Killer Is Dead Review

   This generation we have seen a good many franchises and series take a firm foothold and become hugely successful, so much so that sequels have become a common order of the day. We have seen new IP in the form of Gears of War and Uncharted trilogy’s, both becoming hugely successful and significantly raising the bar in standards for each respective genre they’re in. We have also seen series from the previous generation such as Call of Duty, Battlefield, Halo and Killzone all go from modest success to global dominance, while other series like Tomb Raider, Medal of Honor and Resident Evil have had to fight it out to stay relevant and fresh with varying degrees of success.

   Fortunately there are still plenty of original and down right quirky games being released, more so than the amount of sequels filling shelves this generation if only gamers would dare dig each consoles library a little deeper. So at the tail end of the longest console generation on record, and at the twilight of a new one set to be even longer, ask yourself whether you’re satisfied that you have played and experienced all this generation has to offer before moving onto the next? Bored and choked with disinterest with the same old sequels, are you sure there aren’t any other types of games and genres left to discover and tap into from this generation, before spending in excess of £400 on the next to try and fill your waning interest?

   Well here is a suggestion, try playing Killer Is Dead as it might just put a smile on your face and more than likely result in a raised eyebrow or two, as its unique over-saturated cell shaded look and sheer quirkiness will keep you going back for more. This is a game set in a familiar genre (hack-n-slash,) that happens to be less hardcore combo heavy in its gameplay than say Devil May Cry and Bayonetta, but rather more easily accessible to a wider audience without falling into the trap of being mind numbingly boring and hemmed in by genre constraints. While other games in the genre like the aforementioned are extremely over-the-top flamboyant and exuberant in their gameplay elements, relying on multiple combos and quick time events in dramatic succession to pummel and pound enemies into submission, Killer Is Dead is more reserved in that respect. While this game does have its combos, they are simple and nowhere near the extreme as other games, as the gameplay in this game is fashioned more towards block, avoid and counter attack to fend off multiple enemies, dance around them, and hit their weak spot to take them out as quick as possible. But rest assured that Killer Is Dead is just as action packed and bloody as any other game in the genre as enemies get dispensed and impaled on your characters katana.

   This reserved approach to the gameplay transfers to the upgrade system in the game to as its all kept simple and minimalistic in its approach. Your Characters Health and Blood gauge (the latter used when replenishing health or using the arm weapon) are upgraded automatically as you work your way through the game, while the upgrade menu allows you to buy or upgrade certain abilities. Upgrades and gauge replenishment come from crystals and gems emitted from dead enemies and destructible scenery, Moon Crystals are collected and used as currency to buy upgrades while Blood Roses and Health Gems will slowly increase the blood and health gauge.

   The game is split into four different game types for you to choose from on the world map which acts as the mission menu screen; these are the main story missions, sub (side) missions, gigolo and challenge missions. The main story is 12 acts long and probably lasts somewhere between 8-10 hours long if that, but when you add all the other different missions to choose from it can far exceed this in length. Sub missions are off-shoots from the main story though not necessarily related to it; they become unlocked and are set in an area of the game you have just completed. Sub missions all tend to vary from one another, some are very small story’s unto themselves, others mere challenges such as fighting through an area within a certain amount of time or finding various hidden items throughout a level. Scarlett, a Nurse in a skimpy revealing outfit holding a giant syringe can be found hiding somewhere within a level of each act of the main story, finding her will not only rejuvenate your characters health and blood gauge, but unlock various challenges. These challenges take part in an arena where you will have to meet certain criteria to win such as defeating only one type of enemy out of a swarm or killing a certain number within a time limit and so on. Finally gigolo missions are basically where your character meets up with various women he has met during the story and it is your job seduce them to receive a reward. This is achieved by staring at various parts of a woman’s body like her cleavage for example, the longer you stare without her catching you, the more points you acquire to fill a gauge. Once the meter is filled you can offer her a present (bought from the gift shop,) and you will receive more points towards another gauge depending on how much she likes the gift, fill this second gauge up and you have successfully seduced your lady. Honestly I’m not making this up; it really is in the game!

   In Killer Is Dead you take control of Mondo Zappa, a suave and sophisticated ladies man who is as sharp with a katana as he is with his one liners. He is part of a state sanctioned executioner’s office run by Bryan and Vivienne who take on contracts to hunt down and execute various monsters and creatures that have begun to inhabit Earth and the moon. The story, the way in which it is presented to the player and the style of it for that matter is quite different to your conventional game, its nothing new by any means, but certainly one some will like while others will not. The story will not be altogether clear at the start of the game, sometimes confusing even especially at the beginning as you try to wrap your head around the sheer quirkiness of it all. But this distinctly Japanese story becomes clearer the further through it you progress, as it slowly unravels and opens up with each mission the less perplexed you will be with a firmer grasp of the bigger picture.

   Grasshopper Manufacture (Suda 51) has done a great job with this game and don’t let anyone persuade you any different, as this game is just as good in its own right as any other game from this company. If you have played any other recent Suda 51 games such as No More Heroes or Lollypop Chainsaw then you should know just what to expect (or not to expect) here, and if you enjoyed them then you should enjoy Killer Is Dead. However if you have played a Suda 51 game before and ended up not liking it for one reason or another then there is a strong chance you wont like this game. What I like about Killer Is Dead is that they chose to make a hack-n-slash game without the pomp found in other games of the genre, with gameplay focused on avoid, defend and attack rather than constant super combos. By taking this direction in the gameplay they have managed to make the game stand out and stand tall on its own merits rather than following the same tried and tested formula and becoming lost in the genre. Yet the game hasn’t lost out, it packs a punch just as much as Bayonetta does with crazy bosses and swarms of enemies, Killer Is Dead just follows a more subtle yet quirky path with a different approach, this game is without doubt a must have for fans of the genre.

Read More

El Shaddai: Ascension Of The Metatron Review

   El Shaddai is easily the best platformer I have played since the likes of Sonic the Hedgehog on the Sega Master System, which is a game I honestly never thought would be equalled in the genre, let alone surpassed. I have of course enjoyed many platform games over the years since, but while many are and were brilliant, none of them have come close to matching Sonics first Master System outing. Until that is when I finally played El Shaddai, a platformer that didn’t equal it, but surpassed and smashed it. Yet I have found myself staring at the box for the best part of ten minutes before starting work on this review, just contemplating on how best to go about reviewing this game. I have never felt daunted at the thought of reviewing any game, or felt so lost on how to approach one, but I find myself in just such a position with this amazing title. Not because its bad, or because I don’t understand it, but because it has overwhelmed my expectations of it by breaking free from shackles of decades old tradition, undermining my tired notion of what a platformer should adhere to be, while leaving me unable to wrap my head around various parts of it and quantify the game into a neat tidy label at its spectacular conclusion.

   El Shaddai is a game inspired by religion, taking much of its inspiration and story from the Old Testament and The Book of Enoch in particular. It is inspired by all the great stories, myths, places and people found within, and you will see and hear this religious Judo Christian influence throughout the game as it is the makeup and binding force that makes the game what it is. Apart from its Jewish and Christian influence, you will also come across others in the mix as well, Buddhism and Hinduism for example, though not nearly as strong they are clearly there, in some chapters they are apparent in the visuals, in others the music, but they are woven in there and are rather more subtle. Don’t think of this game as one that wears its religious influence on its collar and tries to force some belief upon you as that’s not what this game is about. Think more of ancient history and some of the old myths and stories, as the developers take that Old Testament good story telling aesthetic and feel and make a game influenced from it, and an amazing job they have done to, as El Shaddai feels like an ancient story about God, Angels and Man, one that doesn’t feel at all out of place.

   The way in which the story is told and presented also does it in such a subtle way that follows the ancient astronauts theory that God and Angels are, or were, extra-terrestrials, aliens if you will, who came to Earth, created mankind, had a plan for their creations and influenced their development throughout history. Furthermore heaven and hell are different areas where they preside and Enoch’s (Enoch is the main protagonist in the game) weapons from God as well as other things are nothing more than alien technology that ancient man interprets as god-like instruments. This isn’t something that is openly suggested or put to the player in any way, its just a subtle thing that’s there that is open to interpretation by the player. Whether this was intentional by the developer or whether I’m just projecting my beliefs upon the game and its story I'm not entirely sure. But what’s cleaver is that the game in itself can be left to this kind of interpretation by the player, (perhaps because of the religious theme and story, and religion itself being open to many ways of interpretation itself,) and what one may see within it may be different to what someone else will interpret from it. Again whether this aspect of the game and its story was an intentional element or not is anyone’s guess, but it’s certainly a unique and interesting side to the game I haven’t come across before.

   The story goes that God has a purpose for Man, one that was put into place when he created mankind and placed them upon the Earth. God appointed his loyal angels, the Grigori to watch over mankind from Heaven, who over time had become besotted and captivated by the lives of man. They eventually descended from the Heavens and lived amongst man, influencing them and procreating with those they once watched over. The Fallen Angels corrupted man with sin, causing them to deviating from the plan God had laid out for them, creating a false path for man to follow. Angered by the Fallen Angels betrayal of God, the Council of Elders in Heaven decided that the only way forward was to wipe the Earth clean of man corrupted by evil and sin by creating a great flood upon the Earth. One man, a scribe named Enoch brought to Heaven by God, pleaded before the Council of Elders against flooding the Earth. They agreed to spare mankind on the condition that Enoch returned to Earth, find the Fallen Angels and bring them back to Heaven to face Gods judgment. So Enoch returned to Earth on his quest, guided by the Archangel Lucifel, he must find the Fallen Angels and cleanse man of their sin.

   El Shaddai is a 2D/3D hack-n-slash platformer, it seamlessly blends both 2D and 3D platforming elements together to such a degree the game has nailed the formula with its first go. In this game the transition between the two different perspectives has quite literally been worked to a fine art. One minute you will be in the 3D perspective, often with the viewpoint from an interesting angle, running, jumping and fighting enemies, then before you even realise it’s happened the perspective has stealthily transitioned into its 2D side on form. Its not always as subtle as this, there are of course parts that are all in one perspective or the other, but when the game transitions so seamlessly, it makes you wonder why it hasn’t become the norm in the genre already as it feels so naturally done.

   Each level is a varied mix of elements always changing as the game progresses, keeping things fresh and making sure the player can always expect the unexpected as far as level design goes. Some of the 2D parts are designed in such a way that they are superbly geared for speed runs, where a player is supposed to become so finely tuned into the level that they smoothly glide Enoch through it with ease. Other 2D parts are slower and perhaps a little more traditional in their makeup, these platforming parts are about being more careful and are certainly slower paced, having you fight enemies, avoid many of the pitfalls, lurking dangers and timing those all important jumps. The 3D parts can follow the same route, with levels designed for speed flow, with others about meticulous precision platforming and danger avoidance.

   The 3D parts however are where most of the games hack-n-slash fighting will occur, but rather than force the player to fight for every step en route, down narrow corridors and from one large area to the next, the fighting will take place in rounded type sections effortlessly blended into parts of the levels. You will quickly learn to identify these little areas dotted about each level, and upon entering them they become like small arenas, fenced off until you have defeated all of the spawning enemies or the end of level boss. Some players might not take to the way in which the developers have choose to implement the fighting in such a way like this, and I must admit it sounds more detached than it actually is, more so down to my inability to quite put this game into words than anything else. But believe me when I say that this really does work more in its practical implementation than it sounds, as El Shaddai is a game where all its sum parts seem to blend and flow together, fitting perfectly, and this particular area is no exception. You do of course face some enemies en route through the levels, but these are nothing more than fodder, they are there specifically to pose as an obstacle, to knock Enoch off his footing and into danger, nothing more nothing less, the real enemies lie in wait in the arena type areas.

   Combat is pretty simple, just as you would want it to be, with two buttons for two different types of attacks which when held down will make Enoch dispense more powerful variant attacks. Special attacks can be implemented by pressing RB and X, and later in the story a special overboost attack bestowed upon Enoch by the Archangel Uriel can be used when your boost level is full and by tapping LB and RB. Enemies can also be whipped up and attacked in the air and dealt multiple hits to wear them down, as well as being attacked on the ground by a hovering Enoch, allowing him to go on the offensive yet avoid any ground based attacks. There are no special powers as such in this game bar the overboost, and there are no over flirtatious and exuberant combo’s to endlessly string together that you find in other such games like Bayonetta and Devil May Cry, nor can you collect, assign, build or equip different powers and power-ups. As far as the hack-n-slash fighting element is concerned, El Shaddai takes things back to its core roots, keeping things simple, uncomplicated and minimalistic. But this does not suck the fun from the games veins, far from it in fact; the game is just as fun and challenging as any combo power-up driven game in this genre. Stripping the excess from this area has made the fighting in the game feel fresh as much as it is in keeping with the style and flow of the game, while also ensuring the fun and challenge remain intact.

   There is a blocking system in El Shaddai, but it’s tricky to implement and will take some time to master and pull off. Blocking is split into a two tear system, holding RB will block some attacks but not all depending on the enemy and how they attack you, and you will still take damage here, but not as much. Tapping RB just before an enemy strikes Enoch will repel their attack and leave your foe off guard and open to attack so timing is everything. The blocking system in this game is partly like the one implemented in the melee survival horror game Condemned released by Sega back in 2005. Condemned, (while in the first person perspective,) also relied on perfect timing to block enemy attacks that when successful would repel enemies and leave them off-guard. The only difference between the two games being that Condemned didn’t have a two tear blocking system like El Shaddai.

   As well as being able to throw punches and kicks when finding himself without a weapon on rare occasions, Enoch has access to three different weapons through most of the game, though he will start off with one and the other two will become available when the game progresses. The Arch, Gale and Veil are the only weapons in the game and the only ones Enoch can use, each one very different to the other, with each better suited to different situations and enemies than the other, and each assigned its own unique special attacks. The Arch is like a Klingon Bat’leth, yet sounds exactly like a Lightsaber and is swung about like its essentially a sword, it’s the go-to weapon of the game that I found myself using the most as it also has an air glide ability when Enoch jumps, which come in pretty handy for all the platforming elements of the game. The Gale is a long range weapon akin to the bow and arrow, circular in nature like Xena: Warrior Princesses Chakram weapon, but with tiny metallic bolts that circle Enoch which he is able to control and fire in any direction. Finally the Veil, a weapon that is made up of two shields, one on either hand that are both used to pound enemies into submission. This weapon is the most powerful of all three, allowing Enoch to deal the most damage, but its trade-off is that it’s slow and cumbersome, leaving Enoch more open and susceptible to being attacked.

   There are a variety of different enemies in the game, and as you progress further you will start to encounter more powerful and challenging enemy variants, but the three core types are ones that use Gods three weapons. You won’t encounter them all from the beginning of the game; they will appear in battles once you have reached a point where another of Gods weapons becomes available to Enoch as the Arch is the only one available to him at the start of the game. They also become more powerful and challenging throughout the course of the game, so an Arch wielding enemy of Sin might pose a challenge and become easily conquered at the start of the game when you are getting to grips with things, but a faster, more powerful and nimble Arch wielding enemy will take its place in another chapter, and the same can be said of the other enemies.

   The highlights of the fighting are the many different boss encounters you will face in the game, all of which are varied, different and always surprising. At first you will never know whether you are in a boss fight for real or not, or at times whether you’re facing a mid-chapter boss or end of chapter boss as they can pop up and challenge Enoch at random. These seemingly random challenges will make short work of Enoch before transporting him back into a level, and serve as an element to keep you always second guessing which encounter will be the actual proper fight. As always in these kind of games, you can expect variety in the boss designs, the weird and wonderful, with multiple stages of attacks and attack patterns to learn and overcome, with each harder and more difficult than the last. My favourite boss encounter has to be Armaros, as it was not like any boss fight I have encountered before, with the seamless transition between cut-scene and gameplay, Armaros dancing in the foreground up against the TV screen as though he was dancing for a camera, and having Enoch fight dancing enemies in the background. To say this boss encounter was different and surreal is an understatement, and although Armaros might not have been the most spectacular and all conquering boss fight in El Shaddai, or in gaming history for that matter, it was surly the most memorable and stylish to ever be conceived.

   With all that said and done there are but only a few things about El Shaddai that I found to be amiss, nothing major or significantly game changing, just a few very small things, as the game is pretty much as polished as you could hope for in a game on todays current systems. You can either play the game with Japanese voice acting with English subtitles (much better and preferable to dub in my opinion,) or English voice acting and turn subtitles off, or set them to Japanese. The problem with the English voice acting doesn’t rest with the acting itself, as the voice work in the game is superbly done, but lies with the lip-sync, as is common with dub, it can be out of sync and noticeable. This shouldn’t be a problem in games really as the lips for in game characters and cut-scenes can easily be synced to the voice, but in El Shaddai it hasn’t been done, at least not in a way it should be done with a game, but more like English dub you will find in movies. It’s not all that bad, but it is noticeable in the cut-scenes, you wont notice it in the game though as the camera is to far away from the characters.

   The only other complaint is that when you get caught in an enemy attack, or stringed attack, it’s almost if nigh on impossible to break free. Once enemies get hold of Enoch and whip him up into their attack patterns, then he is essentially locked in for the duration until it’s over, so no matter how you try and break free, you just have to accept the punishment and wait until it’s over. More than anything else this is just frustrating; it’s not a bad mechanic, its just punishment for not successfully blocking in the first place or dodging an enemy move.

   The game didn’t leave me furrow browed, more like slack jawed, I appreciated every minute of it, yet was left with my head wrapped within its meandering story and gameplay. You don’t play El Shaddai, as it’s not a game to be played; you experience it, as it’s a rare gaming experience that doesn’t come around too often. El Shaddai is a game to be seized upon if given the chance to play it, as it’s not often a game ebbs and flows so serenely, yet will always keep you second guessing every twist and turn of your journey through it. El Shaddai extends its hand to you, offering a journey and an experience, where story and gameplay are inseparable and intertwined, one indistinguishable from one another. If you have reached that point where you truly crave a unique gaming experience set within this familiar of all genres, which is not constrained by its formulaic tradition and rules, then you may want to extend your hand to.

   I’m hoping that if anything I have at least peaked your interest in El Shaddai, enough to make you want to give it a go, as I could have wrote at length about the graphics, but I think the screenshots will speak for themselves, so let’s just say the visuals are quite breathtakingly beautiful. I have tried my best to put into words as much as I could and give you, the reader, a simple understanding of what to expect from the basic makeup of this great game, but El Shaddai can’t be fully explained. Its like that one thing that’s always on the tip of your brain, but you can never fully grasp and pin down into words; it’s always just out of reach, which is why it can only be fully understood by experiencing it for yourself.

Read More

Metal Slug 1st Mission - Neo-Geo Pocket Color

   Well, isn’t this the little undiscovered gem of a system, the Neo-Geo Pocket Color (NGPC) is quite the surprising treasure of a 16-bit handheld. It’s a real shame that this system never really took off, and it’s such a crying shame that it only received such a small library of games. But one thing the system can boast, much like my console favourite the Saturn, its library is one of quality over quantity.

   Metal Slug 1^st Mission is a perfectly playable handheld Metal Slug game within the series, everything you would expect from this game is there in terms of its gameplay. Noticeably the graphics are very much lacking of course as it’s a 16-bit system, so it can’t hope to match the graphical prowess of its arcade or console versions. The graphics do look the same stylistically and in its art direction, and if you were to show screenshots of the game to anyone remotely familiar with the games they will instantly recognise the game to the series in which it belongs, though they may not know from what system it originates. But for what it does 16-bit wise, especially on an old handheld, it really does looks great.

   Gameplay wise, it feels exactly like any other versions of the games, something you wouldn’t think possible from such a system, but it honestly does feel perfectly at home on the NGPC, thanks in no small part to the systems little analog stick. If it wasn’t for the thumb stick, I’d highly doubt that this game would feel so much at home on the handheld as its this control input method that gives so much fluidity and freedom to the movement of the character, something which is needed in this awesome run ‘n’ gun platformer.

   I must admit, I wasn’t expecting for the game to pack such a powerful punch either, as it manages to include almost all the things that make this game so appealing in the arcade and console versions. You get different weapon variants, storm through levels in tanks, ride zip lines, fly jets and of course skydive, and you can expect to do all these wonderful things within the first 15-20 minutes of playing the game, now that’s what I call action packed!

   The AI in the game is quite competent to with enemies doing their utmost to avoid your bullets and trying their hardest to shoot you, or at least overwhelm you by sheer numbers, at least in the case of the later levels anyway. The game will seem easy enough at first, but as you crank through the levels, expect the difficulty to increase somewhat, with the game becoming more challenging with every step.

   There is not much else I can say about this game, accept it really is a great game on a fantastic handheld. If you have ever played a Metal Slug game, than you can expect all the goodness and run ‘n’ gun platforming in this version with plenty of destruction and bullets all the way through, its Metal Slug, its everything you’ll expect it to be.

Read More