Blogging the experience of gameplayhttps://www.gamelog.cl/gamers/GamerPage.php?idgamer=448https://www.gamelog.cl/logs/LogPage.php?Log_Id=3003Gameplay The game allows the player to move freely through several different environments including desert, city, cave, space, and ice. The terrains differ in size and natural obstacles and space gives the illusions of terrain and altitude change by making units float upwards as you approach. Some items lodged in the ground can be destroyed but larger objects cannot be damaged and only a few can be affected directly. Beyond that the player can fight all enemies without damaging allies and it is often up to the player to actively push the attack on enemy bases and conquer territories. The game is broken into campaigns by pilot and each pilot in turn has a set of missions that they set out to beat. The levels are one continuous set of events that the player must react to as they occur and act to prevent a loss. The player and subsequent pilot are locked into a single mobile suit, which they must maintain in order to continue fighting and prevent a loss. At each of the levels the pilot will be arbitrarily given a mobile suit except that once the player completes all of the missions for the pilot they can choose which mobile suit to use. The main hook that grabs the player’s interest in a game that takes the better part of an hour to do one level is the variable point of view for each pilot. Different pilots in the same mission can have completely different objectives because they have different motives as defined by their personality from the anime series. This variable personality and motivation combined with the alternating levels for different pilots ensures that no matter where the player starts they will discover new features as they continue to play. The game holds the player’s interest by pitting them against other mobile suits that can be unlocked as they continue to play. In addition to locking the player with the promise of new mobile suits the player can unlock pilot abilities and equipment modifications that open new pathways at every turn. Some of the suits even promote themselves by demonstrating amazing and powerful techniques to the player. Many of the equipment and skill modifications only become available at later levels, which drives the player to continue exploring and fighting. The game eve drives the player by increasing the difficulty between levels and in the later mobile suits (such as the one with no ranged techniques). Design The gameworld consists of independent, open-territory levels, strung together to facilitate the illusion of a real battlefield where the only boundaries are natural ones. This often includes tactical objectives, retreats and advances, surprise attacks and mass numbers of both allies and enemies. The game is designed to imitate the Dynasty Warriors saga with the template of the Gundam universe and as such everything is scaled to show the difference in scale between a human and a mobile suit. For instance, an expansive temple with enough space and buildings to make any human feel insignificant gets the walls and smaller buildings trampled by the mobile suit forces. The level designs are based around tactical arrangement of allies and enemies in order to permit any of the three possible sides to take complete control of the battlefield or lose everything. Allies and enemies navigate the terrain and obstacles to try and conquer and hold strategic points and defend key areas. Every level includes a set of units that carry names and pilot stronger suits. In most cases these are recurring protagonists/antagonists from the different Gundam shows that are represented in the game. The rewards are given in three conditions: mid-level, end-of-level, and end-of-campaign. Mid-level rewards are items that give the player temporary upgrades to attack, defense and speed or health and special attack gauge. End-of-level rewards are given for leveling up the pilot and mobile suit during the battle and usually include items to improve the mobile suit and special skills that the pilot can use to improve their performance in combat. End-of-campaign rewards are only given once a player has completed all the missions for their selected pilot and are only presented once for each pilot. They include unlocking new pilots and mobile suits as well as granting the pilot the ability to choose from the available roster of mobile suits when they revisit old levels. Battle for this game is conducted as if the player was engaged in a real war. Enemies consist mostly of minions, which pose no real threat to the player, and bosses/leaders, which force the player to use defenses and special techniques more frequently. The player always takes the role of a leader and can coordinate special attacks with allied leaders to release more powerful techniques. Enemy minions act as units of health for the different territories and most mobile suits have a “field clearing” button combination attack that make it more efficient to group enemies around you. While most of the conflict for the official mode is designated by the original series and not explained very well in the game the shifting allegiances in the four-faction power struggle of the original mode are only explained by the in-game dialogue and for the most part seem to revolve around misunderstandings and sheer stubbornness. The reason for conflict usually boils down to “I live to fight,” “Fighting is a way of life for me,” or “There is someone/something/some event that I must kill/destroy/stop.” As often as not allies from original series are broken up and rivals are teamed up with each other. There is one case of interesting alliances where a protagonist of one series is partnered with the antagonist of another series and vice versa.Wed, 05 Mar 2008 04:06:19 CDThttps://www.gamelog.cl/logs/LogPage.php?Log_Id=3003&iddiary=5647https://www.gamelog.cl/logs/LogPage.php?Log_Id=3003Summary Dynasty Warriors Gundam combines the mass-combat battle style of Dynasty Warriors with the giant robot mobile suits from the Gundam series (and there are a lot of them). The game allows you to play through the storylines of the first 3 series and allows you to play through an original campaign featuring 2 to 4 characters from at least six different series. The game makes effective use of the battle system to provide a (more or less) realistic experience of the battle including the elite warrior encounters and excluding the actual firing rate of enemies. Gameplay The story of the game is divided into 2 sections: official mode and original mode. The official mode lest you play through the first three Gundam series in about three to five mission zones and levels. Initially you get to play as the protagonists from each of the 3 series but as you progress and clear the missions for each of them you unlock their main rival as a playable character. The official mode starts you off with only 3 characters (again the protagonist from their respective series) but will add any characters you complete in official mode and an ally from original mode when you clear the character. The story for the original mode is a completely new story that doesn’t correspond to any The battlefield for each level is enormous so that the player never feels tracked but there is a clear distinction between the allied areas and enemy areas. Often the player will be directed to a single area or a leader that the player must defeat. When these orders are ignored or postponed the player will start losing territories or allied leaders. These objectives usually only take a few minutes to complete but more often than not there are more than four of these events in a single level. Each level has a time limit of ninety minutes but a good player can complete an early mission in about 20 minutes while a completionist tops out at around an hour. The player is given control of a Gundam, usually of arbitrary designation based on the chosen pilot but after a mission clear the player can revisit pilots with new Gundams. These Gundams represent advanced mobile suits that have stronger attacks and greater durability than an average mobile suit. Each Gundam has unique attack patterns and combinations utilizing beam/ bullet ranged weaponry and a beam sword/ martial arts for melee techniques. Each Gundam is also equipped with a special technique that deals much greater damage but must be recharged after every use with additional combat. There are five different “upgrades” that can be acquired as the player progresses. During combat the player can pick up temporary upgrades and health packs that give them a slight advantage in battle. In addition they can pick up equipment items for their suit, which become available upon mission completion. As a player gains experience and completes missions they also gain special abilities that can be equipped for different effects. Once a pilot completes all their missions they unlock other pilots with different perspectives on similar missions and storylines. At the same time that pilot unlocks the ability to select different mobile suits form a roster of available suits. Battle is conducted as real war zone combat with a few elite units commanding hordes of underlings and dominating the battlefield on their own. Minions on both sides engage in combat quickly and willingly with little regard to whom they are facing. In any territorial dispute that doesn’t involve leader suits the outcome is usually based on the size of the attacking force over how quickly the defending territory spawns reinforcements. This can take several minutes by which time a leader has intervened and tilted the odds in their favor. It is often the case that leaders from opposite sides will clash during a territorial battle and which ever wins takes control of the area. Once a territory is under a faction control the minions count as health for the territory before it changes sides.Wed, 05 Mar 2008 04:05:46 CDThttps://www.gamelog.cl/logs/LogPage.php?Log_Id=3003&iddiary=5646https://www.gamelog.cl/logs/LogPage.php?Log_Id=1791Gameplay The degree of interactivity within the gameworld is severely limited by the parameters of the sport in question and by the minimal functional space of the playing field. Baseball only has the pitcher’s position and the batter’s position that the player has any control over. Similarly all other sports are interactively limited to what a person in the real sport would be allowed to do. Social interactions are all but absent in this game. The most reaction you get from the opposing team (baseball, tennis)/computer player (boxing, golf)/inanimate objects (bowling) is a retaliatory punch or strike of the ball. The only verbal interaction is the announcer calling score at every logical opportunity. Beyond the announcer everyone else (with the exception of the player if they choose to yell at glitches) remains adamantly mute throughout the game. The only way to keep the player actively using the game is to hook them in an inescapable fascination with at least one sport. This means that on average (accounting for people with 2 attachments and people with no attachments) only one sport of the five is going to be in regular use. The initial problem with maintaining player interest in the game is that the time required to acquire a decent degree of skill with any sport is above the attention span of many gamers. This is made crippling when the game fails to deliver on any means of extending its shelf life beyond the release of the first few real Wii games. Ultimately Wii Sports was made to buy time for developers to install a stronger lineup of well-built, deeper, and more extensive games. While the game comes as standard for the starting package it fails to live beyond about this point in time, when the other Wii games are coming out in droves. In the end it only serves to familiarize players with the Wii-mote, which is also the point of the Wii Play game except to a higher degree and focusing more on the player’s reflexes and cognition than ability to swing a baton around. Design Everything in the gameworld revolves round the use of the Mii avatars and subsequently the driver that can run the beautiful graphics of Zelda: Twilight Princess and Metroid Prime 3: Corruption ends up looking like the graphics of the N-64 where everything can be traced to a lego-esc brick design. Despite the refined look of the avatars over the N-64 it nonetheless drives that image of old graphics for older systems. At the end of each game (regardless of win, loss, or draw) the game will make a poor attempt at a reward by evaluating the player against a scale that ranks with professional players. The problem with this is that, while most players are competent with their own bodies, any first time player will not try to accommodate for the imperfect motion-detection system. When comparing the player to a professional on a scale to 1000 an average person scores along the black line that denotes the bottom most of the time. This is not an encouraging way to keep the player interested unless they have an obsessive reason to drive onwards. The motion detection system of the Wii shows every possible fault through this one game. While it takes everything you have to move a bowling ball it only takes a flick of the wrist to make the avatar swing the bat or whack the golf ball outside of the green for the fifth time. The sensitivity issues point out every flaw in the player’s form then exaggerate them to a ridiculous degree. The inability to control stance an foot movement through the Wii-mote also adds a degree of frustration to tennis and baseball because the computer automatically moves the legs (or in most cases semi-spherical lower body) in the direction of the ball. There is no real drive to compete with any of the other players and conflict only seems to exist in the form of friendly competition. This is the problem I would anticipate with future game systems that utilize a full body movement system when martial arts games try to expand to non-violent arts like Aikido. The main form of competition within this game is between the player and the computer and secondarily between multiple players. The real problem is that a player who takes the game too seriously will suffer a competition with their own body, which climaxes when the player can’t continue playing for more than half an hour because of the strain of pitching an batting excessively.Wed, 20 Feb 2008 04:46:45 CDThttps://www.gamelog.cl/logs/LogPage.php?Log_Id=1791&iddiary=5078https://www.gamelog.cl/logs/LogPage.php?Log_Id=1791Summary Wii Sports is almost entirely based around the premise of testing the motion sensitive controller and familiarizing the player with the functions of the Wii remote. The entire game revolves around a series of minigames that utilize the motion sensitive controller to mimic existing sports, namely: Tennis, Baseball, Bowling, Golf and Boxing. While these games imitate the movements of the real sport the entire range of movement can be limited to the player’s upper body. Gameplay As far as story goes for this game it is practically nonexistent. Ultimately the only story that one could glean from the game is one that the player made up with regards to their Mii character. The game is entirely centered on the five sporting events and as such has no need for a story arc or even a goal beyond what the real sport sets out. The gameworld consists of 5 or 6 level screens, one for each of the sports and a menu screen. The gameworld only changes when the player orders the game to change to a different sport. The limited gameworld stays true to the game’s two objectives: show off the fancy tricks for the motion sensitive controller and get the player to use some of those tricks. The player’s role in this game puts him/her in the position of a player in the various sports that the game allows for. In most cases that means that the player is distinctly represented by a Mii avatar and, in the case of tennis, two at once. While the ability to create and play as a Mii is entertaining and provides a certain degree of customization it doesn’t substitute a story arc. The Mii avatar makes the same movements as the player (more or less) and will move at roughly the same time and speed as the player. Some of the sports put an emphasis on how fast the player moves the remote to correspond to the force of an impact. There seems to be a severe problem with gameplay when the computer players can hit a tennis ball just outside of their racquet’s bounding box and the ball passes through the box for the player’s racquet. There also exists the inherent flaw with gaming over actual sports is that the reaction time for the avatar is slower than the reaction time of the player and often the avatar won’t move fast enough or will react to a flick of the wrist. There is no combat in this game per-say, only competition between the players and the computer or among playersWed, 20 Feb 2008 04:46:03 CDThttps://www.gamelog.cl/logs/LogPage.php?Log_Id=1791&iddiary=5077https://www.gamelog.cl/logs/LogPage.php?Log_Id=2694 (This entry has been edited1 time. It was last edited on Wed, 20 Feb 2008 04:46:32.)Wed, 20 Feb 2008 04:41:24 CDThttps://www.gamelog.cl/logs/LogPage.php?Log_Id=2694&iddiary=5076https://www.gamelog.cl/logs/LogPage.php?Log_Id=2694 (This entry has been edited1 time. It was last edited on Wed, 20 Feb 2008 04:45:49.)Wed, 20 Feb 2008 04:40:59 CDThttps://www.gamelog.cl/logs/LogPage.php?Log_Id=2694&iddiary=5075https://www.gamelog.cl/logs/LogPage.php?Log_Id=1792Gameplay The interactivity of the gameworld for Baten Kaitos is beyond many games of its age and the varying degree of control for different aspects of gameplay keep the game interesting. Some of the controls are unintuitive and the Final Fantasy/ Yu-Gi-Oh hybrid battle system takes a large amount of adjustment and fine-tuning of the player before it becomes smooth and easy. Beyond that the game is really designed for two players even though only one person can play at a time. The second player is really there to appreciate the battle graphics and backgrounds because the player cannot fight and watch the fight at the same time. For about half of the game you fight monsters and work your way through dungeons, forests, towns and other areas. The rest of the game is spent on story line and social interactions with NPCs. Just about everyone is willing to talk to you and you try to talk to everyone because anyone could have a magnus that they’re willing to give you. There are also several cut-scenes where the protagonist and his friends talk to one another or an enemy. Talking with NPCs is often what will trigger one of the optional subquests. The game hooks the player pretty quickly by throwing a couple boss fights at them within the first forest area. This also rapidly introduces the plot of finding the five “End Magnus” before the emperor. The wide variation in boss fights also keeps the player interested by pitting them against humans, magnus guardians, and the occasional para-dimensional beast. In addition the player gets to travel from island to island each time uncovering new cultures, new people, new adventures, and new challenges. As the game keeps moving forward it becomes obvious that getting the five “End Magnus” and defeating the emperor is far from the entirety of the game. Easily within the scope of the first disc (there are 2 game discs) you encounter all five “End Magnus,” so there must be more to the game. Just the exploration of this expansive world of islands would keep most people occupied for hours on end. There is also such a wide variety of information that it seems nearly impossible to keep track of it all and it keeps the player wanting to learn more. Design The gamewolrd has one of the most unique design aspects that I’ve ever seen. The player travels among the islands and through them with an incredible variation in the scenery and maps. Each area has a unique background and each section, even within the same isles, has a unique style. This game also has an interesting player role where they act as an omnipotent player within the scope of the game. The player remains in control of the game, often making character decisions and gathering information when the characters don’t. The level design separating the world into islands into regions into areas makes the gameworld vast and open to exploration while the individual maps limit the range of player motion within the area. The creatures you touch activate a battle sequence and isolate you from the rest of the world during combat. Each area at least one (but frequently more) entrance and some even have isolated areas within the same camera scope. The camera moving on a separated 2D plane instead of following the character allows the designers to hide special items behind obstacles as another challenge for the player. The item collection system utilizing card-based storage is unique to this game. The all-encompassing nature of this system is an interesting way to twist the gameworld so the combat system to make sense within the context of the world. This also rationalizes the ability of the characters to carry such a massive amount of equipment without giant backpacks and without imposing a weight limit. In addition it allows the player to collect items, such as the essence of a fire (raw flames), that no one would try to handle with anything else. The battle system combines the 3rd-person party-combat aspect of most Final Fantasy games with a deck and hand of cards aspect from games like Yu-Gi-Oh. This combination is unique to this game and the subsequent prequel game. This revolutionary style of combat is difficult to master and the time limit on any of the player’s turns can still catch a strategist off guard. The one major drawback is that the player must constantly watch his hand to pull off attack and defense combinations. So most of the beautiful and artistic combat graphics are lost on the player. The battle conflicts are pretty ease to identify because touching an enemy triggers a battle sequence. The game does provide a rationale for most of the human/humanoid creatures attacking you and the boss fights are explained. Everything else falls under the category of “dangerous wildlife” and neither needs nor gives further explanation. Most fights with wild animals/ demons can be avoided but that tends to be the best way to get money, magnus, and experience. There is however conflict with many non-hostile NPCs including stubborn leaders, feuding families/businesses, etc. You can even be in conflict with the protagonist when he asks you about certain activities, quests, or negotiations. Fri, 08 Feb 2008 22:11:21 CDThttps://www.gamelog.cl/logs/LogPage.php?Log_Id=1792&iddiary=4675https://www.gamelog.cl/logs/LogPage.php?Log_Id=1792Summary Baten Kaitos starts you off with no real objectives but to explore the incredibly artistic gameworld that you have to start with. As you talk to NPCs (which actually includes your avatar for all conversation purposes) you gain objectives and subquests that will have you running around the entire gameworld for hours. I only really know the expansive interconnectedness of this game because I played the entire prequel game before even touching this game. The game follows a group of heroes with different combat abilities through a vast world of infinite mysteries while the player actually gets to act as an intangible entity from another world. The most attractive aspect for me is the fact that everyone in this world has a unique set of wings (useful only for gliding and combat and the protagonist has only one natural wing and one mechanical wing. Gameplay The story for this game becomes obvious pretty quickly as the protagonist is rapidly embroiled in international politics among the multitude of Island nations (by the way these islands are literally floating in the sky) You have to collect your rag-tag band of personalities form different islands to stop the evil emperor of the Machina (Machine) culture island form taking over the world. To start with you have to gain power, collect weapons and items, and obtain a set of dangerous and powerful items before the emperor does. The map and level system for this game consists of frighteningly artistic backgrounds through which your avatar has limited movement. While there is a high restriction on movement through an area there is no end of admiration for the work that went into that design and most of the walls have some degree of interactivity to keep the player occupied. The main point of this map system is that the camera only has 2 dimensions of movement and the player’s avatar will move through the map in a roughly 3D manner (minus the ability to jump on command). This gives the player a feeling of detachment form the gameworld, which is actually part of the plot. The player takes on the role of an entity that is not one of the corporeal beings of the gameworld. Instead the player is given a backseat to the plot and although the protagonist frequently asks the “Guardian Spirit” questions and allows them to investigate and make crucial decisions there is little interpersonal interaction with the player and NPCs. The player controls the protagonist’s movements and actions outside of cut-scenes and is granted control of two additional party members during combat. Even though this is similar to a Final Fantasy setup, the player is given a severe back seat to the true action and interaction, which I have never seen in any other game series. The primary means of collecting items and weapons is another unique aspect of this saga. The overarching theme of item collection is a method of storing the essence of certain objects (many of which would normally overload a character) within a storage card called a magnus. Some items will be encapsulated entirely and some will remain in the physical world as well as the card. These magnus can be used to collect and store just about everything although some will change and/or fade with time. Battle is conducted with battle specific magnus stacked into decks for easy access. Each character and monster has its own deck of battle magnus and when in combat you select magnus from a hand of cards to use. Fortunately these magnus retain their power even after a battle. These cards have both the problem that the items are not all immune to the effects of time and the benefit that they can be used in combination to create new ones. For example: if you take a sack of rice, a helmet, a water based attack and a fire based attack in that order they will yield a rice ball that restores a massive amount of health, but over time that rice ball will turn into a race paste item that causes paralysis. Fri, 08 Feb 2008 19:18:22 CDThttps://www.gamelog.cl/logs/LogPage.php?Log_Id=1792&iddiary=4621https://www.gamelog.cl/logs/LogPage.php?Log_Id=2029Gameplay Well over two hours into the game, I managed to find a second temple and have beaten neither, collect one extra heart, a raft, a ladder, a candle/flamethrower, and no sign of a storyline to date. I know the general goals but only because I have played other Zelda games and actually been able to progress through a temple. In reality this feels like an arcade game designed to eat your quarters rather than provide entertainment. This feels like beating myself with a stick and this comes from a slightly obsessive completionist. The only social interactions that this game offers is buying and collecting items from old men and old ladies who speak in nonsense to you. Unless monsters count as part of the social interactions, which would boil down to a mutual desire to mindlessly kill one another, the strange humans living in walls and caves seems to be the extent of all social interactions within the game. There is an interesting interaction between the player and the game though. The player tries to progress through the various areas and levels with the goal to make a net positive effect on their score. The game prefers to be hell bent on killing the player at every possible turn. I easily died close to a hundred times in the few hours that I’ve played it but for some reason that only seems to simultaneously frustrate me and drive me to keep playing. Death isn’t a motivation to stop playing but to play harder and get killed more often. It is therefore fortunate that the game does not run on quarters and that the player can eventually get more advanced at evasion and blocking. Although the game is not exactly fun it is irritating enough to drive the player for further completion. This is an interesting approach to making a game but not particularly good for sales. The ability of the player to advance in the game depends almost entirely on how fast they grow and develop evasive and offensive techniques. Unfortunately this ability is not something that is common in all players and for a large portion of the audience this would just be an exercise in frustration. Design Although such techniques are regarded as archaic now the side-scrolling grid layout of the game was probably innovative at the time of its original release. Also the idea of a collective inventory would have been a novel concept at the time of Zelda’s introduction to the gaming world. (This is where someone with a detailed and extravagant knowledge of gaming history would correct me or confirm my assertion) The multiple attack method of the Zelda games would also be new to an audience that would have been rooted in jumping on the enemy’s head or throwing a tiny fireball at them (Mario). The level design seems to consist of the idea that as you move further away from your starting screen the more powerful and harder to beat the enemies get. This makes the progress slow and difficult to move quickly from one area to another as is possible in later games. The terrain changes from forests, to mountains, to deserts, to oceans within the span of 5 or fewer grids. This is particularly challenging the first time you encounter certain enemies and obstacles. As the player continues to move through the levels, they acquire more items to add to the inventory and weapons array. Defeating bosses yields greater rewards and more crucial items for the greater goals. Game also rewards clever puzzle solving such as moving across a small moat with a ladder, pushing blocks to access secret areas, or quickly lighting a room with a candle. The conflict for this game arises from the same general source as the Mario games: that which is not your ally hurts you upon contact and may actively try to kill you. Beyond that the game is adamantly unspecific as to what grudge everything bares you and why. Usually the most challenging aspect of any particular enemy is the large groups of 4 to10 that they always appear in and the combined random movements that make a sword less than a practical weapon for combat.Fri, 25 Jan 2008 04:53:15 CDThttps://www.gamelog.cl/logs/LogPage.php?Log_Id=2029&iddiary=4021https://www.gamelog.cl/logs/LogPage.php?Log_Id=2029Summary The original Legend of Zelda game acts as the basis for all (or at least most) other Zelda games. The objectives are, as always: collect your various items and pieces of equipment, collect the Triforce pieces, defeat a number of bosses you really have no right to beat, and rescue the princess. This is pretty straightforward except that the game quickly conspires against you and makes itself excessively difficult and unintuitive. Gameplay The game starts in medias res by sticking you into the middle of nowhere with nothing but a shield in your inventory. The game gives you no introduction, no clear objectives, no overarching goals, and no weapons. This is an unhelpful and unintuitive start for any player and it couldn’t have been helpful to any player who had never heard of the game before (which would have included the entire release audience). Really the game never gives you a specific objective or even a target location. The map for the game uses single block areas with preset boundaries, terrain, and enemies. The area map is composed entirely of a single gray block that has a small green dot to indicate where you are. The individual bricks are often difficult and sometimes treacherous to navigate especially when there is a swarm of enemies to attack you. The only safe locations are homes and shops, which are set into the walls of the terrain. Even the occupants of these houses are mostly unhelpful people who sit there and either ask you to buy something or do nothing. The map yields no target location or even a layout of the terrain so you are sent off to wander aimlessly until you either find something or die. If you are lucky you enter the first hole on the starting screen and get the wooden sword from the old man there. The only way to use this is in straight thrusts except that en you have full health the attack also projects a flashing sword that flies across the map like an enemy projectile. You are almost always in combat (excluding homes and shops) and it often takes multiple hits to kill an enemy if you even can kill them. Often you will lose half of a heart (1/6 of your starting hit points) from even touching an enemy and lose your projectile ability. The control scheme has the limitation of only having 4 buttons and a direction pad. This eliminates many of the options that 3D games allow for but eve with that limitation the designers made the selection screen controls unintuitive and difficult. Aside from the problem of a large majority of deaths occurring because of limitations of movement and large groups of enemies there is no way to access the save screen without dying and once you’re there you must use the Select and Start buttons to navigate instead of the direction pad. This unintuitive setup makes the game frustrating to deal with.Fri, 25 Jan 2008 01:09:44 CDThttps://www.gamelog.cl/logs/LogPage.php?Log_Id=2029&iddiary=3978