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Lost Odyssey – “The (Real) Final Fantasy”

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Few “Final Fantasy” fans like the new course of the series, with Yasumi Matsuno’s different approach in “FFXII” and the growing number of uninspired series’ spin offs. Let’s face it, after Square and Enix merged, Square’s brands have been milked far beyond comprehension: in between remakes, spin-offs, special editions and sequels, SquareEnix has released several dozens of games in the past years. And though that has netted a steady flow of cash into the company, it has sprouted a wave of disbelief in the company’s standards by long-time fans. For all of the motives above, it is fair to say that FFXIII is the least expected episode in the series in many years. So, when word got out that after leaving Square, Hironobu Sakaguchi formed a new company named Mistwalker, expectations reached an all time high for the “Final Fantasy” hardcore fans. “Blue Dragon” came out, and those expectations faded: it featured an archaic battle system and a horribly childish script. So, “Lost Odyssey” was released with little fanfare: reviewers everywhere dismissed the game as mild effort to repeat the “Final Fantasy” formula once more, and the hardcore fan-base of the 360 wasn’t mildly interested in a classical JRPG. So, the question that needs answering is: how does “Lost Odyssey” stack up when compared with the “Final fantasy” legacy?

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“Lost Odyssey” is the tale of Kaim Argonar, an immortal man that has lived for over a thousand years. It is set in a high fantasy scenario with sci-fi elements, in everything similar to that of “FFVIII”, where a number of political conflicts have engaged the world’s countries in a series of wars. Of course, the reason why the world is at war is rather simple: there is a powerful and somewhat mad wizard that wants to take over the world with his magic, and uses these conflicts to gain power; alas, nothing new on this front. Sakaguchi’s scenario is really poor, so much that it pains me to write so. The plot is so obvious and dull it hurts: in the first few hours it will be plainly obvious who the bad guys are and what they’re plotting, and what the good guys’ purpose is. No plot twists, no grand finale, no hidden meanings, no nothing. Yet, the old Sakaguchi charm still manages to creep up, with a cast of touching and funny characters giving the story a much needed interest. Jansen, a womanizer with the appetite for booze and prostitutes is delightfully funny; Seth, a cynical pirate that is Jansen’s complete opposite, picks on him throughout the game making them a great duo for any comedic act; and then there’s Sed, Seth’s son, an elderly pirate that still calls his mother “Momma”. The rest of the cast isn’t as interesting, and can seem mostly underdeveloped, especially, the main character Kaim, who is so “emo” it becomes annoying: all his dialogues can be resumed to a series of careless, dry, uninteresting one-liners. But that is where things get interesting…

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As you might already know, “Lost Odyssey” features collaboration from (supposedly) famous Japanese writer Kiyoshi Shigematsu with the name of “A 1000 years of dreams”, a collection of memories belonging to Kaim’s one thousand years of living. These memories were translated to screen only using text, a few abstract images and sound, and of course, Uematsu’s riveting soundtrack. The result is, by far, the best narratives “Lost Odyssey” has to offer. Here, Kaim is portrayed as a real, multifaceted character, with proper feelings and personality, and his life-episodes are much more deep and emotionally provocative than anything Sakaguchi can come up with. They can be described as somewhat philosophical tales about war and peace, love and hate, life and death, but nothing I could ever write could transmit how powerful and well written they really are. After the first one, I was literally hooked to these pieces of literary magic, that managed to make me weep (yes, weep) every single time, due to the intensity of those vivid dramatic moments, made all the more touching thanks to Uematsu’s music. It’s so damn good, that if “Lost Odyssey” focused on these “1000 Years of Memories” instead of the silly “Madman wants to take over the world” plot, it would probably have the best JRPG story ever. It’s not that Sakaguchi’s plot doesn’t have its share of powerful emotional moments, it does, it’s just that there are a lot of silly clichéd subplots in between each one, and they lack the depth present in Shigematsu’s tales.

The gameplay, as would be expected from Sakaguchi, is the standard in classical turn-based RPG’s, i.e. nothing new here as well. And if it does feel dated and overused, one must admit that at least it’s well executed. Some things have been improved: the player is fairly rewarded for exploring the world; grinding is not an issue, thanks to the use of an experience system that grants levels with great speed; and very importantly, the tradition of obscure side-quests is gone, with most of the hidden secrets in the game only requiring a healthy amount of exploration and reasoning to find. So if you like to reminisce about classical “Final fantasies”, then the gameplay will surely make you happy with nostalgia. Nobuo Uematsu’s fully orchestrated score will also make you very happy, as it follows the spirit of the series, meaning its one hell of a soundtrack. And it’s completely original, which allowed Uematsu to go to new, unvisited places, instead of having to rearrange time and time again the same melodies. The result does bear some nostalgia, but also manages to go forward in creating new sounds and styles: expect everything from metal to erudite music to be present.

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On the technical side, the game has its share of ups and downs. The art-direction is very good and translates well into the extremely detailed Unreal Engine, producing beautiful sets and characters. It isn’t, by any means, nothing that hasn’t been done before: most of the aesthetic is reminiscent of past “Final Fantasy” games, and the usual Japanese quirky silliness (like dresses that lack fabric in bosom and rear) is all too present to make the world’s environment feel believable. The fact that the game doesn’t run all that well, doesn’t help: there are many loading-screens and stuttering-cutscenes waiting players who want to get through to the end of the game. At least, the cutscenes and FMV are the best I’ve ever seen, with fast cut editing, dynamic directing (finally a game that masters the use of low and high-angle shots) and use of simultaneous multiple POVs (giving a comic-book feel similar to that of Ang Lee’s underappreciated “Hulk”). Apart from the simplistic lighting, the marvelous visual direction by Roy Sato (animator of “The Flight of the Osiris” from the “Animatrix” short stories) is highly commendable.

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So, is “Lost Odyssey” a worthy successor of the “Final Fantasy” legacy? The answer is… yes. Though “Lost Odyssey” has many flaws, it fares remarkably well in upholding the series’ concepts and production values. Everything one would expect from a “Final Fantasy” is present. Yet, “Final Fantasy” has always been a series that, in each episode, went further in the genre and “Lost Odyssey” feels exactly the opposite: it tries to go back to the roots of the genre. At first, that might be a letdown, but after crying endless times from reading every “1000 Years of Memories” and watching the gorgeous cutscenes, you’ll understand what Sakaguchi is trying to say with his game: why go forward, when the dramatic potential of the genre is still underachieved? “Lost Odyssey” is Sakaguchi’s greatest masterpiece, a game so heartbreaking, profound and beautiful that it fully deserves the title of “The (real) Final Fantasy”.

Overall: 5/5

2008
04/03
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Bioshock – “Behold… Rapture!”

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“Bioshock”, like most art, is shaped from an idea, a message, a concept; in this case, it’s Rapture, an underwater dystopia molded by objectivist ideals. In this Jules Verne scenario, 20.000 leagues under the sea, Andrew Ryan (a captain Nemo like politician), after being fed up with government oppression, decides to build an entire underwater nation, where every “man is entitled to the sweat of his brow”. In his own private utopia, justice, religion, morals, ethics and any social considerations are absent, in favor of free commerce and free will as Universal Law. The result, as you can no doubt guess, is nothing but disastrous. Though at first, thanks to the lack of ethical boundaries, science, commerce and art bloom, after some time, everything goes haywire. The result is an underwater ghost city, filled with the monsters of Andrew Ryan’s objectivist dreams: a plastic surgeon that makes Picasso paintings out of women, a sculptor that makes art by molding human flesh, and a capitalist entrepreneur that is willing destroy an entire society, if only to be entitled “to the sweat of his brow”. Rapture is, without a shadow of a doubt, one of the most consistent, thought-provoking universes ever to grace a videogame. Written by none other than Ken Levine (“Thief, the Dark Project”, design and story, and writer of “System Shock 2”), this metaphor of modern capitalist America and nightmare of Ideological proportions, rightfully belongs in the same pantheon of dystopian masterpieces such as “1984”, “Farenheit 451” “Brave New World”, “Metropolis”, “Gattaca”, “V for Vendetta”, etc.

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The plot itself revolves around the discovery of Rapture by an unknown man, after his plane crashed in the middle of the Ocean. Controlled by the player, he will uncover Rapture’s dark past, by listening to the audio-logs of its inhabitants and by facing Andrew Ryan’s objectivist monstrosities. In the end, his quest will decide the fate of Rapture, according to the moral choices the player picks during the game. And though they might seem simple at first, if they’re taken seriously, they can add a whole level of dramatic impact to the unveiling of the plot, making it much more meaningful. The narrative tends to move slowly and usually tries to establish certain moods, allowing the player to immerse in the chaotic nature of Rapture, while at the same time, learning about its convoluted history. Curiously, few cutscenes are used, which ends up being both a blessing and a curse. On one side, you aren’t obliged to sit through important plot details (which I admit, might be boring to some), but on the other side, much of the dramatic potential of the plot feels wasted (it’s not by accident that people are most often moved by cutscene driven / cinematic games).

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What manages to counterweight the absence of cutscenes, is the sheer amount of detail and information that lies hidden in the art and music of the game. Posters, sculptures, flyers, songs, all have something to say about the world of Rapture, and whether you want to or not, you’ll apprehend a lot of sensorial information that might be otherwise hard (or annoying) to convey. Of course, this wouldn’t be that interesting if the Art Design or Music weren’t as good as they are. The fact is that “Bioshock”, besides featuring one of the best narratives to grace a game, also features one of the best art designs ever to appear in one; and this is, by no means, a shallow compliment. The virtuous art deco transforms every corridor, wall and painting into a beautiful work of art. The contrast between the cold, stark colors of the ocean and the flashy neon of Rapture’s buildings is the perfect testament to the designers’ capability of creating interactive paintings; every light, shadow and texture blends perfectly in the background, feasting your eyes and mind. Even small details, like the camera’s POV, were tweaked to get a particular sense of immersion and dread, contributing, in no small part, to the way the game should “feel”. Accompanying the visuals, a classical and jazz soundtrack by Garry Schyman fills in the immersion gap; whether it’s the 1920’s euphoric swings, or the moody piano ballads, every bit of music adds another dimension the player’s experience, making it a powerful means of inducing fear, claustrophobia, or just delivering some piece of information about Rapture’s spirit.

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Now, usually, in my reviews of more artistic games, every compliment has been said by the time I get to the gameplay section, which is where I commonly start “bashing”. Guess what? “Bioshock” is also grandiose on that regard. It takes the first person shooter / rpg hybrid mechanics of “System Shock 2”, removes the unneeded complications, and empowers certain abilities, creating the perfect blend of open-ended first person shooter. The player has at his disposal a great number of weapons and abilities (which he can level up), each with a particular context of use, allowing the player to choose his particular fighting style. It’s nothing that hasn’t been done before, but in “Bioshock”, everything feels tweaked and balanced, to the point of making complex mechanics inherently fun to use, while most games, either simplify them too much, thus discarding the tactical nature of choices (“Crysis”), or complicate them to the point of being too obtuse to be fun (“Deus Ex”). Furthermore, special abilities, which range from fireballs to electric shocks, have special uses when the environment’s context is right, thanks to a physics engine that defines water as electric-conducting and oil as inflammable, making special abilities all the more amusing. Perhaps the only (minor) flaw I can find in this game (that can’t be regarded as nitpicking) is the sometimes overly hectic nature of the action; for the most part of the game, there is someone (or something) trying to kill you. The reason this comes out as a flaw is simple: “Bioshock” is beautiful, immersive, and mysterious, warranting exploration and attention to detail in order to sink in all the wonders of the game, but it is hard to do so, when you’re constantly fighting for your life. A more paced gameplay would definitely emphasize the more interesting aspects of the game, even if it would end up losing some appeal for the more trigger-happy players.

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Now, I know what you’re thinking, what about all the rant the game got? From the players who thought it was too easy or the naysayers that labeled “Bioshock” as “System Shock 2” “lite”? To the first group I’d answer this, if the game’s too easy, then play it in a harder difficulty and don’t use some of the helps the game gives, I mean, nobody forces the player to use the (absurdly famous) vita chamber (I sure didn’t). To the second group, I’d say this, if you think “Bioshock” is a dumbed down version of “System Shock 2”, then you probably shouldn’t be reading this in the first place. “Bioshock” is so much more than “System Shock 2”, especially in its story and art dimensions, that I have be blunt: anyone who can’t see the difference, either is completely blind and deaf, or just plain dumb (pardon my English).

It’s not hard to understand why someone like me, who looks upon games as an art form, would love “Bioshock” in every possible way. It’s one of the few games that actually wants, from the get go, to be regarded as much more than just a toy, or just a “game”. Its aesthetics are beautiful, its message is strong, intelligent and emotionally provocative, and it is an entertaining game on many levels. It is, by my definition, the perfect example of a perfect game, and one of the best works of art I’ve seen in the past year.

Overall: 5/5

2008
03/21
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Planescape Torment – “Undying Art”

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Imagine a place of infinite possibilities, where metaphor is reality and reality metaphor, a universe where belief molds the physical realm and where a single thought can *actually* change things… Welcome to “Planescape”. It is hard to better describe the “Planescape” universe (actually, it’s a multiverse, but we’ll get to that), one of the famous “Dungeons and Dragons” realms. At first glance, it might seem like a weird, freaky, half concocted world that pales in comparison with its renowned sibling, “Forgotten Realms”, but that would be a mistake: “Planescape” is infinitely more complex, thought-provoking and original than the “Tolkienesque” high-fantasy spin-off of “Forgotten Realms”. Oh, and it makes the perfect background for a great RPG.

It starts off with a simple idea: what if anyone could change, with will power alone, the universe? How would *that* look like? What rules and laws, of social and physical nature would exist? How would balance be obtained? Who would rule such a world and how? As you can see, the premise alone opens a whole universe of philosophical questions, which is a sign of the inherent complexity of “Planescape”. Besides the well built background, the story that unveils during the course of “Torment”, written by Chris Avellone (of “Fallout 2”, “Icewind Dale” and “Sith Lords” fame), is equally profound and intellectually stimulating. Not only that, it contains some of the most unpredictable and memorable twists ever to grace a videogame. And I do mean memorable.

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The narrative starts in a mortuary, where the main character, the “Nameless One” lies unconscious and completely amnesiac. Unsure of why he lies in a mortuary he starts to delve to into the “Hive” (the center of the multiverse) in search for clues about his past. He learns that he is, by some unknown reason, Immortal, a curse which he cannot fathom escape, even after millennia of trying. He then embarks on a journey to revive his memories, in order to understand the “why” and the “how” of his undying condition. He will meet many adversaries and companions that will help him regain knowledge of the multiverse and of his previous “incarnations”: different personas molded by different memories of the same man. In the end of his quest, lies a question: “What could change the nature of a man?” The answer is the key to the game’s plot. To find it, you will learn about the whole of “Planescape”, its many planes of existence (hence the name “multiverse”), its societies, cultures, philosophies and religions, and you will challenge powers greater than any mortal, such as Angels, Gods, and even… Death.

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The script is superbly well written. Its dialogues are witty, complex, intellectually stimulating and also have a unique feel, thanks to the use of a language specifically conceived for the game that incorporates 17th century English (complete with proper slang). The literary dimension is used to its fullest: many actions, situations and memories are only described via text; it’s great text, mind you, that allows your imagination to capture the full magnificence of the game’s environments. However, it is a shame that certain scenes don’t make use of an audio-visual language, such as cut-scenes, or even some sort of controlled artwork slideshow coupled with soundtrack, in order to enhance the sensorial dimension of the game’s literary nature. Because of this, “Torment” is a bit like an interactive book, which might displease the more trigger-happy gamers. On the good side of things, the narrative is truly interactive. Whether you want to be evil, killing all those whose stand in your way, or if you wish to make up to all the evil the Nameless One’s previous incarnations have caused in the past, it’s your choice. Your character’s alignment (following D&D’s classic divisions: Chaotic or Lawful, Neutral, Good or Evil), is entirely determined by your actions in the game. Unfortunately, there aren’t different endings, just many different paths to achieve the same goals, which for a 1999 game was more than enough to warrant the revolutionary status (“KotOR”, “Torment’s” spiritual follower, would only surface in 2003).

Aesthetically it is also a marvelous game, even if it still uses “Baldur’s Gate” dated 2D (Infinity) Engine. Recreating the complexity of the “Planescape” was definitely a challenge for the Art Department, but it paid off: the environments are dark, gloomy and dirty, meshing dark fantasy visuals, an industrial-revolution twist and some “Burtonesque” imagery (flying skulls anyone?), all of which give the visuals that edgy and freaky dimension. However, when the player leaves the center of the multiverse, the scenarios seem to lose quality, lacking the overall attention to detail of the previous backgrounds. It’s a shame, because it makes the exploration of the multiverse less awe-inspiring then what you’d expect, considering the descriptions you’ll read throughout the game. The sound has an equally broad mix of flavors; from beautifully orchestrated synthesizer melodies, to tribal rhythms, every sound blends perfectly with the visuals, adding one more layer to the uniqueness of the “Planescape” setting.

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Notice how I haven’t even touched the matter of gameplay? Can you guess why? Yes, it’s because the RPG “action” elements in “Torment” aren’t exactly as memorable as the rest of the game. They are, for the most part, completely forgettable. Basically, it plays out as a simplistic clone of “Baldur’s Gate”, e.g. classical turn-based AD&D rule-oriented gameplay. It’s dull, uninteresting, and it isn’t even tactical or challenging… it does encourage grinding and looting, which I, myself, would regard as downright wrong. On the good side, the immensity of side-quests helps the gameplay stay somewhat fresh and keep pace, making action all the more secondary in comparison to the game’s other facets.

If you can forget about the slumber-inspiring gameplay (and believe me, you will), you’ll find out that “Torment” is so grandiose, profound and unique, that you’ll be left without words to describe it. Its stories, ideas and characters we’ll linger in your memory, challenging your heart and mind to fully understand the magnificence of the game’s experiences… making you want to go back to the “Planescape” universe time and time again. Whether Chris Avellone knew it or not, “Torment” was his undying attempt at immortality through art. It succeeded.

Overall: 5/5

2008
03/10
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Max Payne 2: The Fall of Max Payne – “A Noir Epic”

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Sometimes you have to wonder: why a sequel? “Max Payne” was, in the limited realm of videogame art, probably one of the best works ever to be released; so, why a sequel? Was there anything left to be said? About Max, I mean? His love was dead, his past no longer a mystery and his desire for vengeance was fulfilled. So I have to admit, there seemed to be no reason to delve into Max Payne’s sad, morbid and twisted mind again… or was there?

“The past is a gaping hole. You try to run from it, but the more you run, the deeper it grows behind you, its edges yawning at your heels. Your only chance is to turn around and face it. But it’s like looking down into the grave of your love, or kissing the mouth of a gun, a bullet trembling in its dark nest, ready to blow your head off.”

“Max Payne 2” might seem like an attempt to cash in from the original’s success: it took less than two years to design, graphically it’s very similar, it starts with exactly the same tone and plot devices as its predecessor, the plot opens holes in the first one’s narrative, that quite frankly, just weren’t there and a certain character is mysteriously revived during the first screens of the game. So, at a glance, “Max Payne 2” could seem like an afterthought of the original. But appearances are misleading…

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“What the fuck is wrong with you, Max? Why don’t you just die? You hate life, you’re miserable all the time, afraid to enjoy yourself even a little! Face it, you might as well be dead already. Do yourself a favor, give up! “

The first thing that pops up is that Max Payne doesn’t look like Max Payne. His character model is different. At first, this seems strange, this eerie, awkward transition from a Hawaiian shirt youngster with quirky smile and feel free attitude, to this middle-aged man with disillusioned, depressed, deep caved eyes that look as they’ve seen all the horrors the world has to offer. But if you ponder, you will understand that this is the way Max Payne was meant to look like: a torn, spiritually crippled “noir” detective. This IS Max Payne. The change goes as far as revamping all the character models from the first game (in vignettes and in game-models), making them all feel more in key with the tone and style of the game. Series’ lead designer, Petri Järvilehto, explained why this change occurred: during the first game, their budget didn’t allow the designers to hire real actors for use in character models (only voice acting), and so they had to base characters on members of the creative team. Voices on the other hand, still sound the same, which is good, because they were already well acted in the first game.

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“Death is inevitable. Our fear of it makes us play safe, blocks out emotion. It’s a losing game. Without passion you are already dead.”

The subtle change of actors feels “key” in the grand scheme of things behind “Max Payne 2”, as the plot tries to go even deeper in terms of exploring its characters’ beliefs, motivations and above all, their feelings. This is a departure from the first game, since its story delved more on the actions and consequences of Max Payne’s obsessive vendetta, than on his actual inner demons. Now, that’s upside down, and the objective is focusing on Max Payne’s love, regret, and hope of atonement for his dark past. The story (once again written by Sami Järvi, series’ script and screenplay writer) runs deeper in its meanings and concoctions, its drama is truly heartfelt (to the point of a good drama film), even if in actual plot terms, nothing very important really happens during the game. Add a remixed version of the first game’s poignant soundtrack, some beautifully crafted comic-book style vignettes, the best dialog you’ve ever seen in a videogame, and you have a narrative that will chill your spine, challenge your brain and make your soul cry. That’s how good “Max Payne 2” story is.

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“Ladies and gentlemen, allow me to present Max Payne, New York’s finest, with the biggest mobster body count ever. Dearest guests, prepare to die! Max! I’d love to come and welcome you, but I’m busy dodging bullets and hiding under a desk at the moment!”

Though the actual gameplay is more or less the same as in the first game, it was subtly improved, with a small number of details that empower the already brilliant shooting mechanics. Firstly, the game is smaller, which means it’s juicier and more cohesive, leaving anything that could be defined as “filler” out. Levels are better designed this time around, and resonate with character’s feelings and states of mind, making them not only important in terms of gameplay, but also in terms of setting up the ambiance of the story. This was also true for the first game, but it’s better explored this time around; some levels are downright masterpieces of level and art design. Even the apparently unimportant TV shows (the parody to Shakespeare’s comedy “Much ado about nothing” named “Lords and Ladies”, the David Lynch homage “Address Unknown” and the spoof of blaxpoitation masterpiece “Shaft” – “Dick Justice”) that can be viewed in the scenarios’ television sets are incredibly well written and add layers of interpretation to characters and situations. In strict terms of gameplay, besides upholding the standard of the first game’s pacing, the designers use pre-scripted events and scenarios that change the flow of the game: like a level in which you play with someone else other than Max Payne that has to protect him, or a boss fight in where you actually have to think on how to kill your adversary. These small additions might seem irrelevant, but they actually make “Max Payne 2“ be, at least, as interesting in terms of gameplay as its predecessor.

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As expected not everything is perfect (though it is nearly so). As mentioned before, the actual plot doesn’t really go anywhere, since the ending of “Max Payne” left no avenues for a sequel. The visual aspect of the game doesn’t show much improving, and would’ve benefited from the use of better lighting technology (that was already available at the time of “Max Payne 2”), that might’ve made the in-game graphics resemble the expected “chiaroscuro” aesthetic [for more on “Chiaroscuro”, check “The Darkness” review]. Minor flaws apart, the game is simply astonishing and improves on every small aspect of its prequel, even if it feels much more of an update on the original than an actual sequel. “Max Payne 2” is the coming of age of a concept, the culmination of its authors’ artistry in story-telling, game and audiovisual design. If “Max Payne” was Art, then “Max Payne 2” is fine Art.

Overall: 5/5

[Thanks to JorgeSousa, who requested this review… which I’m hoping he’ll enjoy.]

2008
02/22
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Devil May Cry 4- “Sequels Make You Cry”

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“Capcom” is one of the most preeminent companies in the industry; it’s also one of the most innovative, especially considering the last few years. However, that doesn’t mean they don’t milk their sacred cows… quite on the contrary, they also have one of the more sequel driven publishing strategies. From a financial point of view, their tactic is quite sound: use “R&D-like” small production units to produce new and innovative concepts, and then explore the established franchises till they bleed, thus making enough profit to keep the boat afloat. Yet, from an artistic point of view, it’s an odd sight to see the same company name behind the brilliant “Devil May Cry” (the first one), “Killer7” and “Ôkami”, and the not so interesting “Megamans”, “Street Fighters”, “Resident Evils” and “Onimushas”.

But, the past is past, a new generation of platforms has arrived, and it remains to be seen if the financially risky creative departments will have a chance to produce new titles, considering the high production values behind xbox360 and ps3 games. So, after the original and interesting “Dead Rising”, it is with little surprise that “Capcom” now launches a sequel: “Devil May Cry 4”. “Devil May Cry”, like “Resident Evil”, has been a series filled with its fair share of ups and downs. The first “Devil May Cry” was a pure masterpiece; the second was a step backwards and the third a step sideways. So, it’s fair to say that the expectations weren’t very high. The question with this fourth installment is simple: does “Capcom” pull a “Resident Evil 4” out of the hat, or simply one more “Code Veronica”? The answer is… neither. Sadly, “Devil May Cry 4” doesn’t reinvent the series, but fortunately it has enough punch to forget the series’ uninspired past.

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Looking at the game, it is nice to see that many of the original game’s concepts were recaptured and finally improved on this sequel. Firstly, the neo-gothic art style has returned in full force and went back to basics. Instead of opting for the grand-scale scenarios of “DMC2” and “DMC3”, that mixed modern urban settings with the neo-gothic architecture and some horror inspired scenarios (with mixed results), “DMC4” goes for a more classic approach, forgetting the modern settings and replacing them with nineteenth century architecture that blends much better with the neo-gothic style. In the character department, there is also a return to the series roots, with more serious (but not exaggeratingly serious) designs replacing the often ridiculous monster design of the series. And thanks to more powerful hardware, everything looks even better, with crispy HD quality and great lighting effects that make everything shine; it’s easily one of the most visually impressive games around, thanks in great part to its art design and technical execution.

The tone of the game as also taken a leap backwards to the first “DMC”, forgetting the over the top humor of “Dante’s Awakening”, and going for a more B-movie feel: either stupidly serious or seriously humorous; it’s still is charmingly funny and witty, without going to the point of being “too” ridiculous. This goes well with the plot, that though mind numbing, manages to keep some interest in its unfolding. This is, in no small part, thanks to the virtuous cut-scene directing from the hands of Yûji Shimomura (director of “Versus”), who had already worked in “DMC3” and “Onimusha 3” with great results. His cut-scenes are among the best ever seen in a videogame, and it is impossible not to notice that they are done with great cinematic flair and style, though without the limitations of a real camera. [You can see for yourself how good the cutscenes are, Opera Cutscene, Nero vs Dante Cutscene]

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But those are mere details, what really matters in a “DMC” is the actual action, the one where you can take part of. And it is there that “DMC4” doesn’t do as well. On the good side of things, besides series’ veteran Dante (that comes with all the moves from previous games), there is a new playable character named Nero, that actually plays differently. It’s a not a difference you’ll notice immediately mind you, but as the game moves on, it’ll become all the more apparent: Nero’s movements were thought from scratch and forget many of the unnecessary complications of Dante’s moves (the numerous styles and weapon combinations). Nero has only one way of playing, and because of that, his gameplay feels much more modern and intuitive. Yet, many of the classic moves still make an appearance, and the somewhat obtuse and dated control system hurts the game… a lot. The reason for this lies in the use of subjective directions to make certain movements; the problem with this is that “DMC4” is too frenetic and action-driven for the player to be constantly trying to find out which direction Dante or Nero are facing, and which enemy they are targeting, especially if you consider the elevated number of enemies in each arena and the awkward camera angles (that are as bad as the ones in the first game, which dates to 2001…). So, while some progress was made in the gameplay department, its quirks and old-school approach just don’t cut it by today’s standards, and are hardly deserving of a sequel.

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“Devil May Cry 4” fails to be a true sequel to the first game in the series. It’s better than its two predecessors, but not enough to make it a masterpiece. The reason for this probably lies in “Capcom’s” design department, that chose Hideaki Itsuno (director of “DMC2” and “DMC3”) for director; meanwhile Hideki Kamiya (director of the first “DMC”, “Resident Evil 2”, “Okami”, “Viewtiful Joe”) and Shinji Mikami (director of “Resident Evil”, “Resident Evil 4”, exec. producer of the first “DMC” and many, many other things) are probably doing something new that will drive games to a whole new level. It’s a shame that “Capcom” isn’t always capable of reinventing its franchises, but one must understand that in order to innovate, they first must cash in on their series. Besides, how many masterpieces can gaming geniuses Shinji Mikami and Hideki Kamyia create each season anyway? Not many, I’m afraid…

Overall: 3/5

2008
02/18
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