockpit view has been completely eliminated, and the rear view mirror is just small enough to be useless, while still taking up a portion of the screen. Pushing down on the analog stick completely reverses the camera, but this angle cannot be maintained while simultaneously steering left or right, rendering it, too, useless. 

Years after the Sony PlayStation 2 came out, I finally found for it a piece of software I liked: Spy Hunter. To see what has become of the sequel truly saddens me, but there's no sense hunting for quality that isn't there; Spy Hunter 2 is the game that came in from the cold with none of the entertaining qualities of any of its predecessors.

---

This article is copyright (c) 2004, 2007 by Ken Gagne. All rights reserved. Not to be distributed without permission.

Original publication: Tech News, 27-Jan-04

Title	:	Rogue Ops
Platforms	:	Sony PlayStation 2, Microsoft Xbox, Nintendo GameCube
Publisher	:	Kemco
ESRB Rating	:	Mature
Game Rating	:	6.5
Review by	:	Jeremy Pallant

In Rogue Ops, you play Nikki Conners, a cute, petite blond who had the minor misfortune of having her husband and daughter killed in an explosion courtesy of a terrorist group with the unlikely name of Omega 19. Your average housewife would simply mourn, but Nikki is an ex-Green Beret, and so she joins a distinctly shadowy, ruthless, anti-terrorist group called Phoenix, presumably related to the notorious Operation Phoenix run by the CIA in Vietnam and Cambodia. After two years of intense training, she is unleashed upon those who murdered her family. 

I really wanted to like this game [PS2 version reviewed here]. It has a lot going for it. Primarily it's all about stealth, restraint, and precision. Nikki's equipment is relatively limited, and her armament is austere with only limited ammunition. That's a refreshing change. I recently finished Max Payne 2, and was amused at the colossal weaponry he would accumulate by the end of a chapter. He shouldn't have been able to keep walking with that lot. 

Nikki, on the other hand, might go in with a silenced pistol, a silenced sniper's rifle — both having very limited ammunition — and a handful of shuriken. You have to be precise with your shots, and just going in gung-ho doesn't work. Fortunately, the controls are sufficiently well-tuned to assist you in this. More ammunition can be scavenged from the bodies of those you kill, but you will rarely be comfortable with the amount you have. This was actually an enjoyable part of the game, and certainly added to its feel. As usual, there is an initial training mission to introduce you to the game, and to Nikki's capabilities. 

There are several ways to take aim at the enemy. There's an aiming point as you move around that turns from red to green when it passes over an enemy. Secondly you can switch to a view mode that zooms in slightly for greater precision, but prevents you from moving. If equipped with a sniper rifle, you can zoom in on a target more closely. Finally, if equipped with a thrown weapon like a grenade, the trajectory is displayed. 

Precision is important here, because hits are position sensitive. Shooting someone through the head will result in an instant kill, but body hits, especially if the target is wearing body armor, might require several shots, and with limited ammunition available, this is something you want to avoid as much as possible. 

The AI is a cut above the average. Everyone's familiar with this phenomenon: you shoot a guard, and the guy standing next to him won't notice. That doesn't happen in Rogue Ops. Perform the same deed in this game, and the alarm will sound, and your enemies will start to actively look for you. Where the AI falls short is that, after a short time of your not being found, or you kill everyone engaged in the search, the alarm will be switched off. That's hardly realistic. Similarly, if you attract attention by, say, shooting out a searchlight, that's a pretty obvious indication someone's around, but the tactic described above works, and soon the heat will be off you. 

Alarms will also sound if you're seen on a security camera, and that can have rather disconcerting consequences if there are turreted guns nearby, which will duly open up on you, and generally make life very unpleasant. This action will also alert nearby guards. 

It seems odd to me that in a game primarily about stealth, it is impossible to avoid combat, and there's only ever one way to achieve your goal. One of the strengths of a game like Deus Ex: Invisible War is that there are many ways to meet mission requirements; Rogue Ops needed a feature like this. One the other hand, it does make you pay more attention to your environment, looking for that switch, ledge, or crawl space necessary to advance the game. 

A prime weakness of the game is that it often devolves to a switch hunt, or a search for the right swipe card. This design became old with the original Doom; however, the means of acquiring the right swipe card, or finding the switch is a little more interesting. Swipe cards are most often found by the bodies of your kills, or by picking the pockets of the living. Switches are often hidden, and might need to be found by the infrared visor you are equipped with, which shows the extra heat given off by electrical circuitry and hidden enemies. 

Graphically, Rogue Ops does not represent the best the PS2 is capable of. Textures are sometimes muddy and pixilated. In fact, I found myself wondering if the game hadn't originally been intended for the PSOne, and then changed in mid-development. The character models are surprisingly low in polygons, except for Nikki herself who has a few more. Mind you, you spend most of the game with a view of her shapely rear, so the extra detail was appreciated, although I did get tired of the skin-tight, midriff-baring outfit she favored. Not exactly what you would call practical. 

The game fails to excel in its execution. While the missions themselves can be quite long with changing objectives, and the cut-scenes do a good job of outlining the plot, the lack of a proper save-game feature strongly detracts from the experience. The in-game menu certainly gives you the option, but it doesn't work as you might think. Each mission is divided into a series of objectives, and each objective met is indicated by a green flag on the screen. If you save at this point, should you die later, even if you make further saves, you will be returned to the checkpoint when you reload. 

To add insult to injury, the in-game menu doesn't actually have a load option. Should you die, you get the option to resume from the last checkpoint, but if, for example, you decide you could have tackled that last section with less ammunition expenditure, you must exit to the main menu to reload the game. I found this to be very irritating, and is why I scored the game as I did. If a proper "save/load anywhere" feature had been implemented, I would have awarded another whole point. 

Further frustrating the gameplay is the sheer length between opportunities to save. Being a stealth game, you spend a significant amount of time sneaking carefully from place to place, which takes time. On one occasion, I came as close as I ever have to throwing the controller on the ground, because after spending perhaps half an hour slowly and carefully making my way around, I made a mistake, got myself machine-gunned to death by remote turrets with no clue what I did wrong, and was then returned to where I had been a half-hour previously. 

In summary, Rogue Ops isn't a bad game, and with a little more effort on behalf of the development team it could have been a better game. However, the deceptive save-game system, second-rate graphics, rigid mission structure and endless view of Nikki Conner's odd attire all contribute to making it something less than a competitor to Splinter Cell. If anyone's considering a purchase, I definitely recommend renting first.

---

This article is copyright (c) 2004, 2007 by Ken Gagne. All rights reserved. Not to be distributed without permission.

Original publication: Gamebits, 07-Jan-04

Title	:	Gladius
Platforms	:	Nintendo GameCube, Sony PlayStation 2, Microsoft Xbox
Publisher	:	LucasArts
ESRB Rating	:	Teen
Game Rating	:	8.0
Review by	:	Ethan Deneault

I usually shy away from any game that has a game reviewer's opinion on the cover. This is a long held fear of reviewers from major magazines - they don't get paid to write bad reviews. (Hello GamePro!) However, it was my charge to review the GameCube version of Gladius, so into my console it went. And it hasn't yet come out, even though Mario Kart has been pleading for me to beat the Mirror Mode. 

Gladius, as its name implies, is based around a pseudo-Roman-era world. The scene is set with a rather well-done intro, painted frescoes depicting an ancient battle between the lamely named "Affinity Gods" and the dark forces, with the wars of men serving as the catalyst. In the end, the dark power is sealed away, etc. etc. etc. It's too common these days to have a cliched story; luckily, Gladius doesn't dive into the all-too-common "lone boy saves the world" motif, and instead presents you with an unexpected option right at the start: Who do you want to play today? You get a choice, patrician Valens (marked as 'advanced') and barbarian Ursula (marked as 'beginner'). The back story seems no more than flavor text throughout most of the game. In fact, barring some ominous warnings interspersed throughout, one senses that the story is subtle in it's telling. 

In the world of Gladius, everything revolve around gladiatorial combat, which is the way that the lands of the world remain at peace. No matter which staring character you choose, you are unceremoniously dumped into a tutorial-cum-plot section, where you are shown the ropes of combat in the games. In a refreshing change from the Final Fantasy school of tutorials, Gladius' tutorials are tightly integrated into the game itself, never breaking the flow of the story, or sounding like someone is reading the manual to you. During the many long load times, your sagacious character will pop up and give some general assistance. Interestingly enough, however, at some points the main characters seem to act as though they know they are in a video game, which is creepy. 

As most of the game centers around combat in the arena, any aspiring gladiators should be willing to slog through hundreds of battles with a less than stellar combat system, right? Not so. Gladius' controls and combat is where the game really shines. I often found myself retrying already-mastered combats just to kick the crap out of a bunch of punk barbarians again. 

The combat system is much slower paced than other RPGs, and its emphasis on facing, placement and movement across the arena puts Gladius into the same category of "tactical" RPGs such as Ogre Battle or Final Fantasy Tactics. The control scheme for the game is wonderful, and makes good use of the GameCube's controller. The number of options is a bit daunting at first, but the tutorials help immensely, and with only a bit of practice, the player can get a sense of how intuitive it really is. 

Not content to simply assign each player a certain to-hit ratio as in OB or FFT, the developers added a nifty feature called the swing meter. The swing meter is similar in form to the version seen in golf games. The indicator bar hums along a horizontal bar on the bottom of the screen, and you tap a button, or series of buttons, at the right time to either hit normally (get the marker in the orange), glancing (get the marker in the blue), or strike a critical hit (get the marker in the red). To keep things fresh, different types of attacks have different types of swing meters as well. Critical hits are completely within the player's control, and a player with good timing can go an entire battle without missing a critical hit. As the difficulty ramps up early on, knowing the swing meter is invaluable. 

Speaking of difficulty, Gladius isn't a particularly hard game once you get into the swing (har har) of things. But early in the game you may be tempted to throw your controller through the window if you don't keep your gladiators upgraded with the best weapons and ensure they all level up equally. Good skill choice is also important: forget affinity skills until you acquire the capacity for combo attacks. When you hire other gladiators for your school, don't forget to grab some spearchuckers (Peltasts and Gungnirs), too; with conscientious effort, they are surely the most important fighters on the field. 

The graphics are a bit average for the GameCube. Every gladiator is made with what looks like a low-polygon count model. For long camera angles, this is fine, but up close, it's very noticeable — especially in Ursula's hair. There is very little slowdown or choppiness; however, and even with many gladiators on screen, the game maintains a nice, smooth framerate. 

Whereas in many games, voice acting is a cringe-inducing nightmare, it's a good thing here; each character is played with an appropriate tone, and never once does it sound forced. Doubtless this quality is due in large part to Gladius being originally written in English, for American sensibilities. The game's music keeps it moving, and is perfectly suited to the game without being ostentatious, or sounding too much like elevator music. 

Now, for the bad: load times, load times, load times. There is no excuse for a GameCube game to have such long and frequent loading screens. Even though the pain is buffered by having a "tip of the day" flash up on many of them, sometimes 5-10 seconds is lost to a black screen. On a PC, the constant loading times would be acceptable, and even expected — but console games are a different breed. The menu system is also not quite up to snuff. Outside of combat, selecting gladiators, even going from the arena to the world map is tedious. All in all, Gladius seems to have been designed from a PC-centric perspective — which isn't bad, but it's not what I would have expected from a console game. 

Overall, I give this game an 8 out of 10. It has a few deficiencies - notably the curmudgeonly menu system and the load times, but it is an enjoyable tactical RPG. Such games are not designed for everyone; those that desire a deep storyline, lengthy cinematics, and a fast paced battle system will be disappointed on at least two counts. However, those who are seeking a well-made tactical RPG will do well to pick up Gladius.

---

This article is copyright (c) 2003, 2007 by Ken Gagne. All rights reserved. Not to be distributed without permission.

Original publication: Gamebits, 31-Dec-03

Title	:	Karaoke Revolution
Platforms	:	Sony PlayStation 2
Publisher	:	Konami
ESRB Rating	:	Everyone
Game Rating	:	8.5
Review by	:	Ken Gagne

While games like Bust a Groove and Parappa the Rapper were significant, it was Konami's Bemani series of games that defined the rhythm genre — possibly the most recent, original video game genre to be founded. Dance Dance Revolution has spawned many incarnations, but all have exchanged the traditional hand-eye coordination for eye-foot. They are still video games in the traditional sense, and have been no Bemani games which required any modicum of authentic musical talent. 

Finally, the company that has left dancing gamers gasping for breath is finding a way to put those diaphragms to better use with the PlayStation 2 game, Karaoke Revolution. 

As the title suggests, a voice input device is necessary for players to sing along with their favorite tunes as they become virtual stars. Karaoke Revolution comes with a Logitech headset; the game will not be available alone until January. 

Several avatars, each with assorted wardrobes, are available to represent gamers in arcade mode, which features progressively more difficult songs, and career mode, in which they advance from singing at a late-night party to public performances at the subway, the county fair, and the big stage. The avatars automatically perform for the crowd as the words to the song scroll across the bottom of the screen, accompanied by the corresponding pitches. 

It's the hands-free responsibility of budding musicians to match those pitches. Wanna-be singers need not know how to read music, as the game employs note tubes, indicating how long to hold each note. An arrow represents the pitch the player is currently singing — a visual representation of how sharp or flat they are. The game automatically detects differences in octaves, allowing performance of the many high-pitched songs in a more reasonable range, without the need for invasive surgery. 

The game includes nearly three dozen songs, encompassing a variety of modern and classic tunes, from Avril Lavigne's "Complicated" to "Wind Beneath My Wings", "When a Man Loves a Woman", and "Billie Jean". Despite the variety of songs, a game of such broad interest will perforce omit many genres and artists. The inbuilt capacity for expansion discs could repair this installment's notable omission of Frank Sinatra and Jimmy Buffett, Elvis Presley and the Beatles, Kenny Rogers and Garth Brooks, and Gloria Gaynor and the Village People. 

The game rates players based on pitch and timing, but not lyrics. Singing the wrong words or sounds, or singing during rests, incurs no penalty — a handy technique for singers interested in mastering the technique, if not the spirit, of the game. The better a gamer performs, the more consecutive combos, and the easier the difficulty setting, the more points he earns and the more enthusiastically the virtual crowd responds. 

The music, of course, is only as good as the singer, and it can be humbling to determine that it's the pitch, and not the game's pitch detection, which is off. A vocal track (not the original artist, but a suitable substitute) can be enabled for people who need a hand, or who match pitch better aurally than visually. 

Each song, stage, and singer has its own performance style, with appropriate lip-syncing and flashing lights in time with the music. But the choreography of the performers is lackluster, even during the instrumental solos. The crowd's reactions are even less imaginative, with identical clothing and movement from a sufficient majority to suggest a "1984" setting. 

With no one to mock you, root you on, or cheer for you, Karaoke Revolution does not sustain interest in the solo gamer. Introduce it at a party, though, and the fun factor increases significantly as three to eight players take turns in three to five rounds of singing. Judging can be automated, like in the one-player mode, or by one's peer contestants. Either way, the presence of a live audience makes it more obvious that this isn't just a video game: it's karaoke! The originality of this title finally gives gamers something to sing about.

---

This article is copyright (c) 2003, 2007 by Ken Gagne. All rights reserved. Not to be distributed without permission.

Original publication: Tech News, 09-Dec-03

Title	:	Castlevania: Lament of Innocence
Platforms	:	Sony PlayStation 2
Publisher	:	Konami
ESRB Rating	:	Mature
Game Rating	:	8.6
Review by	:	Ken Gagne

Every story has a beginning. Until now, the origin of evil has remained shrouded. The veils of time are parted, and Castlevania is revealed, in Lament of Innocence. 

Lament is the latest in a storied line of vampire-hunting games from publisher Konami. This entry is the first for the PlayStation 2, and intends to successfully transition the series to 3D, ignoring the failed Nintendo 64 attempts. This precursor to the Castlevania legacy details the first conflict between the Belmont clan and a vampire when a local lord captures Sir Leon Belmont's betrothed. Without the Church granting him leave to abandon the Crusades, Leon must forsake his mantle and sortie to the forbidden forest wherein lies his love. 

Lament's PSOne predecessor, Symphony of the Night, took Castlevania in a more adventuresome direction, prompting searching and the collection of items required to enable greater access to Dracula's domain. The need for exploration is less in Lament, since it varies from that 2D formula. Unique keys collected in one stage can be used in another, inviting revisiting of cleared stages, and levels have optional branches that can be unearthed and probed to discover enhancements for Leon, but these accouterments are often unnecessary to fulfill his quest. 

Instead, the 3D arena focuses on Leon's combative abilities. The Belmonts' trademark whip can be wielded in a number of devastating combinations. Secondary weapons — the traditional axe, holy water, cross, and the like — can be modified using orbs collected from each stage, creating 25 unique combinations. The variety of enemies is plentiful, such that the frantic search for the nearest save point is not just an exercise in button-mashing, but truly inspires distress in gamers wishing to capture their progress. 

Contributing to this fervor is the gameplay's inbuilt lack of respite. Equipment can be changed and items consumed only through a real-time window, navigated with the right analog stick, relieving the player of the opportunity to breathe while casually scrolling through menus, as most games allow. This simple technique, though potentially frustrating, is innovative, realistic, and maintains the pace of conflict while increasing the player's agitation. 

Players not only fight the hordes of undead, but also block and dodge their attacks — tactics which fill Leon's magic meter, allowing him to use a handful of rare relics that give him short-lived advantages in battle. Armor and other accessories can be purchased outside the castle walls. Within the walls, the citadel is divided into five areas which can be explored in any order prior to tackling the vampire lord. Due to this lack of linearity, the difficulty level remains rather constant until the last level, despite Leon's progressive growth in repertoire and strength. Some end-level bosses can be defeated on the first or second try, while others are more fiendish in nature. 

Castlevania itself is a finely articulated palace, detailing a castle with such awkward names as the Anti-Soul Mysteries Lab and the Pagoda of the Misty Moon. Though there is not much of the environment with which to interact, the trappings of a mansion are plainly visible. It's a combination of Castlevania action in a Resident Evil setting, though the lighting is not as accurate as that latter series. The camera is automatic, similar to Devil May Cry, so that for any given position Leon can take, the camera will often give the same perspective. This cinematic method works well except for depicting the environs fully; hidden areas can be easily missed if the player isn't jumping randomly, causing the camera to reveal an area's higher altitudes. 

Four recent Castlevania games have had aural themes to their subtitles. Lament of Innocence renounces that tradition, and provides a soundtrack which is anachronistic for its setting, and falls short of its ancestors' excellence. The dialogue, though not authentic for the 11th century, is admirable, and the sound effects abound; the size and nature of several enemies can be determined without visual confirmation simply by listening carefully. 

Surprisingly, Lament's storyline is one of its strong points. Though Belmont heroism and vampire malevolence are timeless quantities, their interaction in this Castlevania has layers that players won't expect; watching it play out becomes an incentive to finish each stage. Completing the entire story will take an experienced gamer only five hours — six if they if they want to find every hidden item. 

Lament of Innocence is not the groundbreaking trendsetter that Symphony of the Night was, but it does successfully move Castlevania into 3D without blemish. There is little to lament in this guilty pleasure.

---

This article is copyright (c) 2003, 2007 by Ken Gagne. All rights reserved. Not to be distributed without permission.

Original publication: Tech News, 11-Nov-03