After so many months playing through the iPhone edition of the game, iPad users FINALLY have their own version of Peggle, now in HD format. Yeah, yeah, it took damn long enough, right? Better that PopCap Games take their time on it and make it perfect, rather than rush it to the market in a lackluster format. After all, it’s PEGGLE. You don’t want to screw it up.
Rest assured, PopCap doesn’t. What we have here is one of the most addictive strategy games available on the App Store today, and for a budgetable price (at the moment) of $2.99.
You know the drill, right? Your job is to clear orange pegs away from a playfield by dropping a marble onto them. It bounces off of objects and other pegs, particularly blue ones. You’ll also need to try and build up a high score by hitting combos, performing long skill shots, hitting score multipliers (pink pegs), and using power-ups, each aligned with a specialty character, such as an animal or an alien. Each one is different, and you can select between them once you beat the game.
Peggle HD still plays as fantastic as ever. You can either aim on the playfield with touch screen controls, or use a scrolling wheel on the side for precision. Both work very well, and will keep you dropping marbles well into the night. You can also unlock Achievements in Game Center to show off to your friends, though there’s no direct online competition. Oh, well.
Now, being dubbed HD, you expect Peggle to look PHENOMENAL on the iPad, right? Well, good news – it does. The play fields are definitely up to par – in fact, past it – with great peg alignments, interesting object placements (damn fish!), and a cool zoom-in feature, if you want to see where a shot goes. Also, it’s still nice to have Extreme Fever kick in (with a little “Valkyries” in the background) kick in once you get that last peg. The music remains the same, but is pleasant background noise as you get through each stage.
No, nothing’s really changed, but if it ain’t broke, why fix it? PopCap Games has been making unbeatable social games for years, and Peggle maintains the status quo by being so simple, yet so delightful. The HD version is one of the best versions to date, and one that won’t set you that far back in your wallet. Drop some cash, then drop some balls.
From :
http://iphone.gamezone.com/reviews/item/peggle_hd_ipad_review
Minggu, 25 September 2011
Dark Souls Has Online Issues in Japan, Fix Coming Next Week - News
It seems the Japanese release of Dark Souls hasn’t gone very smoothly. There have reportedly been some issues with the game’s online functionality, and several gamers are experiencing freezes while connecting.
As you can probably guess, a lot of gamers are pretty annoyed by this. So what have they done to voice their anger? They’ve taken to the Japanese Amazon site and have been leaving negative ratings for Dark Souls.
Developer From Software has addressed the issue, stating that the source of the bug has been identified. The company will be working on a patch to alleviate these online issues. Japanese gamers can expect the patch to release sometime next week.
Here’s hoping Dark Souls has a smooth launch here in North America. We don’t need any pesky bugs giving us a hard time. No, we’d rather leave the source of our frustration and foul language up to the actual in-game content of Dark Souls.
http://www.gamezone.com/news/item/dark_souls_has_online_issues_in_japan_fix_coming_next_week
As you can probably guess, a lot of gamers are pretty annoyed by this. So what have they done to voice their anger? They’ve taken to the Japanese Amazon site and have been leaving negative ratings for Dark Souls.
Developer From Software has addressed the issue, stating that the source of the bug has been identified. The company will be working on a patch to alleviate these online issues. Japanese gamers can expect the patch to release sometime next week.
Here’s hoping Dark Souls has a smooth launch here in North America. We don’t need any pesky bugs giving us a hard time. No, we’d rather leave the source of our frustration and foul language up to the actual in-game content of Dark Souls.
http://www.gamezone.com/news/item/dark_souls_has_online_issues_in_japan_fix_coming_next_week
Senin, 19 September 2011
We get a closer look at the Child of Eden demo with which Tetsuya Mizuguchi revealed this Rez-like "synesthesia shooter."
First revealed at Ubisoft's E3 conference, Child of Eden is a "multisensory" shooter that combines showers of light and luminous sea creatures with pulsing electronic music that evolves or grows with the beats and samples generated in the explosive destruction of the obstacles in your path. Today, we took a closer look at the demo, again conducted by Tetsuya Mizuguchi, the game's creative director and creator of the similarly musical shooter Rez and blocky puzzler Lumines.
With its flying, tunnel-vision on-rails shooting, the game closely resembles Rez, albeit from a first-person perspective and rendered in glorious high definition at a smooth 60 frames per second. Mizuguchi also doesn't call it a sequel or direct successor to that earlier title, emphasizing Child of Eden's entirely different inspiration: the life theme, as he calls it, which manifests itself in the organic designs of the creatures to be shot at, including neon sea anemones and caterpillar-like creatures built of glowing cubes.
In our demo, Mizuguchi used the Xbox 360 controller rather than the controller-free Kinect system for the Xbox, as seen at the Ubisoft presentation. The controls seem simple and streamlined, with the left thumbstick used to move the reticle and the A button for locking on to a target. Also, with a physical controller, the vibration feedback at the heart of Rez is restored as part of the multisensory experience. Though a Sony PS3 version of Child of Eden is on the cards, no one is yet talking about Sony's Move capability, if any.
The game's high-definition kaleidoscope of color and light is lovely to behold and mixes the regular, tunnel-like environments (sometimes circular, sometimes square) with large, one-off structures. In the short demo, this included a giant anemone, a great, screen-filling wall built of endless glowing cubes, and a globe surrounded by the huge curved sides of what Mizuguchi calls a sound box: a vast wall with certain panels that can be targeted and hit to trigger different sounds.
These were looped vocals samples, in our case. Generally, the game's interactive audio included Lumines-like beats; its quality much improved over the PSP version of Lumines. Later, the background of the game looked much like a crisp satellite image of Earth, in keeping with the life theme and more conventionally a music video-style dancer. These acted as the backdrop to the psychedelic confetti of Child of Eden's busy, heads-up-display-free foregrounds. Child of Eden appears to be an essential title for the (still some way off) Kinect but will be just as good with the standard controller when it arrives, or so says Mizuguchi. There's no confirmed release window as of yet, but we'll be sure to have more as it becomes available.
http://asia.gamespot.com/
With its flying, tunnel-vision on-rails shooting, the game closely resembles Rez, albeit from a first-person perspective and rendered in glorious high definition at a smooth 60 frames per second. Mizuguchi also doesn't call it a sequel or direct successor to that earlier title, emphasizing Child of Eden's entirely different inspiration: the life theme, as he calls it, which manifests itself in the organic designs of the creatures to be shot at, including neon sea anemones and caterpillar-like creatures built of glowing cubes.
In our demo, Mizuguchi used the Xbox 360 controller rather than the controller-free Kinect system for the Xbox, as seen at the Ubisoft presentation. The controls seem simple and streamlined, with the left thumbstick used to move the reticle and the A button for locking on to a target. Also, with a physical controller, the vibration feedback at the heart of Rez is restored as part of the multisensory experience. Though a Sony PS3 version of Child of Eden is on the cards, no one is yet talking about Sony's Move capability, if any.
The game's high-definition kaleidoscope of color and light is lovely to behold and mixes the regular, tunnel-like environments (sometimes circular, sometimes square) with large, one-off structures. In the short demo, this included a giant anemone, a great, screen-filling wall built of endless glowing cubes, and a globe surrounded by the huge curved sides of what Mizuguchi calls a sound box: a vast wall with certain panels that can be targeted and hit to trigger different sounds.
These were looped vocals samples, in our case. Generally, the game's interactive audio included Lumines-like beats; its quality much improved over the PSP version of Lumines. Later, the background of the game looked much like a crisp satellite image of Earth, in keeping with the life theme and more conventionally a music video-style dancer. These acted as the backdrop to the psychedelic confetti of Child of Eden's busy, heads-up-display-free foregrounds. Child of Eden appears to be an essential title for the (still some way off) Kinect but will be just as good with the standard controller when it arrives, or so says Mizuguchi. There's no confirmed release window as of yet, but we'll be sure to have more as it becomes available.
http://asia.gamespot.com/
Kamis, 01 September 2011
El Shaddai: Ascension of the Metatron Review - Xbox 360
As a game reviewer (who has been at this for more years than I would sometimes like to admit), I have to say that a score of 3 is usually equivalent to an uninterested Meh. A three is a game, nothing more, nothing less. This does not apply to El Shaddai: Ascension of the Metatron. This three has passion on both sides. Some parts of this game deserve a five, while others deserve a two -- or dare I say it -- a one. So get ready for a passionate, heart wrenching, emotional, completely unsatisfying yet utterly deserving three.
A Tranquil Heart Is Life to the Body, But Passion Is Rottenness to the Bones.
Right off the bat, I want to talk about why El Shaddai is special. If you are interested in art direction, or are a person drawn to the visual nature of gaming, you should -- no you must -- check out this game. I loved the visuals. Maybe I need something stronger than loved. How about unequivocally adored? I unequivocally adored the visuals. Sometimes the screen is so bright it hurts your eyes.
Sometimes it's a 2D black and white pencil drawing. Sometimes it's a perfect cell shaded cartoon. Sometimes you are surrounded by abstract neon, sometimes it is drab industrial, sometimes you are in Tron. You really never know what look you are getting next, and you never see the same thing twice. It bravely challenges the notion that a game has to have a cohesive art style, and that feeling of never knowing what comes next, then being dazzled when you get there, is what makes El Shaddai a stand out game. The artists worked overtime, and they created beautiful, trippy, acid-coated magic.
The music however, is not so good. As a visual person, the quality of the music is usually lost on me. If I don't notice it, it's fine. I leave it to others to judge such things; however, if I notice how bad it is, and actually turn it off, that's not a good sign. You could make your own soundtrack. Pink Floyd should do you just fine.
I Pursued My Enemies and Overtook Them, and I Did Not Turn Back Until They Were Consumed.
El Shaddai is a 2D platformer, a 3D platformer, and a brawler all in one. The 2D platforming? Brilliant. Fantastic. Utterly under-represented. By the time you've made it through the first third of the game you will have enjoyed all the 2D platforming the game has to offer. There are some bonus (yet boring) Darkness 2D levels peppered throughout the rest of the game, but since failure at these levels means an agonizingly long and dramatic death scene followed by the game's credits, you quickly learn the unexplained advantages are not worth the potential downside, so you mainly avoid them.
Then, there are the 3D platforming levels. This is where I tried to find out if a 30-something video game host could actually rip an Xbox controller in half in utter, bitter, miserable %^&**R$^&^%'ing frustration (the answer is no, but my dog did leave the room for fear that things might soon get violent).
Now, before you get all your boy-panties in a bunch about how I couldn't actually be good at games because I'm a woman, I will say that 1. I have a mean headshot and 2. I can platform the &*%$ out of anything, being, as I am, of the Greatest Generation (the Nintendo Generation. What, you thought I was talking about war?). I love challenging platforming. No, I need something stronger than love - lets go with unequivocally adore. I unequivocally adore challenging platforming.
This platforming, however, has a fundamental flaw. The static camera is mostly positioned at an odd three-quarters angle. Combine this with the lack of camera control and the often abstract visuals, and you are basically platforming without depth perception. There are jumps you should be able to make without a second thought, but the controller-ripping problem is that they won't work except by chance. You can tell where the platform is on the x and y axis, you just can't tell where it is on the z-axis. You will fall again, and again, and again, and again, and again, and again, and again, and, not to put too fine a point on it, you will fall again. Then you will polish up your swear words, make sure your dog isn't in the room, and let a giant, jagged, pissed off f-bomb fly.
The brawler sections don't fare much better. The game would have been saved if they had just ripped off God of War like everyone else. Instead El Shaddai looked for inspiration somewhere in 2002. The simplistic, yet frustrating, combat is hindered by the lack of camera control but defined by the long animation and the cheap shot. An enemy finally gets close enough to get one shot in? That means he gets five brutal shots because you're down for the count.
The main problem stems from the fact that you are constantly locked into attack animations while your enemy is barreling down upon you. You spend most of your time hopping around like an idiot trying desperately to stay as far away from your foes as possible. There is a ranged weapon, but it spends most of its time shooting at the wall due to a tragic lack of target lock. You get your one shot in at the boss, and your stupid weapon not only shoots the wall, it locks you into shooting at the wall for several seconds while you can see your doom about to rain down upon you. Then you let another giant, jagged, pissed off f-bomb fly because you have already fought this boss three times.
And thus, we get to another odd part of the game: for some reason you fight the same bosses multiple times. In one case they are similar bosses (Foola & Woola are pretty much the same thing as Boola - they are all pigs with armor and you defeat them the same way), but in most cases you fight the exact same bosses you have already fought, with the same exact moves and the same cheap shots. It is just such an odd choice, and I can't figure out why they would do that. If you were happy that you accomplished a certain boss victory, and happy again you defeated him in his second monster form, you might find it frustrating to have to go through the whole process again a second, and even a third time throughout the game.
There Is No Speech, Nor Are There Words; Their Voice Is Not Heard.
You make this redundant journey mostly as the mute Enoch, sent by God to battle seven fallen angels and lock their souls away for eternity. They even have you go through the unnecessary motions of opening each of their prisons at the beginning, ready, no doubt, to receive the remains of your easily vanquished quarry. Right away, though you realize things are not going to follow this nice linear path, and, at the slight risk of spoiling too much, you're fairly far in the game before you actually manage to lock up anyone.
For our purposes, this is all you need to know about the plot, and while it's not earth shattering or transcendent, it is serviceable; however, you realize some plot points were cut. For example, in a cut scene at the end of a chapter, someone tells you your next task is to go see a Freeman named Sin and do whatever tasks he asks of you. Then in the loading screen it tells you that you did some tasks for the aforementioned Sin and now you are doing something else. Why bring it up at all if it wasn't originally intended to be included in the game?
I could nitpick for an hour, but let me just get to the meat of it. For any instant that the game is transcendent, the game has three moments of %^&**R$^&^%'ing frustration. The combat is so dated I sometimes felt like I was reviewing some low budget PS2 Samurai game from 2002. Having everything look different was a great conceit that I adored, and I also loved the idea that one game can have many different styles of gameplay. The problem comes from mixing a very modern game with some very outdated mechanics. I felt like this game was not the vision of one genius but the result of a number of strong wills each fighting for their own piece. It's too bad; El Shaddai could have been a classic.
I know there are a lot of people out there that will love this game, so if the visuals interest you, please check it out, I don't think you will be sorry. There were parts of this game I enjoyed a great deal, and I'm glad I played it, though the gameplay limitations will turn a number of people off so I can't unequivocally recommend this game. Maybe that is the true definition of a three -- perhaps it is not a Meh, but a game that walks a very fine line. Some people will love it, and some people will hate it. I hope that you choose to give it a shot.
Read more: http://www.g4tv.com/games/xbox-360/63954/el-shaddai-ascension-of-the-metatron/review/#ixzz1WiClUcMR
As a game reviewer (who has been at this for more years than I would sometimes like to admit), I have to say that a score of 3 is usually equivalent to an uninterested Meh. A three is a game, nothing more, nothing less. This does not apply to El Shaddai: Ascension of the Metatron. This three has passion on both sides. Some parts of this game deserve a five, while others deserve a two -- or dare I say it -- a one. So get ready for a passionate, heart wrenching, emotional, completely unsatisfying yet utterly deserving three.
A Tranquil Heart Is Life to the Body, But Passion Is Rottenness to the Bones.
Right off the bat, I want to talk about why El Shaddai is special. If you are interested in art direction, or are a person drawn to the visual nature of gaming, you should -- no you must -- check out this game. I loved the visuals. Maybe I need something stronger than loved. How about unequivocally adored? I unequivocally adored the visuals. Sometimes the screen is so bright it hurts your eyes.
Sometimes it's a 2D black and white pencil drawing. Sometimes it's a perfect cell shaded cartoon. Sometimes you are surrounded by abstract neon, sometimes it is drab industrial, sometimes you are in Tron. You really never know what look you are getting next, and you never see the same thing twice. It bravely challenges the notion that a game has to have a cohesive art style, and that feeling of never knowing what comes next, then being dazzled when you get there, is what makes El Shaddai a stand out game. The artists worked overtime, and they created beautiful, trippy, acid-coated magic.
The music however, is not so good. As a visual person, the quality of the music is usually lost on me. If I don't notice it, it's fine. I leave it to others to judge such things; however, if I notice how bad it is, and actually turn it off, that's not a good sign. You could make your own soundtrack. Pink Floyd should do you just fine.
I Pursued My Enemies and Overtook Them, and I Did Not Turn Back Until They Were Consumed.
El Shaddai is a 2D platformer, a 3D platformer, and a brawler all in one. The 2D platforming? Brilliant. Fantastic. Utterly under-represented. By the time you've made it through the first third of the game you will have enjoyed all the 2D platforming the game has to offer. There are some bonus (yet boring) Darkness 2D levels peppered throughout the rest of the game, but since failure at these levels means an agonizingly long and dramatic death scene followed by the game's credits, you quickly learn the unexplained advantages are not worth the potential downside, so you mainly avoid them.
Then, there are the 3D platforming levels. This is where I tried to find out if a 30-something video game host could actually rip an Xbox controller in half in utter, bitter, miserable %^&**R$^&^%'ing frustration (the answer is no, but my dog did leave the room for fear that things might soon get violent).
Now, before you get all your boy-panties in a bunch about how I couldn't actually be good at games because I'm a woman, I will say that 1. I have a mean headshot and 2. I can platform the &*%$ out of anything, being, as I am, of the Greatest Generation (the Nintendo Generation. What, you thought I was talking about war?). I love challenging platforming. No, I need something stronger than love - lets go with unequivocally adore. I unequivocally adore challenging platforming.
This platforming, however, has a fundamental flaw. The static camera is mostly positioned at an odd three-quarters angle. Combine this with the lack of camera control and the often abstract visuals, and you are basically platforming without depth perception. There are jumps you should be able to make without a second thought, but the controller-ripping problem is that they won't work except by chance. You can tell where the platform is on the x and y axis, you just can't tell where it is on the z-axis. You will fall again, and again, and again, and again, and again, and again, and again, and, not to put too fine a point on it, you will fall again. Then you will polish up your swear words, make sure your dog isn't in the room, and let a giant, jagged, pissed off f-bomb fly.
The brawler sections don't fare much better. The game would have been saved if they had just ripped off God of War like everyone else. Instead El Shaddai looked for inspiration somewhere in 2002. The simplistic, yet frustrating, combat is hindered by the lack of camera control but defined by the long animation and the cheap shot. An enemy finally gets close enough to get one shot in? That means he gets five brutal shots because you're down for the count.
The main problem stems from the fact that you are constantly locked into attack animations while your enemy is barreling down upon you. You spend most of your time hopping around like an idiot trying desperately to stay as far away from your foes as possible. There is a ranged weapon, but it spends most of its time shooting at the wall due to a tragic lack of target lock. You get your one shot in at the boss, and your stupid weapon not only shoots the wall, it locks you into shooting at the wall for several seconds while you can see your doom about to rain down upon you. Then you let another giant, jagged, pissed off f-bomb fly because you have already fought this boss three times.
And thus, we get to another odd part of the game: for some reason you fight the same bosses multiple times. In one case they are similar bosses (Foola & Woola are pretty much the same thing as Boola - they are all pigs with armor and you defeat them the same way), but in most cases you fight the exact same bosses you have already fought, with the same exact moves and the same cheap shots. It is just such an odd choice, and I can't figure out why they would do that. If you were happy that you accomplished a certain boss victory, and happy again you defeated him in his second monster form, you might find it frustrating to have to go through the whole process again a second, and even a third time throughout the game.
There Is No Speech, Nor Are There Words; Their Voice Is Not Heard.
You make this redundant journey mostly as the mute Enoch, sent by God to battle seven fallen angels and lock their souls away for eternity. They even have you go through the unnecessary motions of opening each of their prisons at the beginning, ready, no doubt, to receive the remains of your easily vanquished quarry. Right away, though you realize things are not going to follow this nice linear path, and, at the slight risk of spoiling too much, you're fairly far in the game before you actually manage to lock up anyone.
For our purposes, this is all you need to know about the plot, and while it's not earth shattering or transcendent, it is serviceable; however, you realize some plot points were cut. For example, in a cut scene at the end of a chapter, someone tells you your next task is to go see a Freeman named Sin and do whatever tasks he asks of you. Then in the loading screen it tells you that you did some tasks for the aforementioned Sin and now you are doing something else. Why bring it up at all if it wasn't originally intended to be included in the game?
I could nitpick for an hour, but let me just get to the meat of it. For any instant that the game is transcendent, the game has three moments of %^&**R$^&^%'ing frustration. The combat is so dated I sometimes felt like I was reviewing some low budget PS2 Samurai game from 2002. Having everything look different was a great conceit that I adored, and I also loved the idea that one game can have many different styles of gameplay. The problem comes from mixing a very modern game with some very outdated mechanics. I felt like this game was not the vision of one genius but the result of a number of strong wills each fighting for their own piece. It's too bad; El Shaddai could have been a classic.
I know there are a lot of people out there that will love this game, so if the visuals interest you, please check it out, I don't think you will be sorry. There were parts of this game I enjoyed a great deal, and I'm glad I played it, though the gameplay limitations will turn a number of people off so I can't unequivocally recommend this game. Maybe that is the true definition of a three -- perhaps it is not a Meh, but a game that walks a very fine line. Some people will love it, and some people will hate it. I hope that you choose to give it a shot.
Read more: http://www.g4tv.com/games/xbox-360/63954/el-shaddai-ascension-of-the-metatron/review/#ixzz1WiClUcMR
No More Heroes: Heroes' Paradise Review - PS3
No More Heroes: Heroes Paradise is fraught with problems. Some of them are intentional, as fans of the Wii original know very well. Some, unfortunately, are not, and it's that fact, coupled with the relative dearth of added content beyond what came in the earlier release, that makes AQ Interactive's Move-powered PlayStation 3 port a difficult thing to recommend.
A Disappointing Beginning
I really wanted to love this game. It repeatedly threatens to be awesome, but then something happens that makes you want to hurl the controller against the wall in frustration. Maybe it's three successive motorcycle crashes. Or spending more than a minute staring at screens and Yes/No prompts as your try to save your game. Or that damnable, newly added "boat signaling" minigame.
It could be any number of things, but most anyone who plays Heroes Paradise will be sorely tempted to turn off the console walk away at least once. Probably more than once.
The core game is largely unchanged. Suda 51's tale of Travis Touchdown, the eleventh best assassin in the world who, over the course of the story, fights his way to the top, is exactly as fans of the Wii game remember it. Nothing's been cut, though a few things have been added in the move to a new console.
In terms of the visuals, you're obviously looking at a much more attractive game here. While large portions of the user interface in No More Heroes maintain the original's 8-bit-style design, the world and the characters within it look greatly improved. Heroes Paradise might not give Skyrim much of a challenge, but the newly HD graphics suit it.
I Like To Move It, Move It
The Move controls suit the game perfectly as well, for the most part. The control scheme is essentially the same as it was with a Wii Remote and Nunchuk; most of the combat involves simple button-mashing, with the occasional swipe in one direction or another to finish off your opponent with some sort of dismemberment or elaborate wrestling maneuver. DualShock controls are also an option -- actually, it's the default -- but the Move option is definitely the one to go with if you can.
A number of boss fights from No More Heroes 2: Desperate Struggle are woven into the fabric of AQ's port as nightmare visions that pop up as the story unfolds, sort of like playable cutscenes. More boss fights is a good thing in a game like No More Heroes -- it's really what the game is best at -- but there's so little context offered for these additions that those who aren't familiar with NMH2 are going to have a hard time deciphering what's going on.
H.M.S. Frustration
Beyond the extra bosses, there are also some new secondary activities available. It's hard to screw up with assassin missions -- they're focused on combat, after all -- but some of the new side-jobs are controller-hurlingly awful. The Semaphore minigame springs to mind immediately.
On the surface, it's simple enough. You're signaling boats with two flags, which must be moved in different directions as a timer ticks down. The Move require waving the wand in one direction and pushing the analog stick on the Navigation Controller in the other, which is completely unintuitive. It also doesn't work roughly half the time, no matter how quickly you respond to the cues.
The best additions are the Score Attack mode -- which lets you fight all 15 bosses for points and leaderboard placement -- and the ability to replay the game's Ranking Fights (cutscenes too) from Travis' crummy motel apartment. You can also elect to warp to side-jobs and assassin missions once you've completed them once. Anything that keeps you off the back of the game's buggy, crash-prone motorcycle is welcome indeed.
Joey, Do You Like Menus And Loading Screens?
No More Heroes was a tough game to review for the Wii, and it continues to be difficult to gauge in its PS3 appearance. So much of the game's appeal is subjective and based on your nostalgic love for older, clunkier games. Personally, as close as classics like River City Ransom and Double Dragon are to my heart, I only view the onward march of technology as a good thing.
The older, clunkier games don't hold up well for me anymore, and NMH: HP is just as intentional a throwback to that sort of play as its Wii predecessor was. If you shudder at the thought of clicking through three menus to get to a slow-loading save screen and wrestling with the controls as much as you do with the Bad Guys, Heroes Paradise is most definitely not for you.
There are definitely things to love about Heroes Paradise for the right kind of gamer, but neither it nor the game it is ported from measures up against any modern-day release in terms of how it plays. Suda 51's original presentation is a brilliantly composed nod to video games and game culture, and it continues to be in Heroes Paradise, but that doesn't mean it's fun to play. Fans of the Wii game and fans of a more old school approach to game design will find a lot to love here; everyone else should stay away.
Read more: http://www.g4tv.com/games/ps3/64601/no-more-heroes-heroes-paradise/review/#ixzz1Wi9pr1FG
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