Blogging the experience of gameplayhttps://www.gamelog.cl/gamers/GamerPage.php?idgamer=632https://www.gamelog.cl/logs/LogPage.php?Log_Id=3072“Brain Boost: Gamma Wave” (Nintendo DS) Gamelog entry #2: GAMEPLAY After playing through the five games in Training mode, I tried Challenge mode. This is essentially the same as Training mode with three primary differences: there is a juvenile narrative involving the lost memory bank of Dino (who, it turns out, has a soy sauce-flavored rice cracker instead of a memory disk) which the player (Mickey) must recover by journeying across four continents of the planet Ronnoc; the minimum clearance is 60% of the 20 problems on each of the five games; and there is no point total. I managed to complete Level 1, Clifford Continent, and four out of the five games of Level 2, Patrick Continent. Which of the five games was I struggling with? You guessed it, Remember Images. In the course of playing "Brain Boost: Gamma Wave," I have found some techniques that have helped me to succeed. The first, which applies to several of the mini-games, but most specifically to Numbers, involves a cheat in a way--if I am presented with an 8-digit number, I disregard the first several digits and concentrate on the last four or five. This is because in the game, the choices with which I am presented exhibit little variation in the end of the number, so that only one choice exhibits the correct last group of digits. Thus, I exploit a limitation in the game to my own advantage. The other, more useful technique, which the manual explicitly references, involves the ability for the right brain to recall images almost like a photograph (this is how some people are able to speed read). In Remember Circumstances, instead of my eye roaming about the screen from tile to tile in an impossible attempt to quickly memorize the images before they disappear, I have found that simply staring straight ahead in the center of the grid, eyes still, I am able to gain a better mental "image" of the whole layout, and it is easier and more intuitive to then select the tile that doesn't belong. So, I am making progress! DESIGN If I have a criticism of "Brain Boost: Gamma Wave," it is two-fold: there is not quite enough variation in the game to make it compelling to play for longer periods of time than an hour or so (fatigue quickly sets in); the weakest element of the game is the narrative, which is perfunctory and merely distracting. Still, it is "cute," and does provide younger players with more of a "motivation," if you will, to play. The lack of variation--the entire game is essentially the five mini-games, is perhaps what was intended, because it does make the game easier to pick up and play for forty minutes a day. I note that the manual says that in order to develop new neural pathways in my right brain, I must train daily for at least three months. In this sense, "Brain Boost: Gamma Wave" is more of a daily mental exercise tool than a traditional video game. This is not a bad thing, as it demonstrates that video games are at least diverse in their utility in the practice of everyday life. Now, if I could only remember all my Internet passwords... (This entry has been edited1 time. It was last edited on Thu, 06 Mar 2008 01:02:21.)Thu, 06 Mar 2008 00:58:45 CDThttps://www.gamelog.cl/logs/LogPage.php?Log_Id=3072&iddiary=5797https://www.gamelog.cl/logs/LogPage.php?Log_Id=3072“Brain Boost: Gamma Wave” (Nintendo DS) GameLog entry #1: SUMMARY (quotes taken from game manual) "Brain Boost: Gamma Wave" (2006) for Nintendo DS is one of several brain "improvement" games available for the handheld. It is "designed to improve memory, concentration, and judgment by utilizing Makoto Schichida's 'right brain development theory.'" This game, and "Brain Boost: Beta Wave," are implementations of the Schichida Method, which involves "repeated daily drills of viewing shapes and colors, absorbing large amounts of information in fast rhythms, and being able to accurately reproduce those images visually." According to the game manual, over 400 schools in Japan teach the Schichida Method to children through the Schichida Child Academy, and there are "printed materials for adults." The goal of the game, through daily training, is for the player to improve the functioning of his/her right brain. GAMEPLAY "Brain Boost: Gamma Wave" consists of five different brain training mini-games and two modes of play in which to access them, Training or Challenge. The game is controlled entirely with the DS stylus, and is very easy to pick up and play. There are four levels of difficulty that automatically increase within each of the five games, each of which has 20 problems. In order to clear the Training mode, a score of 50% or more (out of 1000 points total) is necessary; in the Challenge mode, it is 60% of the problems. In Remember Colors, Remember Numbers, and Remember Faces, an image of colored dots, a number, or a cartoon face is displayed for a few seconds before it disappears, and the player must then select what was displayed. In Remember Circumstances and Remember Images, the player must select what was NOT displayed. In Circumstances, which works like a traditional game of Memory, tiled images are displayed in a grid, then one imaged is changed, and the player must select the image/tile that was not displayed. In Remember Images, the tiled images are shown in a sequence, rather than arranged on a grid, and then the player must choose the image/tile that was not displayed in the sequence from the arrangement of images on the grid. Here are my scores for each of the five games during my first gameplay round: My Training Scores (out of 1000): Remember Colors 602 (game cleared) Remember Numbers 687 (game cleared) Remember Circumstances 628 (game cleared) Remember Faces 796 (game cleared) Remember Images 481 (not cleared) As you can see, I almost managed to clear the Remember Images mode. I find this game the hardest, for some reason. It seems I am best at remembering faces, followed by numbers. Certainly, with more practice there is room for me to improve. Other observations: The graphics in the five training games are adequate. The cartoon characters in the animated cutscenes (of the Challenge mode) are blandly appealing. The music is cute and repetitive, but also strangely hypnotic. This is good because if it were too complex or interesting, it could possibly distract players from achieving their best scores. (This entry has been edited1 time. It was last edited on Thu, 06 Mar 2008 01:07:35.)Thu, 06 Mar 2008 00:57:28 CDThttps://www.gamelog.cl/logs/LogPage.php?Log_Id=3072&iddiary=5796https://www.gamelog.cl/logs/LogPage.php?Log_Id=2624“Kirby's Adventure" (NES) GameLog entry #2: GAMEPLAY As I continued to play, I realized that what makes "Kirby's Adventure" special to me is Kirby and his game world. To play the game is to enter an innocent, delicate, magic circle that is quite enveloping. A world has been created here that exists entirely apart from reality, but that is as comforting as some fluffy dream you had when you were two. Something I noticed during this gameplay session is that, unlike some of the Mario games for the NES, one could conceivably play through the game, unlocking levels as fast as possible, attempting to avoid (rather than vanquish) enemies, but a lot of the fun of the game would be lost to the player who takes this approach. I note that this is possible because so far, the levels have been much less restrictive in terms of moving from beginning to end than any of the Mario games. DESIGN There are seven levels in the game, and within each are multiple sub-levels that must be completed in a linear fashion to unlock subsequent sub-levels. There are also bonus games sprinkled throughout "Kirby's Adventure." One of the more interesting design elements in the game is that Kirby can steal his enemy's abilities (there are dozens to acquire). The other design element that I found succeeded is Kirby's ability to inhale an enemy, then spit him out in the form of a star that can destroy another enemy or break a block. The boss design is particularly inspired--Kirby must usually use whatever the boss is hurling at him against him by inhaling the object and spitting it back at him (giving the boss a dose of his own medicine). Kirby can do so many things--fly, swim, jump, squat, slide--it's a wonder he manages to stay as round as he does. Actually, so many abilities--for Kirby, as well as abilities Kirby acquires from enemies--keep the game challenging, varied, and fun. This is a wonderful game.Fri, 15 Feb 2008 05:22:25 CDThttps://www.gamelog.cl/logs/LogPage.php?Log_Id=2624&iddiary=4976https://www.gamelog.cl/logs/LogPage.php?Log_Id=2624“Kirby's Adventure” (NES) GameLog entry #1: SUMMARY (quotations taken from game manual) "Kirby's Adventure" (1993) for the Nintendo Entertainment System, by general consensus one of the best games published on the system, is a platform game in which the player controls Kirby, who looks like a cross between Pac-Man and a creampuff, but cuter. It seems Kirby, along with other inhabitants of Dream Land, have been unable to dream of late. Upon investigating the cause by visiting the Dream Spring, which powers the Star Rod (it created the Dream Spring and is the symbol of Dream Land), Kirby discovers King Dedede (whose last name sounds like my childhood word for cookie, minus an extra "de") "in the middle of the Dream Spring, in place of the Star Rod,...covered with bubble bath." (Shocking, I know.) More troubling, Dedede broke the Star Rod into seven pieces, each of which he gave to one of his friends (who naturally must be Kirby's enemies). The goal of the game is to recover the pieces of the Star Rod, so Kirby can "return the sparkle to the Dream Spring so that the people of Dream Land [can] again enjoy their happy midday naps." GAMEPLAY I have played many NES games over the years, but I'd not been familiar with any games starring Kirby. I enjoy games that possess the imagination and perspicacity to avoid repetitive violence or nihilism, and "Kirby's Adventure" is such a game. It is whimsical and charming, and very cute. The designers of this game must love children (and their inner child) as much as I do; I imagine Kirby appealing to pre-toddlers and grandparents alike, reaching children even younger than another venerable Nintendo mascot, yes--Mario. The gameplay so far seems like fairly typical Nintendo platform fare, which is to say--challenging. Controls are simple, but timing, as in most platform games, is crucial. The enemies are varied, and the game is enchanting so far. Other observations: As has been reported, the graphics of "Kirby's Adventure" are some of the best on the 8-bit NES. By 1993, when the game was released, the NES had been superseded by the SNES, had been on the market for nearly eight years, and developers knew how to exploit the full potential of the hardware. Kirby's game world is bright, colorful, and imaginative. The music is eagerly whimsical, and is a big contributor to the innocent, upbeat tone of the game. It also does a good job of sticking in your head while you're playing, and sometimes while you're not. (This entry has been edited1 time. It was last edited on Fri, 15 Feb 2008 05:18:05.)Fri, 15 Feb 2008 05:13:15 CDThttps://www.gamelog.cl/logs/LogPage.php?Log_Id=2624&iddiary=4975https://www.gamelog.cl/logs/LogPage.php?Log_Id=2541“Broken Sword: The Shadow of the Templars" (Game Boy Advance) GameLog entry #2: GAMEPLAY Playing the game more, I realized that I was becoming wrapped up in the story, and the story is what drives me to play most adventure games, not the gameplay. While impatient gamers may be turned off by the lack of action, I enjoy games that take their time to immerse the player in the game world. Yes, as a traditional adventure game, it is almost slavishly linear. It is a game of progression, but it's not the destination nor the progress that is compelling, but the journey. As such, like a good movie, I like to revisit the adventure games I have played in the past from time to time, to re-experience the unfolding of the story. The gameplay of "Broken Sword" is so familiar to me from countless other adventure games it almost feels like second nature, and so it is harder for me to be as objective, I admit, about it as a result. That said, I feel confident that what "Broken Sword" does well, and what any good adventure game does, is the same as what a good story does: allows the player/reader to identify with the main character, thus making the events in the story more interesting and involving. When I was in Paris, less than a year ago, I could have been George, sitting there in that café! DESIGN One of the most significant differences from the PC original is that there is no voice acting in this version, again due to space limitations of the cartridge format. While this is a significant loss, I don't believe it really hurts the overall game. Some may complain that this means there is too much reading (and there is a LOT of reading in this game), but I don't see that as a bad thing. Actually, I see it as a good thing--this videogame is one of the more literate around. The dialogue is well written, and the vocabulary of the characters is not limited to Basic English, unlike the vast majority of game characters. The other significant difference is that cut scenes use key frames from the fully animated original's, again due to the limited space on the cartridge. Because the original cut scenes were so well done to begin with, this is another lamentable loss, but the essential narrative remains soundly intact. I really enjoy games like "Broken Sword," and so I had a hard time coming up with much to criticize about it. One thing I always appreciate in an adventure game, which is lacking in this one, is a speed control. Sometimes it can be a bit trying to watch George traverse the screen from right to left or left to right for the umpteenth time. Some games allow the player a shortcut key so the character movement animation is skipped, and some have a speed control. I think either of those might improve the game slightly. I grew up with "King's Quest," "Gabriel Knight," and many other classic graphic adventures. Call me old fashioned, but I wish the industry would produce more of them. Whatever design or gameplay problems or limitations they may have had, their foremost goal--which they achieved, by and large, spectacularly--was to immerse the player in a good story, something that I enjoy diving into more than getting itchy trigger fingers. (This entry has been edited2 times. It was last edited on Sat, 09 Feb 2008 01:22:40.)Sat, 09 Feb 2008 01:13:08 CDThttps://www.gamelog.cl/logs/LogPage.php?Log_Id=2541&iddiary=4783https://www.gamelog.cl/logs/LogPage.php?Log_Id=2541“Broken Sword: The Shadow of the Templars” (Game Boy Advance) GameLog entry #1: SUMMARY "Broken Sword: The Shadow of the Templars" (2002) for the Game Boy Advance is an adaptation of the 1996 PC third-person graphic adventure "Circle of Blood," the first of what now constitutes four installments in the "Broken Sword" series. This release for Game Boy Advance, one of the few traditional graphic adventure games available on hand held consoles, reflects the original title of the 1996 UK PC edition (it was developed there by Revolution Software Ltd.). The player controls George Stobbart, an American tourist vacationing in Paris. One day, while sitting outside a quaint, idyllic café, he sees a clown enter the building behind a man with a briefcase that he later discovers held an ancient manuscript dating back to the Knights Templar of the 14th century. Soon after, a bomb detonates, destroying the café's façade. George barely escapes with his life, and the game begins... GAMEPLAY I had played the original game many years ago on the PC, and remember enjoying it immensely at the time. I have always liked story-driven games, which is one of the reasons many of the games I own are traditional graphic adventures, and I was curious to know if this Game Boy Advance version of the game made a successful transition to the hand held system. I was pleasantly surprised. Rather than the point-and-click interface of the PC original, the D-pad is used to control George, and one of the things I particularly like about the gameplay of this edition of the game is that the dreaded pixel hunting of mouse-driven games has been eliminated by what Revolution calls the Vista menu. By hitting the R button multiple times, the game will cycle through the various "hot spots"--the things in the game world that George can either look at or interact with. This makes for far less frustrating gameplay. I wish the original PC game had a similar feature! I love the conventions of the adventure game genre, nearly all of which are present in "Broken Sword." There is the inventory (seemingly unlimited--George must have large pockets), puzzles that need to be solved by using inventory items on people and objects, and much observation about the game world made by George, etc. When I picked up this game, I knew exactly what to expect, and it delivered. It's the same reason I eat pizza. Other observations: The graphics are done as well as can be expected on the Game Boy Advance, and Revolution has done a respectable job of translating the more detailed original PC graphics to the smaller screen of the hand held system. At times, it almost feels like I am controlling characters in a doll house, and I mean that as a compliment. The MIDI music is well done too, and sounds very much like the original. The original game, as I recall, had a full orchestral score, but obviously, for space reasons owing to the cartridge format of the Game Boy Advance, it could not be carried over. (This entry has been edited1 time. It was last edited on Sat, 09 Feb 2008 01:18:29.)Sat, 09 Feb 2008 01:11:01 CDThttps://www.gamelog.cl/logs/LogPage.php?Log_Id=2541&iddiary=4781https://www.gamelog.cl/logs/LogPage.php?Log_Id=2236“Shadow of the Colossus” (PlayStation 2) GameLog entry #2: GAMEPLAY In this second gameplay session, I found some of the controls to be awkward. For example, when riding Agro, I tired of continually pressing the X button to kick him into action. I would have preferred using one of the analog sticks for movement. I also think there are too many camera-related controls (analog stick, L1, R2)--it is difficult to remember the differences. I am not sure the camera is entirely successful. The player is able to control it using one of the DualShock analog controls, but the game itself sometimes chooses to move it in a way that prevents the player from seeing where he is going. This happened to me more often when I came upon a rocky impasse, and my horse would turn around and run the other direction, but the camera wouldn't. This is a minor quibble, however, for the camera effectively conveys a sense of excitement--when the horse is galloping full steam, the camera swoops in close, even slightly "jiggling" for a realistic hand held aesthetic. DESIGN What is good--very good--about "Shadow of the Colossus" is the challenge of defeating the colossi themselves. Each is a kind of puzzle, in a way, and the player must use logic and skill to defeat them. What is so-so about the game is the time it takes to get to the next challenge. As beautiful as the game world is, I often felt that it took too long to make any progress. The world is vast--so vast--that the player can ride his horse for miles and miles without encountering any body, creature, or object to interact with. The designers have implemented a clue to guide the player to his next destination--he can follow the beam of light reflected off his sword. But even with this as a guide, the pauses between colossi battles can drag on very long. Unfortunately, beyond the initial "wow" factor of the gorgeousness of the game world, this does not make for immersive gameplay. My entire second gameplay experience (1 hr. 10 min.) was spent riding around on my horse, making periodic stops to check the map and calibrate my sword-compass. The other criticism I have is the map, which is not much help in figuring out where to go next, and how it is implemented in the game. Perhaps I have been spoiled by the convenience of being able to always see both the game world and the map on my Nintendo DS, but I would have liked for the designers to have incorporated a map overlay. As it is, the player must hit "Start," which pauses the action and replaces the game world with the map. I found myself having to toggle back and forth this way all too often--more than I would have liked. This is a wildly ambitious game with some frustrating elements, but I don't think I will let them deter me from continuing to play and enjoy. Overall, my initial impression is that "shadow of the Colossus" gets more right than it does wrong. If nothing else, the game is a memorable visual feast of the first order. (This entry has been edited3 times. It was last edited on Sat, 26 Jan 2008 02:54:38.)Sat, 26 Jan 2008 02:38:13 CDThttps://www.gamelog.cl/logs/LogPage.php?Log_Id=2236&iddiary=4346https://www.gamelog.cl/logs/LogPage.php?Log_Id=2236“Shadow of the Colossus” (PlayStation 2) GameLog entry #1: SUMMARY "Shadow of the Colossus" (2005) is an action/adventure game for the PlayStation 2 in which the player, a callow youth, must defeat, with the help of Agro, his trusted steed, the eponymous giant, mythic colossi that populate an expansive fantasy world in order to reawaken his sleeping beauty from an eternal slumber. GAMEPLAY I was immersed in the world of "Shadow of the Colossus" from the opening cinematic, and indeed, the entire game has a very cinematic quality. The camera swoops, rotates, pivots, dollies, zooms, retreats; I noted that the designers even used Hitchcock's "Vertigo" technique of zooming in one direction while tracking in another, producing a disorienting effect, along with effective motion blur. The game generally runs smoothly, although its world is so huge that occasionally frame rate suffers. If I have a criticism of the game, it is that I spent a good hour or so just wandering (I note that the game's original Japanese title was "Wanda to Kyozo," which translates as "Wander and the Colossus") before I encountered the first colossus. The player must climb its leg, make his way up its back, to the top of its head, and thrust his sword through it multiple times to bring the creature down. This was easier said than done, and provided an efficient and exciting challenge. Other observations: The graphics in this game are exquisite, and the way the designers have carefully modulated light and shadow as the player moves through the game world is masterful; the game has the feeling of some half-remembered dream. Agro moves and behaves like a real horse, and the colossi are even a little whimsical, with their elephantine lumbering, intermittently furry body and legs, and tiny, beady eyes. I don't know why, but I felt a little sorry for killing them. They remind me of an overgrown Totoro, in their odd, Japanese way, and I mean that as a compliment. The music, particularly the majestic, fully orchestral piece that plays during the slaying of the first colossus, is suitably atmospheric. There are even some gorgeous choral chants during the opening cinematic. Also, I was pleasantly surprised to hear the game characters (well, so far, only the disembodied voice) speaking Japanese, as too often domestic versions of Japanese games are dubbed into English, losing part of their unique character and charm. (This entry has been edited1 time. It was last edited on Sat, 26 Jan 2008 02:40:32.)Sat, 26 Jan 2008 02:37:57 CDThttps://www.gamelog.cl/logs/LogPage.php?Log_Id=2236&iddiary=4343https://www.gamelog.cl/logs/LogPage.php?Log_Id=1804“The Legend of Zelda: Phantom Hourglass” (Nintendo DS) Gamelog entry #2: GAMEPLAY As I play the game more, I note that everything about “Phantom Hourglass” is well done and polished, in design, gameplay, and presentation, right down to the in-game cutscenes, which employ sweeping camera moves for an epic feel. The story seems to be standard "Zelda" adventuring fare, which is to say that it is just a narrative framework on which to hang mini quests and puzzles. The Princess is kind of like the MacGuffin in a Hitchcock film; she is the instrument of the story that drives the characters and sets the plot in motion. As the “object” of Link’s larger quest, she is swappable with treasure, a magic map, the Ocarina of Time, etc. Perhaps if I knew her better (having not played “The Wind Waker” yet), or felt more of an emotional connection between the Princess and Link, but…I digress—these are cartoon characters. I don’t play Zelda games for the story; the gameplay and overall craft is more interesting to me. This game is extremely addictive, because there is always just…one…more…mini quest…until you get stuck! :-( I managed to get off the island and make my way to another island, one with an imprisoned fortuneteller. The game incorporated the use of the built-in DS microphone for the first time. I said out loud, “Who’s there?” and the fortuneteller responded. Pretty cool! I seem to be at a bit of an impasse at the moment, however, after freeing the fortuneteller. I am to make my way to the summit of the island, where there is an active volcano. I can’t seem to blow out the candles next to the gate allowing passage to the summit, and I’m not sure how. It is at crossroads like this that I turn to hints online! :-) (EDIT: I just read another GameLog entry stating that blowing on the microphone will blow out the candles! Of course! D'oh! :-) DESIGN The implementation of the stylus in the game is a real innovation. One of the nicer features of "Phantom Hourglass" is the ability to draw on maps using the stylus; this saves the player from having to take written notes outside the game. The ability to write with the stylus is not a gimmick, but integral to the game design, as the first few minutes on the island make clear. Link must find Oshus' (the father figure/“Grandpa” to Link) sword, but it is hidden in a chamber protected by a blank “sign” that requires a “password.” As the fairy, Ciela, instructs Link, the player must write the number of palm trees on the island (7) with the stylus on the sign in order to enter the chamber and retrieve the sword. Playing the game for another hour or so, the stylus disappeared from my awareness, allowing me to manipulate the game directly. I initially found that it obscured some of my view of the screen when traveling, and while that is still the case, it is a minor trade-off for a more intuitive design. The only maneuver I’m having slight difficulty with performing is the roll, executed with swift small circular motions of the stylus. While I eventually got Link to perform it, it took some trial and error. He would instead occasionally launch into a spin attack with his sword. Luckily, I don’t seem to need to use this maneuver very much in the game. “Phantom Hourglass” is a textbook example of how best to implement the dual screens of the DS in the design of a game, enabling a map, or a sea chart, to be displayed on the top screen while the bottom touch-screen hosts the main game action. This makes knowing where Link is at any given moment very convenient. There is also a multiplayer "Battle Mode" that I have not yet tried. It allows one to play against anyone in the world over Nintendo WiFi connection. I’ll leave it until after I complete the Adventure Mode. (This entry has been edited4 times. It was last edited on Tue, 15 Jan 2008 01:56:05.)Tue, 15 Jan 2008 01:38:02 CDThttps://www.gamelog.cl/logs/LogPage.php?Log_Id=1804&iddiary=3706https://www.gamelog.cl/logs/LogPage.php?Log_Id=1804“The Legend of Zelda: Phantom Hourglass” (Nintendo DS) GameLog entry #1: SUMMARY (quotes taken from game manual) "The Legend of Zelda: Phantom Hourglass" (2007) for Nintendo DS is an action/adventure role-playing game in which the player controls the protagonist, Link ("the boy in green"), from a third-person 3D perspective using the DS stylus and touch screen. Picking up its story where the GameCube's "The Legend of Zelda: The Wind Waker" (2003) ended, Link must rescue Tetra (aka Princess Zelda of the Kingdom of Hyrule) from the evil Ghost Ship, which vanished into the ocean fog soon after she boarded it "to investigate." In an attempt to rescue her, Link fell into the sea, washing ashore on a nearby island, where the game begins... GAMEPLAY "Phantom Hourglass" is the first DS game I have played, and I was impressed by how easy the system is to use and enjoy. The stylus controls everything in the game, and it is to the designers' credit that it has been implemented so well you don't want to go back to fiddling with the control pad or A/B/X/Y buttons. Want Link to attack an enemy? Just tap the stylus on the enemy, and Link does the rest. Want to talk to the shop owner? Tap him. Pick up that chicken? Just tap it. I love the simplicity of this design--I don't have to remember what individual buttons do! This makes for far more engaging gameplay. The game can be broken down into multiple "mini quests" that the player embarks upon in service of the larger goal in the story--the rescue of the Princess (a cliché, to be sure, but it works as a "legend" I suppose). The Nintendo designers draw upon the psychological principle of variable reinforcement to pepper these mini quests throughout, thus the game is made compelling to play. For example, Link must charter a ship off the island, but he can't do that until he finds (and frees) the captain, and he can't do that until he has a sword. Completing these mini quests is fun, and compels the player to continue playing. As in other Nintendo games I have played ("Super Mario 64" for Nintendo 64 comes to mind), characters in "Phantom Hourglass" like to break the fourth wall. That is, there are times when they are aware they are in a game and are telling Link/the player how to perform a game action ("do this with the stylus to do this"). This is clearly useful to beginning players (and people who skipped reading the game manual), but would be taboo (I would think) in a game striving for realism. Link doesn't say much, and it is sometimes a little confusing as to who is talking. All of the dialogue in the game is text (no recorded speech, owing to the limitations of the cartridge format), but that is fine. What is a little awkward is that in a conversation, Link will not say anything, whereupon a character will respond with something like "What?!? You're looking for the Ghost Ship?" We probably know what Link would say, but it breaks the flow of dialogue when we must intuit that Link has spoken. Other observations: The graphics are in the style of "The Wind Waker" (not the more recent, “realistic,” and less cartoony, "Twilight Princess"). The cel-shaded characters are appealing, particularly Link, with his large, anime eyes. The sprites (blocks of textures on the ground, plants, trees, etc.) remind me fondly of the original NES game, but are, of course, much nicer to look at. The music is also quite well done (as seems to be typical of the Zelda series). I particularly like the delicate "shop" music that plays in interiors on the first island. (This entry has been edited2 times. It was last edited on Tue, 15 Jan 2008 05:07:27.)Tue, 15 Jan 2008 01:31:03 CDThttps://www.gamelog.cl/logs/LogPage.php?Log_Id=1804&iddiary=3701