Great news for all fans of Kuroko’s Basketball, a third season for the anime has been officially confirmed with plans to premiere next year.
The announcement was made on the official website and twitter page just a few hours ago, apart from a special promotional image on the site, no additional info has been given at the time of writing. The wait may be long for some of you, but keep your eyes on this site for updates leading up to the third installment of the popular anime.
The Kuroko’s Basketball series is still being published in Weekly Shonen Jump magazine and is currently on its 27th volume. The first season of the anime was premiered in 2012 with the second season released earlier this year and was animated by Production I.G. Let us know what you think about this announcement by leaving a comment down below.
Gods Will Be Watching is the ultimate test for players, a game that encompasses moral dilemmas and challenging decisions that will ultimately determine the survival of your crew and the human race. The pixel art point ‘n’ click adventure stems from a Ludum Dare entry last year, with the original prototype offering players a deadly game of strategy and patience.
Currently in the final stages of the beta, Gods Will Be Watching is planned for full release July 25 on Steam. The exclusive collector’s edition promises players the official digital soundtrack, a digital art book, and a special Gods Will Be Watching prologue digital comic.
So what makes this indie thriller so enticing? The story focuses on Sargent Burden’s research team (Sarah, Jack, Dr Zenész, Donald, Br4nd-On and Marvin (the dog)) from Everdusk Company for the Universe Knowledge (ECUK) and their mission to infiltrate the bioterrorist Xenolifer, to steal back their data on the Medusa Virus. Across six excruciating narrative puzzles, players must face the harsh consequences of their choices – handling a hostage situation, enduring torture and testing experimental vaccines on your partners.
The preview of Gods Will Be Watching, promises players that they will fail, scream with frustration and spend countless hours formulating a solution to each scenario, often resorting to trial and error due to the complexity of situations. Let us thank the developers for designing the game this way.
The gameplay is fairly straightforward and repetitive, moving back and forth between characters to address their next action. However, the god-like approach of controlling each character is the cleverest aspect of the game. There are no light decisions; therefore players are forced to reattempt each chapter to gain a wider understanding of the mechanics and impacts of the decision-making under the “Empathy System”. Basically, the choices players make affect both resources available and the mood of characters.
For example, in the first chapter, ‘Self-Justified Sacrifices’, players take on the role of a guard for Xenolifer, holding Burden’s crew hostage to hack information about the Medusa virus. If players do not micro-manage each hostage appropriately, they will escape or get shot trying and implicate the magnitude of leverage against the rescue team.
The diverse range of scenarios intensifies as players proceed forward in the game. In chapter three, ‘Everdusk’, the team are sent to planet Sineicos to create a cure for the Medusa virus, however Xenolifer interfere with their plans by barricading them in their research cave. The team have 32hrs to survive their prolonged exposure to the virus, and must do so by dividing tasks between characters at 30 minute intervals, including digging their way out, conducting research to create an antidote, as well as adrenaline and sedatives, and resorting to human experimentation for analysing components of the correct formula.
The minimalistic structure of the game compliments the pixel art animation, with beautifully designed graphics for illustrating the torturous and hostile environment within the game. As for the conversations, the grammar needs some fine-tuning, so conversations flow better and feel more natural. The developers from Deconstructeam might want to consider incorporating voice actors to liven up the character’s persona’s, especially in the disturbingly pleasant Irving and Alexander Show from chapter two.
Gods Will Be Watching proves to be a great testament to the original, a game that will question your ethics, humanity, sanity and survival instincts. There are very few simulations that challenge players to take on the role of ‘God’; determining which characters survive and whether the better choice is to sacrifice everyone on the crew to prevent genocide. Don’t be afraid to test your strengths and weaknesses, come the release date late July on Steam.
There is perhaps some irony to be enjoyed in the fact that the American poet Elizabeth Bishop, who was infamous for her protection of her privacy, now has a movie directed by Bruno Barreto which explores some of her most intimate moments. Her work largely avoided the confessional voice of poetry, which was popular in her own time, and instead focused on creating a staccato of lyrical observations. This film shows us what was largely left out of her writing; the author.
Story
The film starts in New York with Elizabeth Bishop (Miranda Otto) in the middle of a creative rut. To find some inspiration, she goes on a trip around the world. The next time we see her she is visiting her friend Mary (Tracy Middendorf) in Brazil. In these first five minutes, we are given a strong sense of her loneliness, shyness, and lesbian sexuality in one particularly direct shot where she ogles the ample form of a cleaning lady. At this point she meets and quickly falls in the love with the partner of Mary; Lota De Macedo Soares (Gloria Pires). This love triangle between the three women largely setups the drama for the rest of the film.
Lota is a complete counterpoint to Elizabeth in almost every way. Lota is boisterous, direct, and commanding with her presence while Elizabeth struggles in social situations due to her own anxieties. The film largely focuses on the interactions between these two almost diametrically opposed women as their relationship develops. We see these two women encounter and attempt to overcome their various internal conflicts including alcoholism, anxiety, and jealousy… all with the backdrop of post-WWII Brazil.
The narrative is subdued in its scope as although major historical social events occur in the background, such as the 1964 coup in Brazil, the focus is largely on the effect these events have on the relationship between Elizabeth and Lota. The director obviously intended to hold the audience solely with the drama that plays out with the clashing personalities of the main two women. To his credit, the two actors have great chemistry and it certainly held my attention throughout the film but this can be a bit disappointing, however, for those who expect their biographical dramas to place the chosen persona into a wider context.
Altogether the narrative works and can hold your attention if you’re willing to follow along with the drama of these clashing personalities. My one gripe is that the script repeatedly introduces new elements and themes to the audience, but then fails to develop or give a conclusion to them. Two examples of this are Lota’s father and the child Lota and Mary adopt together. These characters are introduced, participate in a couple of scenes and are then never seen or heard from/about again. These individuals and circumstances are framed only through the relationship of Elizabeth and Lota, which effectively means that certain moments and actions can appear quite contrived in the story. The script would have done better to focus on one or two overarching themes instead of overreaching in its scope. Perhaps they should have reached for a low orbit satellite? (Da dum tsch)
One thing that certainly impressed me about the film’s narrative and script was the realistic and respectful representation of the theme of mental illness and its symptoms. Elizabeth’s social anxiety and Lota’s depression were handled extremely well by the film as each woman attempted to come to grips with their idiosyncrasies. This film does not portray the disruption of mental health as a tragedy to be overcome by the protagonists, as if often the case in film, but rather a constant presence which has its ups and downs. In my opinion, it certainly handles the topic with more respect than another recent film.
Visuals & Audio
The visuals can be quite gorgeous with wonderful cinematography of the city of Petropolis and the surrounding Brazilian countryside. However, since the focus is on the relationship of the two main characters; scenes are rarely set outside the home of Lota. The house is wonderfully designed with a quintessential 60s style to its architecture and interior design but after the umpteenth time looking at the same set, you can start yearning for something different to hold your attention… especially if the drama isn’t doing it for you.
The editing as well was heavy handed at times, as metaphors and symbolism were being constructed rather haphazardly with abrupt cuts to and fro. This probably won’t bother the average punter, but considering this is a film which focuses on the life of an aesthete such as Lota Soares, I believe it would have been appropriate for some more subtle editing to be employed in the film’s composition.
The score by Marcelo Zarvos was adequate and provided a suitable backdrop to the sombre and slow pace of the narrative. There are diagetic moments in the film wherein we’re given a taste of the music from that era and location (i.e. Brazilian Bossa Nova, American Jazz) to create a burst of energy but they few and far between. It serves its purpose, but I didn’t find anything particularly memorable within the soundtrack.
Overall
Ultimately, this would be a difficult film to recommend to most people. I was able to enjoy for the subtle drama which plays out on screen, but this is probably not for everyone. I was particularly impressed its respectful treatment of its subject matter with neither of the two protagonists being defined by their sexuality or mental illness, but rather by their creative talent and work. I applaud them for creating these in-depth characters, but I’m disappointed that there wasn’t a stronger narrative in which they could inhabit.
This is film is an acquired taste and does not easily grab your attention, but if you’re willing to work past these shortcomings then you can find some enjoyment in its quiet story. If you need more than a wonderful performance by two amazing actors to keep your attention, then probably isn’t the film for you.
Capsule Computers review guidelines can be found here.
Activision hopes to benefit from the box office smash that is Transformers: Age of Extinction with this sorta-kinda tie-in, Transformers: Rise of the Dark Spark. It may be a 3rd-person shooter in the vein of Transformers: War for Cybertron (2010) and Transformers: Fall of Cybertron (2012) before it but, unfortunately, the developers who resurrected the Transformersvideo game series, High Moon Studios, were not at the helm of this entry; Transformers: Rise of the Dark Spark was instead created by Edge of Reality. The outcome? A game on the edge of disaster.
Story
Transformers: Rise of the Dark Sparkweaves through two realities, or universes: the film space and the video game space. Opening with the discovery of the Dark Spark by the Autobots, after the crash of a mysterious meteor on Earth in the film continuity, players are introduced to the object as a powerful relic with the ability to bend the laws of existence and rip through dimensions. Lockdown drops in and escapes with the relic before players are transported to Cybertron and the game continuity, where we are caught up on the state of the war between the Autobots and Decepticons, with the former at their “darkest hour”. It’s an odd experience, given the game continuity is set as a prequel to Transformers: Fall of Cybertron, while the film continuity is a sequel of sorts to Transformers: Age of Extinction. Audio logs make their reappearance, adding some depth to the world and proceedings. And by now, you know what to expect from a Transformers story. Thankfully the journey into alternate universes doesn’t result in a particularly scattered adventure, although it only last approximately 5-6 hours long…
Gameplay
Carrying on from the above, truly depressing is the fact that the story is so devoid of entertaining moments and gameplay of well-implemented mechanics, that the Campaign ends up feeling extremely repetitive and dull. Personally, I couldn’t find the motivation, patience or pure tolerance to finish the 14 chapters therein. A major gripe is the absence of any weight to these supposed multiton Cybertronians. Controlling a huge, yet agile war machine should feel appropriately weighty and impactful, whilst maintaining a certain level of maneuverability. Perhaps the developers mistook unwieldy controls as a representation of weight. Even the shooting is barely adequate in its impactfulness; appropriate feedback in general is lacking. You’d also think that transforming from humanoid mode into alternate mode, especially in the case of those who transform into vehicles, would enable faster traversal, but there is a distinct lack of speed in virtually all the carplay. Kicking in the turbo boost brings the acceleration up to what would normally be considered normal levels. And controlling the direction you drive solely by the right thumbstick is an absolutely mind-boggling gameplay design choice; at least in Halo, the direction was dependant on the camera’s aim!
Basically, walking around feels sluggish without the sense of weight (how does that happen?), and driving around in alt mode feels quite unnatural and lofty, like piloting a hovercraft. On top of this, the A.I. is dumb to the nth degree, so you can imagine with all these poorly designed and implemented elements how aggravatingly bad the Campaign can be. The only other mode in the package is the online co-op focused Escalation, where four players band together to repel waves of increasingly tough enemies. Escalation has been included in the other “War for Cybertron series” titles, but is enhanced this go around with upgradeable defenses. The “survival” game type popularised by Gears of War can be played across levels based on both Earth and Cybertron, with over 40 different playable characters to choose from. This is the highlight of the game as a whole and, as they say, it’s always more fun to play together. Then again, it’s not like the mechanics change; the shooting and core gameplay is still mediocre – it’s just more palatable as a shared experience.
Visuals & Audio
In this instance, Transformers: Rise of the Dark Spark is just what meets the eye; a cheap cash-in with early seventh generation graphics and ugly, bland, tiled textures. The PlayStation 4 version has to be one of the worst looking titles on the console; granted, the game was ported over from last-gen development kits…or at least I hope, because otherwise there’d be no excuse for its banal, flat and undetailed visuals. A notably vexing visual aspect is the warped sense of scale; it does not feel like you are embodying a 12-15 foot tall robot amidst a large city, but a normal sized entity traversing through a miniaturised environment. Instead of scaling up the characters, it’s almost as if the surrounds have been scaled down, and to an incorrect ratio to boot. At least the character models from the movie continuity have been translated over well enough.
Those who have played its predecessors will hear familiar musical pieces, especially in the Cybertron missions of the Campaign, which are practically ripped from the last title. Transformers: Rise of the Dark Spark is also the first Transformers game to feature a real song in Linkin Park’s ‘Until it’s Gone’. On the upside, fans will appreciate the return of Peter Cullen as Optimus Prime, and the best V.O. artists in the business – Troy Baker and Nolan North – lending their talents. On the other side of the same coin, as offensive or racist you may have thought Drift’s Japanese accent was in Transformers: Age of Extinction, there is something to be said about maintaining continuity as he no longer speaks with such an accent here. I wasn’t expecting Ken Watanabe to record the voice, but c’mon! Elsewhere in the audio department, expect lots of explosions, repeated lines and annoying, high pitched sound effects. (that intercom!)
Overall
It’s such a pity that High Moon Studios did all this great work in making the first universally acclaimed Transformers titles since the self-titled release of 2004, just for Edge of Reality to come in and undo that hard-earned reputation. Harsh? Possibly…but there have been very few games in recent years that I literally couldn’t bring myself to continue playing for any significant amount of time, and Transformers: Rise of the Dark Spark is one of them. Aside from the outdated visuals, it is boring, clunky and flat-out not fun. Escalation could be its single saving grace for many gamers, but is one mode alone worth a full RRP purchase? Die-hard fans of the franchise might slog through the Campaign, and even be blinded by their rose-coloured glasses, finding some middling redeeming qualities, but make no mistake about it, objectively, this is not a good game. If only Transformers: Rise of the Dark Spark could transform into a good game! Let’s hope there is revenge for the fallen in the next outing.
Capsule Computers review guidelines can be found here.
MangaGamer took the time during their Anime Expo panel to announce that Higurashi When They Cry will be given brand new sprites for its upcoming Steam release. They also announced that they are exploring some new genres as well as a partnership with Liarsoft. You see, they have announced the acquisition of three new PC titles and these games fall into the otome and boys love category.
The first game they revealed is called Gahkthun of the Golden Lightning which is a steampunk visual novel where Earth is connected to Kadath, an alien planet similar to Lovecraft’s Dreamworld. Players will join Nikola Tesla, an electric powered super-heroic detective who travels to an independent scholastic city on an artificial island off the coast of Marseilles, The Academia, in order to investigate the mysterious intrigues plaguing the school and its students.
The second game announced is an otome license called OZMAFIA which is developed by Poni-Patchet. OZMAFIA is a game that follows the story of Fuuka, a girl that is suffering from amnesia and is rescued in the streets by the Oz family mafia. As she tries to find herself surrounded by danger, what fate will await this girl who will be trapped in a war between rival gangs?
Finally the third game they revealed is the company’s first step into the Boys Love, otherwise known as Yaoi, genre with the game No, Thank You!! which is a game developed by pa-rade. The story of this title involves a protagonist who is saved by a man from an out of control car and loses his memories. With no identification and no idea who he is, the protagonist’s rescuer takes responsibility for him and brings him to work in his bar.
Today during their Anime Expo panel, not only did Aksys Games announce that they would be bringing Under Night In-Birth over to North America but they also announced the localization of a game called Tokyo Twilight Ghosthunters which will be released on the PlayStation 3 and PlayStation Vita sometime next year.
The game, titled Mato Kurenai Yuugekitai: Tokyo Twilight Ghosthunters in Japan, was developed by Toybox Games and published by Arc System Works in Japan and was released back on April 10th. Tokyo Twilight Ghosthunters is a romance adventure RPG that involves board game style mechanics and more. You can find a Japanese trailer for the game below.
Earlier this week we wrote about how Aksys Games was teasing a video game announcement for Anime Expo, and while there were a few games that they could have chosen, it seems that the most likely choice has been announced. Today during their panel Aksys Games announced the localization of Under Night In-Birth for release in North America in 2015.
It is worth noting that the version of the game that is being released in North America is going to be the enhanced Under Night In-Birth Exe: Late which is set to be released in Japan later this month. This enhanced version comes with balance adjustments as well as two new playable characters in the form of Byakuya and Nanase.
Those of you who have been waiting to see more Senran Kagura 2: Deep Crimson gameplay footage will be happy to hear that not only has a full length gameplay video been released but some new screenshots that focus on Rin and Daidouji have also been released.
The screenshots for the 3DS game can be found below and underneath that you will find the trailer that focuses heavily on showing off the pair battle system that allows players to bring with them a partner of their choice to fight alongside as well as deal extra damage with special attacks. The pairings in the video highlight the rivalries between the girls as they work together and we also are treated to some footage of Ikaruga’s older brother Murasame, who can be unlocked with save data from Senran Kagura Burst or as a DLC purchase, experiencing some embarrassing scenes.
During Anime Expo yesterday, Sekai Project announced that they have acquired the rights to translate and release two visual novels in English, the first being Frontwing’s Grisaia no Kajitsu and the second being Key’s Planetarian.
For those who are unaware of these games, Grisaia no Kajitsu is the first of three games in the Grisaia series and takes place in an isolated academy where five female students with heavy pasts attend class and players play the role of a newly enrolled male student. It is worth noting that despite the original PC release being an Adult title, Sekai Project has stated that this will be an All-Ages release of the game.
The second title, planetarian, is an older game that takes place thirty years after a world war ended space development. Players play the role of a man attempting to restore a planetarium projector after meeting a robot. It is worth noting that this type of visual novel does not feature any choices and contains only a single route. Currently no release window was given for either of these titles.
A couple of weeks ago we learned alongside the original character Lana, that Agitha from The Legend of Zelda: Twilight Princess would be playable in Hyrule Warriors. While we have seen a few screenshots showing how Agitha will fight, today Tecmo Koei released a gameplay trailer for Nintendo’s Hyrule Warriors that focuses on showing off how Agitha will defeat her opponents in the game.
You can check out the gameplay footage below and be sure to keep an eye out for Hyrule Warriors when it is released in North America on September 26th and a week earlier on September 19th in Europe.
