Picture the scene. A busy conference chamber in Kensington, London. Four HDTVs glare from an island in the centre of the room. At three of the four sit Monster Hunter veterans, unmistakeable in their branded gear, vaguely goth hairdos and businesslike demeanours. Their thumbs are a blur, their eyes narrowed in concentration. Astonishing feats of valor unfold on-screen, balletic rolls and perfectly timed, boulder-rupturing sword swipes, again and again.

At the remaining TV sits a journalist. Or rather, five journalists, each fighting for a clear view. While the other players remain monkishly calm, the journalists are shouting at one another. They are shouting things like “It’s behind you!” and “No, you can only do that with your weapon sheathed,” and “Hit him with a broom! Hit him with a broom!” and “Quick, try it on that herbivore!” And they are getting their arses well and truly kicked.

If you’re worrying that Monster Hunter’s move to Wii makes it any less of an ego-trampling, “character-building” purist’s paradise, don’t. The tutorials are apparently a bit fleshier, a little more palatable for the great unwashed, and some of the more esoteric weapons (the bow, dual swords, hunting horn and gunlance) are missing in action, but this is, at heart, very much still a dragon of a game – a game in which you spend dozens of hours trying and failing to take down some huge, devious and incredibly resilient mythical animal in order to get your paws on a fetching new set of lizard-skin boxer shorts. Noobs need not apply, even those with a sky-high WPM.

Play is once again divided between two hub towns – one for the offline missions, another for the online mode – and a mess of capacious, picture postcard landscapes, each further broken down into discreet areas with their own fauna and item drops. Load tunnels are back, but load times have been chopped to fractions of a second, and while the animations and textures don’t exactly blow Uncharted 2 out of the water, they take most other Wii releases to school.

New to the mix is a living ecology: critters will no longer simply home in on the player as soon as he or she enters their trigger zone, but interact with each other in a faintly plausible manner. Velociraptor-like Jaggies have territories, and will defend them, if given no option, against even the largest predators. Winged Rathlions rebuild their stamina between clashes by chomping down herds of grass-eaters. Some monsters can even imitate others, like the beaked Qurupeco, summoning cat-like Melynxes to hinder your assaults.

They make it look so easy.

Of course, the big draw on these shores will be the newly non-borked online functionality. Up to four players can join together in the quest for ever-bulkier and snazzier kinds of freshly-chopped dinosaur-slaying attire (there’s also local arena-style co-op for two players). Many of the new features have been designed with the Xbox Live and PlayStation Network crowds in mind. There’s Wii Speak support to bolster the returning suite of emoticons, and thankfully the use of Friends Codes is optional (though if you take the trouble to memorise ‘em you’ll be able to see where your fellow hunters hail from, as in Mario Kart Wii).

The new Classic Controller Pro – essentially a Classic Controller with beefy handgrips, extra shoulder buttons and wider spaced analog sticks – is some indication of the politics behind Monster Hunter’s shift from Sony to Nintendo consoles: Capcom, we’re told, was brought in on the design work. The controller is pleasure to use – a far cry from the crabclaw-inducing PSP layout – but the enthusiasm with which the device is presented is a little suspicious. How will the game fare on a standard Classic, or even a Wiimote and nunchuck, neither of which we were able to road-test?

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Readers often cry havoc over the conclusions of the gaming press, but seldom are the battle lines scored so deeply and conspicuously as in the case of White Knight Chronicles.

Level 5’s PS3 RPG has been treated to a thorough roasting by reviewers, with a dismal 64% average on Metacritic. IGN’s Ryan Clements comments that “the only thing more colossal than the White Knight is my disappointment”, while 1UP’s Dustin Quillen calls the game a “bland, second-rate RPG”.

I chipped in for VGD yesterday in what began as a review but wound up an opinion piece on WKC’s undelivered promise, remarking that its flaws “are those of a lot of JRPGs, but all the worse for the lateness of the hour.”

After publishing the feature, I took an extended tour of WKC review threads and forum posts. The enthusiasm the game has stirred up across the community – not just from those who have only screenshots and videos to go on, but from those who’ve played its older Japanese incarnation – is, quite frankly, flabbergasting, as is the outrage directed at those less-than-favourable reviews. I’m still convinced I’m right to think of the title as an insipid, sporadically interesting but generally redundant effort from a developer who should know better, but my curiosity has been piqued.

So here’s a simple proposal. Whether you’ve played White Knight Chronicles or not, I want you to tell us why you like it, and why you think I and the majority of writers don’t. Feel free to indulge any conspiracy theories or unpleasant character assessments you might have. If we get enough responses, I’ll add another page, or two, or three to this article and paste the better ones in.

Well, what are you waiting for? Give all that bubbling discontent a voice.

No related posts.

I can recall the moment I decided to buy a PlayStation 3 pretty clearly: it was immediately after watching the first trailer for Level 5’s White Knight Chronicles. Everything about the gameplay depicted – that visceral combo system, the cliched but vibrant character designs, the apparent presence of such exciting new features as enemy morale, or WWF-style team moves – set my thumbs a-twitching.

All this, of course, was back in what now increasingly seems the Japanese role-playing game’s prosperous mature period, with diamond after diamond hitting the PlayStation 2: the divisive but incredibly ambitious Final Fantasy XII, Persona 3 and 4, Valkyrie Profile Silmeria, Vanillaware’s compromised but beautiful Odin Sphere and Level 5’s own, gleefully nostalgic Dragon Quest VIII: Journey for the Cursed King.

BioWare and Bethesda were still PC developers, for the most part, with the Knights of the Old Republic and Elder Scrolls games merely hinting at the success the two North American developers would eventually find on high definition boxes, and the console-based role-playing market was accordingly the province of Square Enix and its imitators.

To my lately out-of-university, card-carrying anorak self, White Knight Chronicles was the herald of a still-greater epoch – a golden phase in the evolution of explicitly statistical combat, soaring storylines and richly inlaid worlds.

How time and target footage makes fools of us all. The industry has shifted and expanded over the past decade, the DS, Wii and lately the iPhone bringing about the dominance of a new, detached, impatient, more feminine, more extroverted and less jargon-tolerant breed of consumer. Development costs have gone up, and margins have shrunk under the weight of a global recession.

Major JRPG releases – The Last Remnant, Infinite Undiscovery, Blue Dragon – have floundered. Competition from North American and European role-playing houses has skyrocketed. And White Knight Chronicles, finally shipped to Europe after almost half a decade in the incubator, isn’t the game I bought a PS3 for.

A man would need a heart of stone to look on that face without wishing to slap it.

Its flaws are those of a lot of JRPGs, but all the worse for the lateness of the hour. Trite, adolescent characterisations. A stagnant save-the-princess plot. Battles which run heavy on attrition and FX but light on actual challenge and tactical thought. Repetitive, redundant town-quest-dungeon progression.

I could go on. I will. There’s the same old tiresome high fantasy aesthetic. Decrepit A-to-B mission structure. An excess of uninteresting “stuff” – weapons with marginally higher attack values, a gazillion different kinds of potion – coupled with shockingly regressive fixed character inventories.

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Here’s another nugget from our chat with Capcom UK’s PR manager Leo Tan, who was unfortunate enough to stray within recording distance at the Monster Hunter Tri event in London on Monday. It seems Mass Effect 2 producer Adrien Cho isn’t alone in his belief that today’s games – and gamers – are complete and utter pushovers.

“Yeah, definitely,” Leo reflected when asked whether he agreed with Cho. “But it depends. It depends on what the game is, and what the purpose of the game is. I think there’s a place for hardcore skill, and there’s a place for progression and story.”

Monster Hunter and its many, many expan-sequels are firmly in the former camp, while Uncharted 2: Among Thieves perhaps ranks among the latter. Naughty Dog hasn’t got things entirely right, though, in Leo’s estimation.

“Uncharted 2, towards the end it got a bit difficult,” he said, “and it kind of broke the illusion – because all the way through you’re basically playing a movie, and kind of right at the end it becomes a game again, and that’s a bit annoying. I wish they’d made it easier there.

“But I don’t want people dumbing down Street Fighter or a fighting game system, or something like Monster Hunter – if you make it too easy, you lose some of that sensation of living for the hunt.

“It’s more about things in the right place. You wouldn’t make something difficult just for the sake of it. That would be insanity.”

The chap behind this game must be mad as a hatter, then. Watch out for the full interview with Leo on Monday.

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I’d love to have been in the boardroom on that sweaty, dead-end day in 2007 when one of Visceral’s moneymen threw his arms up petulantly, crossed his legs, uncrossed them, took a deep breath and said: “Look, why don’t we just make God of War III. With a different name, obviously. Yeah, Bob, I know Sony have green-lighted God of War III already. So we’ll just launch our version a few months before theirs. Bam. Back of the net.”

Perhaps he leaned back with a satisfied air at this point, digging a handful of pistachios from the bowl in the middle of the table. Perhaps Visceral’s lead designers – bright-eyed true believers in Iron Maiden T-shirts – looked at each other in dismay.

Crucifix to the face. The netherworldly equivalent of stabbing somebody with a broken bottle.

“But what about all these cool original game concepts we’ve been working on?” One chap may have protested. “I’ve got this idea for a point and click adventure game based on Dante’s Inferno.”

Crunch crunch. “Dante’s the guy from Devil May Cry, right?”

“Well yeah, but the original Dante was a 14th century poet – ”

“That’s good. Devil May Cry’s good. Tell you what, we’ll put Dante in there.”

Visceral’s reputation for imitation isn’t entirely unenviable. The Godfather titles might have failed to win out over the crowd of Johnny-come-latelies vying for the status of Official Passable Alternative to Grand Theft Auto, but some critics consider offworld key-and-corridor odyssey Dead Space the game Resident Evil 5 should have been, loosening up Capcom’s plodding move-aim system a little and unleashing it on a gristly interior-scape straight out of Event Horizon.

Dante’s Inferno tries the same trick, clawing a feature set from Sony Santa Monica and parachuting it into Dante Alighieri’s Nine Circles of Hell, but the results, though commendable, aren’t quite so stellar.

It’s hard to overstate how much this game owes to God of War, but I’ll do my best. Almost every point of note, from the ethereal firewalls which pen you in with your enemies through the three-way balancing act between combat, puzzles and platforming to the spinning button prompts which herald sinew-snapping finishers, has its forefather in the exploits of a certain Spartan slaphead.

The Circle of Lust is predictably buxom.

It’s not a question of broad similarities merely, but of the very tiniest details. Take the enemy hierarchy for instance. There are mobs of regular vanilla Damned (cf. “undead”), who keep your blade well-lubricated with blood in its passage from one worthier foe to the next; ubiquitous bat-winged critters (cf. “harpies”) whose job is to interrupt your combos with low-damage but hugely irritating fireballs; tough goat-legged mid-bosses (cf. “cyclops”) who yield a mouthful or two of health replenishment once QTE’d; slavering succubi (cf. “medusas”) who zip in and out of your hit zone with all but uncounterable haste.

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The original Mass Effect saw BioWare ambitiously attempting to fuse their exemplary story telling abilities with the visceral combat of the cover shooter – a genre still in its infancy back in 2007. Freed from the shackles of the Star Wars licence, BioWare produced an exceptionally rich galaxy filled with danger, discovery and intrigue, setting new standards for story telling and digital acting.

Intended from the outset as a trilogy, it would have been an understandably predictable move to simply go through the motions of adding to the original game as the story arcs towards its ultimate goal – instead they have taken the bold step of gutting the game, addressing each and every criticism levelled at the original, resulting in a finished product is without doubt the most incredible gaming experience BioWare have ever created.

Even the most hardened Mass Effect zealot has to acknowledge the many flaws of the original – the terrible texture pop-in, the infamous lift loading sequences, the repetitive planet exploration, the extremely fiddly inventory system, the questionable combat controls – despite the game’s undeniable quality, it was a flawed work of brilliance. Rather than simply attempt to repair inherently broken mechanics, BioWare have been clinically ruthless in discarding unpopular elements.

Addressing technical issues first, the texture pop-in has been completely eradicated; a feat all the more impressive when taking into account how breathtakingly beautiful the game looks. The original game’s lustrous futurist design and vibrant colour scheme returns, but on a grander scale with a far greater assortment of environments, each with their own individual characteristics. Conservatively uniform structures make way for varied architecture, with wide open vistas offering spectacular views bustling cities crammed full of detail.

As with the original, biotic attacks are used to disable enemy shields and barriers, allowing you to inflict maximum damage.

A transparent attempt to disguise loading times, the lift sequences of the original game have been replaced by far more honest loading screens – you still need to exercise some patience, but load times are significantly shorter and screens dispense vital information while you wait. Attempting to simulate an entire galaxy on a DVD obviously requires a certain degree of wool being pulled over eyes, and BioWare’s method in the original game saw the incredibly dull Mako sequences where you would drive for hours across identical planet surfaces, distinguishable from one another only by their colour schemes. The Mako driving sections have been ripped out, leaving each explorable planet as a completely original designed environment, each with their own characters, objectives and resources, making for a far more varied experience.

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Chatting with us at a Monster Hunter Tri preview event in London today, Capcom’s UK PR manager Leo Tan has provided one reason you shouldn’t care which platform the new game will appear on. See, Monster Hunter isn’t a game, kids. It’s a platform itself.

“From a business point of view, Wii is the platform and Monster Hunter is the product that works on the platform,” Leo observed when asked why the threequel wouldn’t hit Xbox 360 or PS3.

“But for me,” he added, “Monster Hunter is the platform. Like everything else is plugged into Monster Hunter! And I don’t care what machine it’s on as long as it’s that universe, as long as it’s got what I’m looking for – everyone gets together, you go out on a mission, you kill your monster, you get your stuff, you take it back, you improve.”

That’s all I want. It could be on anything, it could be on a microwave.”

According to Wikipedia, by the way, over 90% of US households own a microwave oven. Contrast that with the mere 30 million or so Wiis Nintendo’s sold in the territory to date. Do the maths, Capcom accountants. We bet the microwave oven has a higher software attach ratio too.

Leo reckons the PSP, a reasonably strong commercial prospect nowadays in Japan, owes its popularity primarily – even entirely – to Monster Hunter Freedom and its sequels.

“If you look at the PSP sales and you put the graph over Monster Hunter’s release, you’ll see a huge spike,” he said. “I think that some analysts have said that Monster Hunter is solely responsible for PSP continuing to be a commercial success.”

I’m sure Sony wouldn’t tell you that, it’s just something that I’ve read, but it’s definitely a correlation there. It’s more about Monster Hunter players than it is PSP players.”

Watch out for the full interview soon. The game hits Europe in April.

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Glance at any PR shot of Red Dead Redemption – aside from the close-ups of TNT stacks exploding, that is, or of Texans ingesting lead through their belly buttons – and you’ll be struck by the desolateness of it all. Hazy plateaus of sand and grass sweep away to splendid but featureless hillsides, stuccoed with cacti and scarred very occasionally by tracks or railroads. Settlements protrude from this landscape like islands at low tide, tumbleweeds nosing their doorsteps. Even the larger fortified townships seem a tad ephemeral, a little insecure.

Grand Theft Auto IV had high-rise billboards, and custom ringtones, and the everywhere-present hubbub of traffic with which to grab and guide your attention. Redemption, set a full century or so before Nico Bellic first phoned for a pizza, has no such enveloping man-made fabric of noise and newsfeeds at its disposal. Instead you get buffalo trails and tanned boulders, or the hiss of the wind over thorns. Nico had an apartment, or at least a succession of safehouses, complete with TV, kitchenette and the occasional girlfriend. New hero John Marston, a murderous outlaw turned family-man turned reluctant state-sponsored assassin, has only his pistols, the dollars in his pocket and what sticks he can gather for firewood.

As I noted in our first look, it makes a lot of sense for Rockstar to relocate to the Old West. The spaghetti epics from which Redemption takes many of its artistic cues have a lot in common with the developer’s cherished Scorsese or Coppola-directed gangster yarns – hard-eyed anti-heroes, hard-edged ethnicities, a taste for violent absurdities. But those uninterrupted vistas are still a shock, even months after the public reveal, and when we’re told that the new backdrop is one of, if not the biggest Rockstar has ever created, there’s the fear that this primordial sterility could bequeath a sterile game, its hotspots dispersed across miles of uninteresting wilderness, lacking the tightly-packed geographical playgrounds of post-modern urban sandboxes, or a concentrated populace from whom to leech one-liners and punch-ups.

We weren't able to try this out, but it looks like first-rate Youtube fodder.

We’ve seen and heard plenty about how the developer plans to fill your time – about sly horse thieves and I-Spy treasure maps, highway robberies and recreational finger removal – but only today, in the prolonged hangover of an English January, do we get a chance to slip on John Marston’s rawhide boots and kick back with a controller.

Redemption handles much like GTA IV: analog stick movement and camera control, right trigger to shoot (or punch, if ammo is scarce and you’re feeling thuggish), D-pad to hot-swap one of your six firearms and left bumper to unfurl a weapon wheel. Right bumper locks to cover, while holding A button makes Marston run or, when tapped, sprint. Strolling around a plain just outside the rickety nowhere-ville of Armadillo, taking potshots at bottle-green Saguaro trunks and wild horses (whom you can skin for additional moolah), we find the layout as dependable as ever.

Horses serve another and more important function than target practice, of course, and much as GTA wouldn’t be GTA without its celebrated, varied fleet, so Redemption’s claim to fame may depend on just how successfully Rockstar has fleshed out the relationship between rider and mount. “Flesh”, indeed, is the key word: these are living, breathing creatures, or at least passable recreations of living, breathing creatures, and there’s a corresponding element of give-and-take, of mutual respect, as we belatedly and bruisingly discover after being a little too generous with the spurs.

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Spring is peeping over the parapet, the days are getting longer and I’m playing Final Fantasy XII again. The game appeared in one of our local charity shops during the Christmas break, and despite having only just cracked the scum on the toxin-rich sinkhole that is Fallout 3, I couldn’t resist. Goodbye sleep, work ethic and social life; a big hello to hunting quests and Queen’s English.

This is gluttony for punishment in more ways than the merely playlength-related. When first I hopped, skipped and Dragoon-jumped into the world of Ivalice back in 2006, I wound up loathing the experience. Briefly put, Final Fantasy XII has one of the most unnecessarily complicated character and gear development systems ever to deprive a weak-willed hack of his precious, precious Zs.

RPG red-tape

Imagine, if you will, walking into a bar. Better yet, print this out and actually walk into a bar – alcohol will help you get into the mindset. Now, what happens in your usual bar is you approach the least wasted-looking person and ask for a drink. And they give you a drink, and you give them some cash, and all is True and Right with the universe.

Give or take the odd XP threshold, much the same delicate transaction occurs when you stomp into Skinflint’s Skill Shoppe, or Hortense’s Horse Armor Dispensary, or any other fictional business from any typical role-playing game.

But let’s say that before you buy the drink you need a license for it. Not a license to drink, but a license for that particular, individual, specific drink. Ask for any other type of drink, be they ever so similar, and you’ll need a different license. Doesn’t matter that Warsteiner lager is just Stella Artois wearing lacy underpants, you’ll still need to do the paperwork before you pour yourself a glass.

And this license can only be obtained from a “license board”, using points that are awarded whenever you kill something. And each license is represented by a square on this board, and only the squares adjacent to squares you’ve bought are visible, thus making it difficult to determine exactly which licenses are located where.

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Garnering perfect scores on both sides of the Atlantic, Hideki Kamiya’s 3D action masterpiece has a lot to live up to – after all, since he invented the genre with Capcom’s  Devil May Cry, it hasn’t exactly stood still with Ninja Gaiden, Bujingai and God of War all adding to (some may argue bettering) his 2001 blueprint. Unlike many other titles showered with such universal reverence however, Bayonetta is not a game for everyone.

Kamiya and colleagues’ previous work as Capcom/Clover employees has often branched out into broader artistic areas beyond the usual remit of video games such as the comic book homage Viewtiful Joe or the living and breathing Ukyo-e painting, Okami – Bayonetta has no such pretentions and is one of the most defiantly “gamey” games of this generation. This isn’t just a video game; it’s a love letter to Japanese video game fans, signed with every cliché, reference, homage in the book.

Medieval torture devices can be employed when you have a full magic bar and like the rest of the game, they manage to be risqué and ridiculous.

Platinum Games have taken a hedonistically unrestrained approach to design that will divide audiences down the middle; every aspect of Bayonetta’s (both the lady herself and the game) design has been crafted with seemingly no concern for self-control. The titular heroine has been the subject of much debate, from her disturbingly unrealistic proportions to her painfully camp dialogue and of course the rampantly hyper-sexualized character design and move set. In a lesser title this transparent appeal to the sexual fantasies of the predominantly male user base may be offensive or distasteful, but Bayonetta is more Carry On Dante than Playboy May Cry.

Wicked weave attacks turn Bayonetta's hair into giant fists and feet and do massive damage.

The story and design are attacked with such gleeful excess, it’s hard to imagine anybody taking it seriously enough to be offended. The tale of half demonic sibling rivalries is so derivative of Devil May Cry that it boarders on the parody and the absurdity of the story segments knows no bounds and serves merely to take you from one incredible set piece to the next. While the writing is hardly sophisticated enough to claim to be an intelligent critique on redundancy of story in such action-led games, there are tell-tale signs throughout that Bayonetta is a response how po-faced and dull story telling  and design has become in the majority of games. Only the Japanese could show such unashamed disregard seriousness and be so willing to embrace the camp, the irreverent and the ridiculous.

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