Blogging the experience of gameplayhttps://www.gamelog.cl/gamers/GamerPage.php?idgamer=449https://www.gamelog.cl/logs/LogPage.php?Log_Id=3018SUMMARY: I had always heard good things about pikmin, but i had balked at the fact that there was some sort of time limit and if you don't beat the game within the time limit then you have to start again. I've never liked these sort of time restraints, and I will not suffer through them unless absolutely necessary. So, when I heard an Overlord review that likened it to a more sinister version of pikmin but without the time constraints, I had to try it. As previously stated, Overlord is a lot like the game Pikmin, except instead of a space ship captain who cras landed on a planet you are a mysterious and presumably evil overlord that was just awaken from a deep slumber, instead of attempting to make your way off the planet in a limited number of days you must try to harrass the local and bend them to your will, and instead of using cute multicolored plant-like creatures to do it, you harness a small army of differently colored "minions" that spread pain and suffering in their own unique ways. Like pikmin, it is nearly impossible to accomplish much in this game without the help of your smal horde of underlings. As you progress through the game, you receive the ability to call more and more minions to control simultaneously on the game screen -- and inevitably throw wave after wave of them at obstacles or enemies in your path, or even into pits of lava if that's your thing, oblivious and/or apathetic to their suffering. Your job apparently, as the Overlord, is to basically.. well.. be the Overlord. Of course, you can't just "be an Overlord" by sitting on top of your high spiky tower and shouting orders at anybody who cares to listen -- especially if the entire number of those who care to listen is the very same few goblins who woke you from your mysterious slumber (by rubbing acid in your eyes no less) in the first place. You wake up from your slumber to a mysteriously run down castle, without even a humble tower heart to teleport you to and from your tower into other areas of your domain. Thus, you set out to repair your castle, recollect the minion hives to be able to summon new colors of minions with new powers, filling your tower with slave wenches, finding a mistress, and taking back the will of the people of your domain, be that by savagly beating or killing those who disagree with your word (which your minions thorougly enjoy) or by showering them with love and affection until they desire no other than to rule under you (much to the chagrin of your minions). GAMEPLAY: The controls were a bit unintuitive at first, but I suppose that's to be expected considering how I have never before in my life attempted anything even remotely similar to controlling a small hoard of people using only a mouse and a keyboard. Well actually that's not completely true -- I have PLENTY of experience controlling "the zerg" in starcratf -- but that is not at all anything close to attempting to control monsters in what I like to refer to as an "extended first person perspective," where the game feels a lot like you are in first person perspective but the camera zooms out enough to give you a good view of yourself as well as a slightly wider view of your surroundings. In starcraft, you do a lot of pointing and clicking -- click on a unit under your command, then click on the place you want him to move to. I found myself attempting to do a lot of this when I first started playing Overlord, and not being able to was very frustrating. It felt a lot like trying to orchestrate with my hands behind my back. "How can I possibly be expected to control these minions," I thought to myself, "if I'm tied to this damn Overlord character and can't click on anything?!" Quite easily, as it turned out. As I progressed through the game, I found that I had been attempting to control the minions as if they were chess pieces, picking them up and placing them where I wanted them to move to, or where I wanted them to attack. As I got more into the game, however, I found that what I should have been doing was controlling the minions as if they were extensions of my own body, "sweeping" the minions aross the landscape in front of me by holding down the correct mouse buttons and sweeping my mouse in a similar direction across my mouse pad. The game seemed to suppord this philosophy, as my character representation on the screen even raised his arm to control the minions in the same way I imagined myself doing it. I could also send minions to certain locations or to manipulate certain objects by moving my camera to look directly at the thing I want to send a minion at and clicking the left mouse button, but I strongly prefered sweeping them. I just gained the ability to set waypoints for groups of my minions, which should add an interesting new level onto how I control my minions. Now I can ambush monsters by strategically setting up my minions in certain positions where they will remain until moved or provoked. Unfortunately, there seems to be a few bugs with this system, as after some of my brown (melee/tank) minions under the control of my waypoints are attacked by monsters they seem the mainatin their new position next to the monster's corpse and don't defend themselves when attacked by a new monster. Also, they don't chain agro, so only a relatively small number of minions actually engage the monsters from the waypoint.Thu, 06 Mar 2008 22:51:38 CDThttps://www.gamelog.cl/logs/LogPage.php?Log_Id=3018&iddiary=6045https://www.gamelog.cl/logs/LogPage.php?Log_Id=2654GAMEPLAY: The gameplay of this 'game' consisted of running around, rolling, grabbing, riding a horse, and stabbing into the ground, which 90% of the time will end up being a giant monster, and the other 10% of the time you will find that you actually fell off the monster while he was rolling around in the ground and you actually just shoved your sword into that patch of dirt you were desperately clinging onto. You also will find yourself trying to figure out how to kill this particular patch of dirt. That's the game. That's the entirety of the game, and it sucks. For more information, see the 'design' part of the game below. I honestly don't feel like that information belongs under 'gameplay', because the majority of this game clearly was not gameplay. DESIGN: I kept hearing how great and amazing this game was, and how it was such a pity that it was such a short game and could be beaten so quickly because of how great it was, so I decided to stick this one out to the end. Honestly, I don't know if I am glad I did or if I am not glad that I did. On the one end, I hate cliffhangers and there was an interesting story behind the game that I enjoyed seeing played out. On the other hand, the majority of the game felt long and drawn out, repetitive and simply irritating. The wikipedia article on this game states that the designers spent the grand majority of their time on this game working on the Colossus themselves, to the extent that they purposely excluded all other forms of monster from the game, so that the design team could spend the majority of their time working on designing each colossus... and it shows. Although the boss battles were interesting and undeniably fun, the rest of the game was pure drudgery. Even the cut scenes immediately after each boss battle were boring and predictable, in fact, the first 15 out of the 16 colossus have the EXACT same cutscene, in the exact same order, right down to the very dialog: 1) You finally destroy the colossus by stabbing its glowing weakpoint with a tremendous jab. 2) The colossus crumbles and collapses to whatever part of the world was below it in a predictable fashion, whether that be land, water, or sand. 3) you stand about for a few seconds admiring your skill 4) Giant black tentacles unexpectedly fly from the colossus's corpse and impale you 5) In complete and utter surprise, you fall to the ground and pass out 6) You see some strange glowing white light 7) You appear back in the temple, lying unconscious on the floor, with (insert number of colossus you have killed) standing around you, staring at you. 8) The camera pans to the statue representing the colossus you killed. It explodes. The camera pans back to you as you stand up. You turn around and stare at the glowing hole in the ceiling. 9) The glowing hole in the ceiling states, "Thy next foe is..." (I swear to god if I see that phrase one more time I'm going to go on a rampage) 10) The glowing hole in the wall finishes his sentence by describing the next colossus's location in a horribly grammatically incorrect style, as if he had NOT just dramatically declared, "Thy next foe is." The cookie cutter style doesn't even stop there though, no. In fact, the entire game follows a predictable pattern from the very onset, disappointingly so in fact. When I firt started playing, I had to navigate a small maze on the side of a mountain to get to the first colossus. I remember being amazed at how much control I had over my character, and how realistic the controls felt. I was incredibly happy that I had such control over my character, and I looked forward to using those controls to fight a dynamic army of baddies with unpredictable fighting styles that would stretch my skills to the limit... But it wasn't meant to be. There is so very, very little skill involved in Shadow of the Colossus. In fact, I don't even think Shadow of the Colossus should count as a game. I'm even going to go as far as to declare Shadow of the Colossus to be an elaborate lie masquerading as a game. I think Shadow of the Colossus should count as a sub-par foreign movie, and not much else. The much lauded boss battles consist of not much other than figuring out the boss's weak point, figuring out how to get there, and then doing it. Once you figure out what to do and how to do it, there is no skill involved in actually doing it. The one part of the game that would make the boss battle require any skill, the element of having to decide when to hold onto the boss and when to let go to regain some of your gripping strength, is further trivialized by a grip meter and predictable boss moves that pretty much tells you exactly what to do in every situation. In the end, it's a lot like playing chess against a new and exciting opponent, only to discover that your opponent not only always make the exact same moves every time you fight him, but repeats the moves that he does every 9 moves or so while you are actually fighting him. In the end, the only enjoyment that you gain from the boss battle is the temporary enjoyment you get from figuring out how to beat the boss, and the immense enjoyment you get from actually watching the battle play out. Again, though, what are you left with at that point? That's right, a movie. I bought this GAME with the intent of playing a GAME. If I wanted to watch a fancy CGI movie, I would buy a fancy CGI movie. The characters in Shadow of the Colossus speak a fictional, non-English language. As a consequence of this, all the dialog in the game is subtitled. Although there is nothing wrong with listening to a language other than English and having to read subtitles in order to understand the game's story line, I couldn't help but be mildly annoyed by it. I can understand the designer's perspective, they probably wanted to help immersion into the game world and separate your view of the world from that of your previous schema associated with the English language. Just because I can understand their perspective in creating the game this way, though, does not mean that I have to enjoy it. In my opinion, games should only use made-up languages in cases where characters are fully voiced during dynamic scenes where it is not plausible to voice everything that a character could possibly say, to make it harder to tell that the player is simply repeating the same few phrases over and over again. Shadow of the Colossus definitely does NOT fit that criteria -- the only time that any character speaks is during a scripted cut scene, and even that speech is few and far between.Wed, 20 Feb 2008 20:45:01 CDThttps://www.gamelog.cl/logs/LogPage.php?Log_Id=2654&iddiary=5148https://www.gamelog.cl/logs/LogPage.php?Log_Id=2654SUMMARY: In Shadow of the Colossus, you play as an unnamed man who ventured to a forbidden land with the corpse of an unknown woman, a sword that is rumored to have mythological powers, and his faithful horse named Agro. You reach the forbidden land by traveling an expansive bridge that leads across the entire area and into a chapel in the middle of the zone, where a door closes behind you, allowing you to explore the entire area without fear of running into invisible walls that attempt to restrain the player to a specific play area. The game begins at his arrival in the forbidden land, where he encounters a powerful being with the ability to bring back the woman from the dead. The being manifests only through a disembodied voice that appears to come from a skylight in the chapel that you begin the game in. He tells you that he will help you bring the woman back to life, but that the price for doing so will be terrible indeed. You accept of course, so he sends you off to destroy the 16 statues in the room by defeating the 16 colossus in the environment around you, using your sword to guide your path by holding it to the sunlight and heading where the light beam is concentrated. GAMEPLAY: I had heard amazing things about how great this game looked and how amazing the graphics were, so I was a bit surprised when I actually started the game just to find that the game in no way lived up to its hype. The first thing I noticed, even during the opening cut scene, was that the apparent 'realism' of the game's graphics was achieved not through an intensely amazing graphics system, but through obscuring your vision to such an extent that it becomes nearly impossible to find any sort of flaw in the environment. If you want to get a feel for how it felt to play this game, walk outside on a bright day holding a piece of fogged, bumpy glass used for windows in bathrooms, smear sand all over it, face in the direction of the sun, hold the glass up and try to look through it, while shaking the glass around and continuously throwing sand at it. I kid you not, that's almost exactly what it looked like. I don't even know what kind of things they had to throw into their graphics engine to get the sand effect, I couldn't even begin to guess at that. The parts of the environment you COULD see did look rather amazing, but as I said before, either that was achieved solely through not allowing you to see much of it in the first place, or they did such a poor job rendering the view port in their game that they destroyed all the work they put into it. The controls were a little hard to get the hang of at first, but once I got used to them I really began to like them. When I was trying to navigate a maze they put up on the side of a mountain that I had to traverse to get to my next destination, I was surprised at just how fluid all my actions felt. Sure, sometimes I wasn't 100% instantaneously responsive, but everything I managed to do my character was able to pull off expertly. Even accidental actions, like rolling over and falling off the back of a giant beast and trying to grab onto his back hair before I splat into the ground looked amazingly fluid. That's not something you see very often in video games -- I imagine the game prepares for all your moves 2 or 3 seconds in advance, so that it can show you avatar actually preparing to execute every one of his moves, instead of simply doing them as per the status quo. You may recall me praising Mario 64 for its amazing responsiveness to your every move and for Mario's ability to perfectly translate your every thought and intention through the controls that you are given... Well, Shadow of the Colossus manages to take the other end of the spectrum in that respect. The players actions are beautifully carried out, and I was more than thrilled to test out this new, unique form of combat on whatever monsters I may encounter when I reach the top of the mountain I was climbing... only to be disapointed with an immediate boss battle. I continued to be disapointed from this point on with the game.. What I was hoping to turn into an amazing action game became a dull adventure game, where I spend half my time attempting to follow the beams of light shooting from my sword, and the other half the time trying to figure out how to latch myself onto the body hair of the next colossus. Once you get yourself on top of the colossus, you pretty much have to follow the same routine to beat each one. When I first attempted to beat the first colossus, I was not aware that my grip meter was indeed a grip meter, and was following a meticulous set of rules and strategies to attempt to climb up this giant creature without following off. My strategies included, but were not limited to, climbing only in areas surrounded in hair, climbing on body parts that have smaller ranges of motion, and on joints when I could, so that it would be harder to be shaken off, and staying completely still whenever the giant moved even the smallest amount. My strategies were met with failure, however, until I realized what the grip meter was, and that I had been seriously overestimating the game. Pretty much, all I had to do was keep climbing towards the next weak point my grip meter was almost empty, then get to a horizontal piece of skin, let go to recharge my grip meter, and immediately grab on again the moment the colossus showed any signs of moving. What was mind bogglingly difficult before became trivial, and I was quickly disappointed. My attacks themselves were always the same as well -- raise my sword, plunge my sword into the monster. No variation. no skill. No fun.Wed, 20 Feb 2008 20:44:39 CDThttps://www.gamelog.cl/logs/LogPage.php?Log_Id=2654&iddiary=5147https://www.gamelog.cl/logs/LogPage.php?Log_Id=2406GAMEPLAY: I was right about this game, it DOES get a lot funner the more you play it. It's common knowledge -- winning is fun, losing is not. Even though all the classes are fantastically well balanced, that doesn't mean a thing until you have reached the average skill level. This game is very fun, but can get frustrating when you're playing against a team that you just can't seem to win against. The classes add a new dynamic to the first person shooter genre -- for example, playing as a spy changes the feel of the entire game of first person shooter to a splinter cell-esque stealth game, where you attempt to convince your enemies that you are one of them and they should not attempt to blow you away just long enough for you to kill them instantly by stabbing them in the back. In fact, the first few times that I played as a spy I had to change classes because I felt too badly for disappointing the enemy team like that, a few times I disguised myself as a medic and it felt like my enemy really was counting on me to come through for them. Of course, this feeling of sorrow went away eventually and I came to really enjoy the spy class. The hardest part is to get them to not attack you, because you are unable to kill your teammates so they would lose nothing from simply blasting you in the back a few times to make sure that you are on their team. DESIGN: Team Fortress 2 is an exclusively multiplayer game -- there is no single player or tutorial option. When you start the game, you are presented with the same options that veteran players are, thus a beginning player is lacking in absolutely no in-game benefits that any other player would have on any normal server (players can host their own games on their own servers and add their own layer of rules onto the game, which could serve to give some players advantages over others). The core gameplay philosophy behind Team Fortress 2 is that, under normal during routine gameplay circumstance, the game is designed to place the most emphasis on skill, experience, and strategy, rewarding players not for playing the longest or even perhaps for putting the most energy into the game, but for making the right choices at the right time. Every class is nearly perfectly balanced, playing team fortress 2 is a lot like playing rock paper scissors with 9 objects and where all the items shoot bullets. The focus of the gameplay is centered around everybody attempting to keep themselves alive and killing everybody of the opposite team, not so much on accomplishing the objective. The concept is that those who are the most effective at killing the other team and keeping themselves alive, are most likely to be able to accomplish the small task, and it does that pretty well. (This entry has been edited1 time. It was last edited on Sat, 09 Feb 2008 23:11:14.)Sat, 09 Feb 2008 01:45:27 CDThttps://www.gamelog.cl/logs/LogPage.php?Log_Id=2406&iddiary=4808https://www.gamelog.cl/logs/LogPage.php?Log_Id=2406SUMMARY: In Team Fortress 2, you can choose between one of nine different classes to play as in an attempt to kill the members of the opposite team while keeping the members of your team (most importantly yourself) alive, while attempting to accomplish some small task at the same time. Each of the nine classes has only a few possible actions, or as whitehead would say, verbs. At any time in the game, however, players are allowed to switch classes from the one they were currently playing to any of the others bar none, but in doing so they lose whatever they may have worked to accomplish while alive, such as their physical position (they must run back to the location they were at previously, from the closest safe zone). Even though the majority of the game is focused and balanced around a player's ability to kill the other player, the way for one team to actually beat the other team in a level is centered around the small tasks that players are attempting to carry out during the relatively short period of time that they manage to stay alive. Some of these goals, like capture the flag, can be carried out simultaneously by both teams without them ever being encumbered by the other team until the game is over, allowing a pacifist version of the gameplay to degrade into a game of footrace. Others, like king of the hill, are designed to force players to fight each other over specific areas of contestion -- both teams cannot be winning at the same time, either one is winning and the other is losing, or they are both losing. GAMEPLAY: The graphics were fun and interesting, but this gamelog is not supposed to focus on that, so I will ignore it from this point on. When I first got into the game, I did not have fun at all. The classes that I chose and their nuances did not matter at all to me, no matter what class I chose I pretty much got blown away. It did not matter what kind of weapons I had and what kind of unique attacks I was able to use if I did not know what exactly these separate attacks could do for me. This game really could have benefited from a tutorial mode to slowly introduce me to the moves of each of the classes and showed me specific situations where I would want to use them. Instead, I was forced to teach myself in between periods of being blown up, which did not make my teammates happy with me. Even though the game was incredibly un-fun at first, I had heard far too many positive reviews to give up at the game. Having played various first person shooters repeatedly before, I could tell that the game had great potential, and I just had to get used to the players and classes before I would be able to enjoy it. In the end, I ran around as both a medic and a heavy. As a medic, I would simply follow other players around healing them, watching what they did in certain situations, where they went on different maps, and attempting to learn everything I could about how I was supposed to react on different maps and as different classes. As a heavy, I simply ran around trying to kill as many people as I could. The heavy class gave me the benefit of a profound amount of health and armor, so that I could run around without as great a fear of being killed instantly, giving me more time to learn before being destroyed.Fri, 08 Feb 2008 16:04:01 CDThttps://www.gamelog.cl/logs/LogPage.php?Log_Id=2406&iddiary=4576https://www.gamelog.cl/logs/LogPage.php?Log_Id=2063GAMEPLAY: As the game progressed, I gained the ability to attach a pair of wings onto my hat, allowing me to fly. The flying control scheme was a bit awkward and I found it very hard to master. I ended up just trying to avoid using it as much as possible. In fact, in one of the levels I found that I preferred loading myself into a cannon, shooting myself off into the air towards my target, and running back to the cannon if I missed much more than trying to grab my target by flying to it. Besides that incident, though, the gameplay stayed very much the same throughout the game. Of course, there was that one awkward water level that every game designer seems to HAVE to add, that no gamer seems to actually enjoy, but besides that the game stayed the same old Mario that I had come to enjoy for my first writing. As previously predicted the only bar that I ran up against was that set by my own skill level as the levels progressed, rather than that of Mario's. This is a gamestyle I greatly enjoy, which many other games, such as RPGs, simply cannot have. I am a great fan of a player's individual skill being directly translated into the character's abilities in the game, and Mario was able to do that for me. Oh, I almost forgot... Mario's attack command. Basically, after I finished exploring the controls, I promptly forgot about it. The range on Mario's attack was far too ridiculously short to do anybody any good -- if I was THAT close to an enemy, I was more likely to run or jump away from him so that i could re-approach him, rather than get knocked over. His punch did no more damage than just jumping on somebody, and jumping on their heads or just flat out avoiding them seemed so much more natural anyway. DESIGN: I touched on the controls a lot in my previous update, so I won't mention it much here, but I have to say again that Mario was designed EXCELLENTLY, and controlling him really was a pleasure. Flying through the sky and swimming around in the water was a bit awkward, but thankfully I didn't have to spend much time doing that. As for as the story goes, I believe that the story in Mario 64 was pretty thin, but because all the worlds that you visit are intended to be painting worlds not related to the main story, and you spend most of the game inside of the painting world, it makes the game seem like the plot was fleshed out perfectly, even though it doesn't hold up to inspection. The concept of painting-worlds was also a great way to introduce vastly different zones and situations without having the player question the situation he or she is thrown into. I can understand why the developers might have added the permeabile, metal, and flying mario powerups, to help keep the game fresh as it progresses, but I can't help but question if flying mario didn't just detract from that amazing feeling of control the player usually has with Mario. These powerups were not even really implemented in more than a few places, and based on how little the appear and how difficult it is to play with metal Mario, I can't help but feel that the developers decided to throw these in at the last minute, and did not devote to these powerups the same amount of time that they did to the bulk of the game. It just goes to show you, even if you find a new and interesting idea you can throw in with a game to help keep the game from getting too monotonous, if it ends up just feeling awkward or if you are unable to devote enough time to its implementation, it's probably best just left out. Sure, the game may be a bit bland without it, but really by leaving it in you don't achieve your goal of making the game funner anyway, you just end up detracting from it. Besides, if the only complaint that your players can come up with is that the game was too long, you could be doing a lot worse. Having said all that, though, the game's flaws are very overlookable. I would recommend Mario to anybody who has never played it, regardless of how old the game is. (This entry has been edited1 time. It was last edited on Fri, 25 Jan 2008 04:35:32.)Fri, 25 Jan 2008 04:29:59 CDThttps://www.gamelog.cl/logs/LogPage.php?Log_Id=2063&iddiary=4019https://www.gamelog.cl/logs/LogPage.php?Log_Id=2063SUMMARY: You play as Mario, who gets a note from his girlfriend requesting his presence at her amazingly huge castle, where she happens to have paintings with a liquid-like permeable surface, which allow you to jump through the painting into a world loosely based off the painting that you jumped into. Peach is captured however, and you must enter her castle and explore the worlds within the paintings in an attempt to recover the 'power stars' scattered throughout the painting worlds, Once you get more power stars, you gain the ability to enter more complex and dangerous... erm.. paintings. GAMEPLAY: Mario 64 is a simple platformer. Your only abilities consist of crouching, running, punching, and jumping, but you can combine almost each and every one of these abilities to execute even more powerful abilities. Jump on most enemies to severely damage them, crouch while in midair to fly towards the ground and pound anything below you, crouch while running and then jump to execute a 'long jump' and fly great distances. The game is very responsive, due to this ability to combine moves and Mario's incredible responsiveness, you can tell that any failure you may have is purely your own fault, and you have only yourself to blame. Because of this, whenever you often feel more encouraged to try again, as you know that the obstacle you encountered can be passable with practice, and that the reason you failed previously was not simply because of some arbitrary game rule or unresponsive control scheme. It makes it a joy to play. This is one of those games that withstands the test of time. (This entry has been edited1 time. It was last edited on Fri, 25 Jan 2008 03:53:39.)Fri, 25 Jan 2008 03:52:37 CDThttps://www.gamelog.cl/logs/LogPage.php?Log_Id=2063&iddiary=4014https://www.gamelog.cl/logs/LogPage.php?Log_Id=1616GAMEPLAY: The second half of the game was more of the same. When I finally found something remotely fun to do, at the arcade, it turned 11:00 and I was teleported back home, so I had to run all the way back to the spot I was at previously. The areas opened up a bit more so a bit of the claustrophobic feeling went away, but the game got even duller. The game went from being incredibly linear, to far too expansive. I found myself wandering around the same town over and over, looking for some random person to talk to that gave me some clue about the next area. I also found often that, once I finally got to the place that I needed to go to, I had to wait 7-20 minutes for some stupid shop to open up, so that I could talk to people. The character control was poor, every time I tried to turn around I found myself bumping into things and fighting myself just to turn a corner. The funnest part about the game was playing tho arcade game 'Space Harrier', but if you really want to play that it would probably be easier to just get out and GET space harrier. DESIGN: One thing I noticed about the game is that it seems like the designers put way too much detail into a few minutia in the game -- phone calls, arcade games, soda machines, miniature toy vending machines, and so on. The problem is, it feels like they didn't spend any time at all making the game actually... fun. The game did have its funny moments, but most of the jokes come at the expense of the main character. Watching Ryu kneel in front of a machine blowing all his money on miniature toys, declaring how much he loves them and how he feels like he should buy more, as well as forcing him to call directory assistance to make him flounder because he has no idea why he called can be extremely funny for a short period, but after a while it just gets stale. There was no complexity to this game, and no challenge, outside of finding the people that you need to talk to. You only fight once, and you beat that by pressing 'A', then 'X', then 'Y', and then it's back to finding people to talk to. Basically, this game fails almost every test of being a 'game', based on our lecture last Friday. In the future, I would only play this game if I were being paid. (This entry has been edited1 time. It was last edited on Mon, 14 Jan 2008 15:33:44.)Sat, 12 Jan 2008 17:35:00 CDThttps://www.gamelog.cl/logs/LogPage.php?Log_Id=1616&iddiary=3338https://www.gamelog.cl/logs/LogPage.php?Log_Id=1616SUMMARY: The game starts out on a rainy day, where you find you grandma / other elder on the ground, writhing in pain. She tells you to head to the dojo, where you find your father facing off with some guy who asks about a mirror. Your father refuses to tell the guy where the mirror is, so he punches you and your father across the room, and threatens to kill you if your father doesn't say where the mirror is. Your father relinquishes the information, and is killed. The evil bad guy walks away with the mirror, and 4 days later you go looking for him. You hear about some evil bad car that the evil bad guy drove, and you go looking for it. GAMEPLAY: Quite honestly, this game sucks. Horribly. The first fun part of the game comes 50 minutes in, when you are able to play arcade games inside of an arcade shop. For every minute before you get to the arcade, you walk around a town talking to random people. The town was small and cramped, and I couldn't help but feel claustrophobic as I tried to navigate it, looking for somebody to talk to. The animation was horrible, and the voice acting was unconvincing. You had pretty much no choices to make in this game, the most exciting things I did was make calls to directory assistance and purchase a soda. I do not have high hopes for this game. (This entry has been edited1 time. It was last edited on Mon, 14 Jan 2008 15:32:52.)Sat, 12 Jan 2008 15:41:45 CDThttps://www.gamelog.cl/logs/LogPage.php?Log_Id=1616&iddiary=3333