Review: Hoshi o Ou Kodomo – Children Who Chase Lost Voices From Deep Below (Sub)

Medium: Anime Film
Director: Makoto Shinkai
Studio: CoMix Wave, Inc.
Genre: Adventure, Fantasy, Romance
Distributor: Media Factory (JP)
Release Dates: May 7, 2011 (JP), July 30, 2011 (US)
Age Rating: Not Rated (contains gun and sword fights, but minimal bloody violence)

I've said it before and I'll say it again: Makoto Shinkai is the Green Day of anime.

I used to make this half-joking comparison between the newcomer anime director and '90s punk revival band since both of them make "the same great song over and over." But little did I know that Shinkai's newest film would fulfill the other part of the Green Day prophecy: the moment they stop making the same song, everybody gets angry that they stopped.

Hoshi o Ou Kodomo (localized as the comically verbose subtitle, "Children Who Chase Lost Voices From Deep Below") is just that moment — Shinkai's American Idiot if you will. It is a distinct break from his typical teen angst stories and a foray into magical action-adventure. The transition isn't too smooth, either for viewers or the director himself, but Children — the fourth film in Shinkai's catalog — is still a beautiful work, and one that hopefully heralds a new period in his career.

12-year-old Asuna is living alone with her workaholic mother following her father's untimely death, but despite a healthy school life she spends most of her time up on the nearby mountain, listening to whatever radio signals she can pick out on her crude ham radio. However, a dangerous run-in with a giant monster in the woods results in a friendship with a mysterious boy named Shun. Thus begins Asuna's adventure into the ruined underground world of Agartha.

You might already be sensing a bit of an influence here, and no, you're not mistaken. Makoto Shinkai has openly expressed his admiration for the works of Studio Ghilbi, particularly Laputa (Castle in the Sky), which made a big impression on him when he saw it as a boy. And while imitation is the sincerest form of flattery, Shinkai — almost certainly accidentally — leaves the realm of homage and heads straight into the no-man's land of full-on copying. Oh look, there's the Forest King from Princess Mononoke, the cave shelter from Grave of the Fireflies, the fox-squirrel from Nausicaa, the architectural style of Castle in the Sky!

Shinkai's touch is definitely there, and one need only pay attention to the director's masterful use of watercolor-esque lighting and color to understand that this is not straight-up imitation, but I still feel like there's a little bit too much Miyazaki and not enough Shinkai in the film. His trademark brooding, silent moments are still there, but they are interspersed with action scenes and fast-paced plot developments.

And boy oh boy, those action scenes! I was sure surprised to find that a director whose last outing was characterized by long stretches of waiting silently on a train can create such lightning-fast, exciting action sequences. The film's moments of gunfire and hand-to-hand combat have a sort of whipping speed and kineticism that I've seen only in some of the best action anime directors (and of course, Mr. Miyazaki). Shinkai claims his team studied both Ghilbi movies and the Rurouni Kenshin anime in order to figure out how to animate the scenes.

Children hits all the emotional points that you might expect from the director of Voices of a Distant Star, The Place Promised in Our Early Days, and 5 Centimeters Per Second, but one too many deus ex machinas and a few too many different set pieces bog down the pacing to what feels like a crawl. Shinkai has got to learn to edit if he's going to attempt another movie in this vein.

But let's make this clear: I would love for Shinkai to try another movie like this. It's a distinct break from his previous work, and while it's more of a so-so Ghilbi film than a great Shinkai film, it is enough of a proof of concept to hook me for the rest of his work. As long as he learns from his mistakes and doesn't get stuck in the rut of re-making this exact movie over and over, this director could really go places. He's got emotional expression down better than basically anybody else in the business, and now has proven his mettle in the realm of action scenes. A little bit more editorial oversight will probably do wonders for honing his style.

Is he still the Green Day of anime? Yeah, probably. Is he "the next Miyazaki?" That still remains to be seen, but Children is certainly a fine down payment towards the title.

[Recommended]

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This review is based on the Otakon 2011 premiere screening. The reviewer was given a complimentary press pass for the convention.

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Review: Silent Hill – Homecoming (360)

Genre: Survival horror
Designers: Jason Allen (Lead Designer), Jeremy Lee (Producer)
Developer: Double Helix Games
Publisher: Konami
Platforms: PS3, Windows, Xbox 360
Release Dates: Sep. 30, 2008 (US/CA), Feb. 27, 2009 (EU), May 12, 2009 (AU)
ESRB Rating: M for Mature

Silent Hill: Homecoming proves that a game series can still remain scary and true to itself while changing elements that define it. Homecoming follows a man named Alex Shepherd whose family was one of the four founding families of Shepherd’s Glen, a town located across Toluca Lake from Silent Hill. Waking from a dream in which he sees his younger brother running away while exploring a hellish hospital, Alex returns to Shepherd’s Glen in order to find his missing brother. Things are worse than he first imagined, though, as his mother is catatonic, his mentally abusive father has abandoned the family, and a childhood friend reports that more people go missing every day. As he continues chasing after his brother, talking to several of the city’s prominent leaders in the process, he travels through Shepherd’s Glen and Silent Hill, discovering the truth to Josh’s disappearance and the secret history of his family’s heritage.

The storyline itself is very interesting, and the symbolism involved is rather profound. Taking its enemies into the darker corners of Alex’s past, the creators at Konami have once again hinted towards the truth through bosses, enemies, and sceneries, mixing symbolism with the background to the game. Enemies, which range from nurses to underwater lurkers to creatures which walk on needles, are all scary but rather easy to kill given the right weapon. It takes very little practice to master the game’s combat system, yet fighting on the whole is somewhat clunky. Alex receives a variety of weapons throughout the game, and it is explained that he can handle most without training due to his background in the military. Therefore, Alex easily wields weapons such as knives, pipes, and even guns, but the game does a somewhat poor job of making combat as seamless as possible. Guns tend to lag when fired, and enemies will freeze for split seconds when shot. It is much more efficient and satisfying to play the game without guns at all, but when the time calls for some heavy firepower, players will be met with a bit of lag.

The sights and sounds in Homecoming are highly impressive. The graphics appear to be taken out of an old photoshoot, as there is always a bit of fading in the details of scenery and characters, particularly in the hellish versions of Silent Hill and Shepherd’s Glen. Rather than taking away from the experience, this touch makes the events that are happening truly seem otherworldly. Overall, graphics are very bleak and gray while nightmarish and dark in the hell counterparts, making for a beautifully disturbing game. Lighting is once again a crucial factor, as enemies are attracted to Alex’s flashlight as well as light from objects such as televisions. However, on default mode, the game is almost too dark, to the point that players will have to turn the brightness level up just to see what they are doing. It is nice when things are dark and scary, but there is a point when players just have to be aware of their surroundings. The sounds of the game are just as good as the graphics, and voice acting is also well done. The only flaw is that dialogue is spoken very softly, making it difficult for players to hear at times. Subtitles help immensely, but surprisingly subtitles oftentimes do not align with what characters are saying. A word or two is off or the timing is wrong, making it difficult to follow along if players are relying solely on subtitles (which they should not have to do). However, the soundtrack to the game is phenomenal, and Akira Yamaoka has once again made magic with gruesome sounds and terrifying noises.

The game features a lot of exploration, and maps are, as they are in all Silent Hill games, extremely helpful. Traveling in the game can get pretty tedious, though, as players will backtrack through multiple areas numerous times in order to gain new items, talk to different people, or simply retrace their steps. Save points are scattered haphazardly around the worlds of Silent Hill and Shepherd’s Glen as well, making it hard to gauge when the next save point will be. Some save points come within five minutes of each other; others may take up to an hour to find. Furthermore, Homecoming’s puzzles can be a bit tiresome, including several tablet puzzles where players need to move pieces on a board in just the right way to proceed. These are frustrating, in that when a player gets stuck, they must exit and return in order to reset the puzzle, if it resets at all. With the lack of save points in certain areas, this can make for some disgruntled players. There are plenty of hidden items to find during Alex’s travels, including photos taken of the various Shepherd’s Glen citizens, drawings left behind by Josh to be used as clues, and powerful weapons. Obtaining these items can be tricky at times, but the rewards are relatively good. Not only are there achievements to be unlocked, but they add a layer to the overarching story that makes it worthwhile to explore. With so many items to find, the inventory system is laid out somewhat nicely, yet it stops overall gameplay and can be tricky to maneuver when in the middle of combat, as players must choose from a wheel what items they wish to use.

Silent Hill: Homecoming has its flaws, but compared to the entire game, they’re actually relatively minor. The game itself is a great, in-depth story that is both horrific and inspiring. With five available endings for players, along with many unlockable items including outfits and weapons, there are plenty of reasons to replay this game. Achievements are relatively easy to get, as it only takes two or three playthroughs to unlock them all, but with such a good storyline, players will want to play it to relive the experience instead of just obtaining points.

[Highly Recommended]

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This review is based on a retail copy of the Xbox 360 version, purchased by the reviewer.

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Review: Tales of Vesperia (360)

Genres: Adventure, Role-playing game
Designers: Kiyoshi Nagai and Eiji Kikuchi (General Directors), Takashi Hasegawa (Project Leader)
Developer: Namco Tales Studio
Publisher: Namco Bandai
Platforms: PS3, Xbox 360
Release Dates: Aug. 7, 2008 (X360 JP), Aug. 26, 2008 (NA), Jun. 26, 2009 (EU), Sep. 17, 2009 (PS3 JP)
ESRB Rating: T for Teen

Tales of Vesperia is an impressive, original JRPG that follows a sarcastic yet compassionate 21-year-old named Yuri Lowell. The game begins with players watching Imperial Guards fighting rabid animals, followed by the beginnings of a secret plot in the Imperial capital Zaphias. The opening then turns to the Lower Quarter, a poor section of Zaphias whose inhabitants are tormented by the Imperial Guards, where an aque blastia (magical machine to create clean drinking water) has been stolen and is causing chaos. Yuri attempts to retrieve it only to be captured by one of the Commanders of the Imperial Knights, the leading organization that protects the Empire, and he is thrown into jail. Through making his escape, he runs into a noble named Estellise who is trying to run away for her own personal reasons. A very naïve and sensitive girl, Estellise becomes very crucial to the storyline, as the story progresses to become a power struggle over the blastia technology between the Empire, the Guilds, and all who inhabit the planet.

The plot is very original and highly in-depth. The main protagonists stray away from general archetypes, and the voice acting adds a layer of realism and depth to their characters. Special dialogue options triggered with the Select button reveal small discussions between certain characters which brings to life their daily thoughts and feelings. While this may seem a bit useless at first, it does add a new dimension to the plot, revealing the character’s thoughts and feelings in a way without overloading players with cut scenes. These dialogues are shown through boxes revealing the characters involved, and the presentation may appear a little out-dated to some players. Many of their actions reflect the hard decisions between right and wrong, values over necessity, and the storyline forces players to reflect on their own morals, asking themselves what they would have done in such a scenario. There are just as many scenes of laughter as there are of remorse and sadness, and Namco Bandai does a god job of keeping it from becoming childish and cliché while still driving a point home. In the end, unlike most RPGs where the group simply goes their own way to save an unsuspecting population, the protagonists work together with world leaders in order to accomplish a common goal. For such an unrealistic plot, the game’s realistic problems faced, both with individuals and in society, grab players in an astounding way.

Like any JRPG, the game is not just about the main plot; side quests are a must, and in a game that spans 60+ hours, there are certainly some side quests to be accomplished. There are a good number of things to do, such as puzzles, extra exploration, and special monsters to defeat, but the game does very little to present such events. The side quests offer a good amount of extra items, money, and, surprisingly enough, plot, meaning that parts of the main storyline are solved by looking for a side quest players would never have known about. With so many extra cut scenes and information available, it would have been nice if such events were given a bit more advertisement. Instead, they are hidden away and must be followed in a specific order, creating confusion and a bit of frustration for players.

The sights and sounds of the game are very well done. The graphics are very bright, and while Namco Bandai strays away from making the game look realistic, the looks of the game are very sharp and clean. Environments are nicely done, and the music played in each area evokes a certain ethos that contributes to the environment. With four large continents and many smaller areas to explore, the variety of music and atmosphere is refreshing.

Tales of Vesperia utilizes a very efficient system of combat. You initiate battles by running into stationary enemies and are transported to a circular area of combat, where you can use 3-D movement to jump, run, and attack enemies. You can choose to set the battle system to manual, where you control everything, semi-automatic, in which the computer sometimes determines attacks or motions, or automatic, where the computer fights the battles for you. Added to this are a large number of attacks, spells, and items available during combat, which includes moves called ‘Artes’ that utilize Technical Points, or TP. The camera is a bit annoying sometimes during battle, particularly when using 3-D movement, but overall it follows the characters well. At the end of each battle the game lists several properties of the fight, including experience, money, and Grade earned. Some of these properties do not make sense until much later in the game, particularly Grade, which is used at the end of each run to purchase abilities to be used in the next playthrough.

A very large part of the game is synthesizing materials, and Namco Bandai made the system both fun and innovative for players. Each character can be equipped with specific weapons and armor, and by visiting stores around the world, players can enhance older weapons or create entirely new ones, allowing characters to learn new abilities. Accessories to outfits can also be synthesized, which adds a bit of humor to cut scenes. One in particular gives Yuri Lowell a large moustache and old-school pipe, which is hilarious to see when he is arguing with the Commander of the Imperial Knights. Added to this are Titles characters can earn, which sometimes changes a character’s attire, and players can make some pretty interesting outfits. Synthesizing occurs throughout the game, and while it may seem overwhelming at first, the fundamentals are easy to understand, and players quickly learn how to master the system.

All in all, the game is a classic JRPG that features unique content to keep players interested. Despite its length, the game stays fresh the entire way through, and the plot offers enough twists and turns to satisfy even the most die-hard RPG fan. Multiple run-throughs for such a long game may seem tedious, but the rewards are great, and it takes more than one run to truly appreciate the plot of Tales of Vesperia.

[Highly Recommended]

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This review is based on a retail copy of the Xbox 360 version, purchased by the reviewer.

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Review: Summer Wars (Hyb)

Medium: Anime Film
Director: Mamoru Hosoda
Studio: Madhouse
Genre: Romance, Science Fiction
Publishers: Kadokawa Group (JPN), FUNimation (NA)
Release Dates: 2009 (JP), 2011 (US)
Age Rating: PG (MPAA: action violence, some suggestion content, language, mild thematic material, and incidental smoking)

With every new season, the saturation of anime series continues to expand. If your tastes are fairly broad, there is plenty to keep yourself occupied with from currently running shows and a backlog spanning several decades. For theatrical films, however, the market is significantly thinner. If you don't count films based off of an anime series — original plots or condensed story arcs — the choices are rather limited. The big names are Ghibli, Otomo, Oshii, Kon, and Shinkai. Tragically, Satoshi Kon has passed away which will leave a noticeable void in Japan's animated film output. Otomo's last works include the disappointing Steamboy and oddball live action Mushi-shi adaptation. Shinkai is hard at work on a film that seems to be a (welcome) departure from his usual fare. Miyazaki and Takahata aren't getting any younger, and man cannot live on Ghibli alone. Thankfully, 2006 saw the release of The Girl Who Leapt Through Time as the feature length debut of Mamoru Hosoda. He went on to direct Summer Wars in 2009, establishing himself as a key industry director.

Kenji Koiso, a high school student and mathematics enthusiast, is recruited by a girl at his school to help her out with some job. Despite his current part-time work with the infrastructure of virtual-reality super-network OZ, he decides to help her out without asking details. He helps carry her things as they travel to the traditional Japanese family mansion to celebrate her grandmother's 90th birthday. The girl, Natsuki Shinohara, asks Kenji to play along as she announces him as her fiance to her grandma. He now finds himself in the awkward position of being a pseudo-newcomer to this tight-nit and very large family descended from a warrior clan. During his first night there, he receives an email with a large string of characters that he is asked to decrypt by an unknown entity. Being almost Japan's representative for the Math Olympics, he wastes no time in pulling out some paper to work out the problem, which takes him all night. What he did not realize is that he was being asked to break the security that would breach the main OZ server, and in the morning he finds that his account is being used by the hacker to cause chaos in OZ. With most major government and official institutions being dependent on OZ, the hacker is able to cause damage not only online, but in physical space by taking over the person's privileges. For example, by obtaining the account of the president it would be possible to launch a nuclear missile.

Kenji discovers that one of the family members, Kazuma Ikezawa, is the infamous OZ gaming champion King Kazma. The pair find themselves in a battle against a dangerous artificial intelligence being tested by the US Army within OZ. Meanwhile family drama arises as the problems online are connected to the family in ways they did not expect.

Beyond the themes of online action, what lies at the heart of Summer Wars is a thoughtful portrayal of family life. The members of Natsuki's massive family all believe Kenji to be her fiancé, and welcome him to the family in different ways. Hosoda relates his own experiences from when he suddenly became a member of a family due to marriage through Kenji's awkwardness at being accepted into their close group. Indeed, the closest thing to a human villain in the story is the one family member who drifted away from the rest and went to America. The two major aspects to the story — family life and Internet action — seamlessly intertwine, and neither is pushed into the background or feel tacked on to the other. Summer Wars is ambitious in the broadness of its scope, but this natural connection is what really makes the story stand out. If anything, it is much more realistic. In Summer Wars, world-changing events are caused from computers sitting in the middle of a traditional Japanese mansion, not an underground hacker cave with fifty monitors and a nonsensical cooling unit. The heroes are awkward mathematicians, well-connected grandmas, and working class dads with years of video game experience, as opposed to trenchcoat-wearing dudes with BitTorent and bad attitudes. (See: every movie about hackers ever to compare)

One of the most common complaints made toward Summer Wars is criticism of its technical inaccuracy. The story revolves around an incredibly advanced Internet structure, called OZ, that can be connected to through all types of devices and thus has became an extremely integral part of business, culture, and communication. Users create avatars and are able to interact over OZ in various ways: chatting, shopping, business, learning, etc. Additionally, languages are instantly translated to allow communication with anyone. Even the least technically minded viewer can see that it is an unrealistic view of the Internet. This leads to many lumping it together with WarGames and Hackers with their over the top, glamorized distortion of real technological advancements. However, this is completely missing the point of the story. Summer Wars may not be realistic in its details, but that is not the point. It is an exaggerated stylization of computer communications and should be treated as such. Like much good science fiction, it is able to make very relevant points that concern real world technology in a highly fictionalized setting.

A major theme of Summer Wars is communication. OZ's primary function, like the internet, it to connect people and services from all over. The film demonstrated both the dangers of over-reliance on digital networking, as well as celebrating the positive aspects of everyone being able to work together towards a goal. The theme goes beyond modern technology; the grandma was able to use contacts from a lifetime to make phone calls and encourage family members and important decision makers to take action during the crisis. Throughout the movie, communication is key in solving problems — online and off.

One aspect that many viewers should be able to relate to is the contrast between the characters taking initiative and using their computers to fight the AI, and the other relatives who can't understand why they are wasting their time with “video games” during this time. For Kazuma, Kenji, and the dads who pooled their resources together, nothing is as important as stopping that threat inside OZ. They realize, especially after what just took place in their own lives, that what goes on in the wires does affect what goes on the “real world”. It isn't until tragedy is -literally- looming over their heads that the non-techie relatives finally realize the gravity of the situation.

Hosoda touches on plenty of scenarios throughout the movie that could have been pulled straight from Slashdot. Compromised users were being assured that the security was impenetrable even after the hacking took place. Online accounts held enough power that stealing their account granted the hacker the user's government privileges. A dangerous artificial intelligence program was developed which questioned the responsibility of the developer who didn't actually implement it himself. A hacker was causing problems through an account that had been taken over, leading to the arrest of the innocent true owner of the avatar. While the movie itself may be an implausible action movie with pseudo-technological workings, the points it makes are often grounded in reality. The actual computer use is done in a way that can be approachable to the average person, but the technically inclined viewer should be able to appreciate its themes with a deeper understanding. Instead of seeing it as dumbed down or inaccurate, I adored the stylization of the Internet and artistic interpretation of technical concepts through Superflat imagery. The last thing I would have wanted is if it became an Nmap documentary.

Summer Wars has very impressive production values with smooth, detailed animation and a high degree of artistic merit. Two distinct art styles are used to easily distinguish the real world and OZ: The real life characters are designed by Yoshiyuki Sadamoto, whose work contains the same appeal and quality that he is known for, and I've noticed since The Girl Who Leapt Through Time that his style has become even more distinct and refined. The background artwork is composed of beautiful countryside scenery and convincing realistic settings. The visuals are extremely detailed, which provides a noticeable contrast to the Superflat style used in OZ. This style, mostly associated with the work of Haruki Murakami, is frequently used in Hosoda's work and has been become a trademark of his style. Even his work with Digimon incorporated a very similar (if less ambitious) Superflat world for the Digimon to fight in. Summer Wars takes it to a new level, with a fantastic stylized world with bright, flat colours against a largely pure white canvas. I've always been a big fan of the Superflat style, and Summer Wars delivered a truly spectacular example of the craft.

Hosoda has obviously been holding onto this premise for a while — after all, his work with Digimon uses almost the same plot. In Digimon: Our War Game, a virus-type Digimon is infecting all of technology through the Internet and causing chaos by manipulating everything it can. Some of the first season's cast meet up to stop the threat by sitting at their computers and working with their Digimon partners who are battling inside a Superflat-style online world. The conclusion practically mirrors that of Summer Wars with the virus launching a nuclear missile (the possibility of this was even alluded to in Summer Wars, I'm assuming as a reference). In the end, people around the world send emails in support of the Digimon. There are so many emails that Izzy/Izumi forwards them to the virus who is then slowed down (DDoS?) enough for them to finish it off. It is good to see that Hosoda was eventually able to fully flesh out the concept with the experience he has gained since then.

I absolutely love this film. It follows a fairly typical action blockbuster formula, but with a level of craftsmanship, intelligence, and social satire that elevates it above the expectations of the genre. I have no doubt that there will be criticism of its typical action film influences, but it really does Summer Wars a disservice to lump it with the mindless action film crowd. If anything, it takes the elements that makes such films so entertaining, but loses the pedestrian brainlessness associated with them. Instead, it presents a thoughtful, realistic, and charming portrayal of family life in addition to the cyber-warfare action plot. Summer Wars is a film that embraces a video gaming, highly connected culture and equally the importance of everyday family life. It is a near-perfect representation of the joys of living in the information age, presented in a wildly unique and enjoyable package.

[Highly Recommended]

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This review is based on a retail Blu-ray disc purchased by the reviewer.

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Review: The Disappearance of Haruhi Suzumiya (Light Novel)

Author: Nagaru Tanigawa
Publisher: Little, Brown and Company
Rated: 15+

Reading the new Haruhi book is a lot like wearing an old jumper. Don't run off! Let me explain myself. Opening the book, everything feels warm and familiar. Sure, it feels kinda worn in and doesn't fit perfectly, but it's very comforting to come back to something you know well and enjoy.

Such was how I felt sitting down to read The Disappearance of Haruhi Suzumiya. After a brief re-introduction to the cast and their various characteristics, Protagonist Kyon (real name unknown) is thrust into another bizarre adventure against his will. This time, Kyon finds himself thrust into a world devoid of Haruhi or any of the other ragtag band of crazies who make up the SOS Brigade after-school club. Kyon goes on a trek to find out what on earth happened and to figure out how, and if, he should fix everything to how it was before.

This new story has a welcome improvement from the previous volumes in that all of the strange events of the story directly affect the first-person narrator Kyon. You get to watch his sarcastic outlook get put through the wringer instead of having him relate events that are happening to others, leading to much more engaging prose overall. It provides a welcome change from having the main character be a disaffected observer of bizarre events yet again and allows for some interesting development of his character and motivations throughout the book. The rest of the characters also receive their fair amount of the spotlight, and you learn a little more of the interrelations between them.

The plotline, which I am trying to skirt around in case of spoilers, moves along at a reasonable pace and answers all reader questions, but notably stumbles at the climax of the books events. Shortly after the climax, which for me made perfect sense and opened up some exciting possibilities, the author calls the book to the halt so he can clearly spell out the events that occurred just in case you weren't paying attention. This cheapens the ending a great deal, as instead of merely hinting as to the outcome a great big red arrow was instead used to point it out. Kyon further dwells on the climax in the final pages, adding big flashing lights to the sign saying "This is what the ending means, doofus!"

I feel I should mention here that the majority of the plot itself is highly engaging and enjoyable, and it is only because the way the climax is handled is such a noticeable drop in quality compared to the rest of the book that I feel the need to bring it up. The characters are still enjoyable to spend time with, the events presented are interesting, and the whole story is an page-turner even when you take into account its errors. There is one further sin the book commits, but that will need a bit of explanation.

If you watch anime you may be familiar with characters saying "That Person" instead of using someone’s name as a way of increasing tension in a plotline, or just to draw events out. It is usually used poorly, and sadly Disappearance falls into this trap as well. The first time it happens in the book it is actually used sparingly and to some decent dramatic effect, however it is used again later on across four whole pages when it would have been best to not bother with the gimmick. Given that the reader should have already figured out who the person in question is in this second instance, having so many mentions of "that person" in bold text at such a key point in the story ruins the tension that has been building and left me rolling my eyes.

For readers of the previous Haruhi books, Disappearance will feel like a comfortable continuation of the series with nothing truly earth-shattering but a lot to love nonetheless. Those who have not read the previous books may find themselves adrift somewhat as while the prologue does a great job of catching you up on the principle characters and setting, the story proper draws on a lot of elements expanded on in previous volumes. The book will still be a nice, enjoyable read, but will not be as engaging for fulfilling overall due to the lack of prior knowledge. If you have already watched the TV series, then this may well be a good place to start if you were put off of reading the first three volumes as you had already seen the events in animated form.

I have not seen the theatrical version of the story, and I am now even more excited to see it after reading the book, but I have to wonder how the movie can have a run time (2 hours, 45 minutes) longer than the amount of time it took me to read the source material.

One last thing I want to bring up is that I really like the colorful presentation of the paperback edition of the book, which along with the earlier volumes now has a vibrant little corner on my bookshelf next to some drably presented sci-fi.

Barring a few preventable mishaps, Disappearance is a great read and I utterly devoured it during my commute to and from work. I would recommend it to anyone, even if they had never heard of the series or anime as a whole.

[Highly Recommended]

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This review is based on a retail version purchased by the reviewer.

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Review: Final Fantasy XIII (360)

Genres: Action, RPG
Designer: Motomu Toriyama (director)
Developer: Square Enix
Publisher: Square Enix
Console: PS3, Xbox 360
Release Date: Dec. 17, 2009 (JP), Mar. 9, 2010 (NA/PAL), Dec. 16, 2010 (INT)
ESRB Rating: T for Teen

Final Fantasy XIII is perhaps the largest step the franchise has ever taken away from what it is known for. Moving to both the Playstation 3 and Xbox 360, the story is a complex and original tale developed by the long-time RPG creators at Square Enix. The story follows six survivors of the Purge, a government movement meant to eradicate civilians who came in contact with a “Pulse Vestige.” Pulse and Cocoon, humanity’s home world, went to war hundreds of years ago, and many Cocoon residents fear Pulse’s return. The six survivors all gather at the Vestige, where they are turned by the residing fal’Cie, an entity beyond human comprehension, into Pulse l’Cie, feared servants of the fal’Cie. They are left with a vision of the destruction of their home planet and are sent to fulfill a mission they cannot understand. Players will follow all the characters, who split up and regroup at various points throughout the game.

The background to the game is crucial, and players may find themselves consulting the Datalog option in the main menu quite often for information. The Datalog contains updated information on the thirteen days that lead up to the events of the main characters’ l’Cie transformation, along with information on historical references, enemies, locations, fal’Cie, and more. The fact that the game forces players to read what should be spoken may frustrate some gamers, and with so many twists in the game, the goal may become confusing or even muddled underneath it all. Still, the main storyline packs a punch, and while it drags on throughout much of the beginning, once it picks up it doesn’t let go. At its core, it is an emotional tale of survival, and players will enjoy watching the characters transform over the course of the game.

The first thing nearly every gamer will recognize about the game is its phenomenal graphics. The characters and scenery are simply stunning, and the mixture of places visited, from thriving cities to mechanical waste dumps, are beautiful to behold. The soundtrack of the game is equally astounding, having a very dramatic musical theme. Voice acting is also quite good, though Vanille’s voice has received criticism from many gamers. Whenever she is attacked or upset, she groans and moans, and the T-rated game suddenly takes on a more mature edge. Teenagers should not feel embarrassed for playing the game, yet many boys will chuckle or snicker at Vanille’s rather obnoxious battle attacks and moans (it being so obvious that reviewers feel the need to comment on it).

With such beautiful landscapes, many gamers hoped to explore the world of Cocoon. However, Square Enix has severely limited the players’ ability to travel. Maps are about as linear as one can find; often players are literally going in a straight line from point A to point B with only a couple fights and items laid out before them. Out of a total of thirteen chapters, players will only be able to go back to Chapters 11 and 12 once they reach Chapter 13, meaning that most of the places players visit will be a one-time event. This is deeply disappointing, particularly because it creates a limit on side-quests, which are rarities within the game. For a series that usually makes side-quests fun and challenging undertakings, Final Fantasy XIII falls far short of this expectation. Most side-quests are only available in Chapters 11 and 12, and many are recommended only after beating the game.

The battle system is nothing like previous installments to the series. Up until much later in the game, the computer chooses who you will control and who will be in the party, forcing you to try out all characters at one point or another. Only one character in the party can be controlled as well. Furthermore, for the first several chapters, there is no leveling up. Once the main characters become l’Cie, they gain what is known as the Crystarium, a level-up system that is just as linear as the map system. There are three main roles each character is given depending on their unique abilities in battle, and each character levels up these roles in different orders. It is a basic system; characters gain experience from battles and use it to gain one crystal sphere at a time. Spheres range from abilities to accessory slots to generic stat improvements. Rather than liberating characters, the Crystarium feels very restrictive to players’ abilities, for it only expands, allowing for higher levels, at key points within the story. Therefore, players can only max out their characters to specific points before having to wait until an important boss later down the road before they continue training.

Given this restrictive setting, strategy is a much more important feature of the battle system. Battles are very fast-paced and require what are called Paradigm changes. Paradigms are different sets of roles that characters are assigned, and these roles can be shifted in the course of battle in order to use different strategies. These range from having all-out frontal assaults to defensive and medic sets, allowing for swift changes in strategy should something drastic happen (and it often does). Even Eidolons, which are brought back in a new way, follow this emphasis on strategy rather than brute force. Each character receives a specific Eidolon at crucial points throughout the game. In order to receive it, however, players must fight the Eidolon and fill a bar by using various techniques, some of which include not attacking at all. Eidolons also cast Doom, turning battles into a race against the clock. Once obtained, they do very little damage overall, and while they can change into various forms throughout battles, it feels as though Eidolons are around to show off more than to do damage. This emphasis on strategy rather than statistics falls in line with the simplistic level-up system, but it can make for some very frustrating experiences, particularly with bosses.

Final Fantasy XIII is a beautifully complex game, yet it has its share of flaws that will irritate old-time Final Fantasy fans. The battle system is completely different from anything seen before, and the linear gameplay, along with a lack of side quests and exploration, is a disappointment. The game looks and sounds striking, and once they have completed it, players will gain a huge amount of appreciation for the story’s complex nature, but some may not be willing to get through the flaws of the game to complete it.

[Recommended]

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This review is based on a retail version purchased by the reviewer.

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Review: Japan, Inc. – Introduction to Japanese Economics

Medium: Manga (1 volume in English, 3 in Japanese)
Author: Shotaro Ishinomori
Genre: Drama, Educational
Publishers: Nihon Keizai Shimbun (JPN), University of California Press (NA)
Release Dates: 1986 (JP), 1988 (US)
Age Rating: Not Rated (contains some sexual material and mild swearing)

We don't tend to see much educational manga here in the US, most likely because the modern manga audience is still mostly kids who are interested in gripping teenage action series or sappy romance — in other words, pure entertainment rather than education. Sure, we got those "Manga Guide To..." books, but the Japanese manga world is filled with comics that function simultaneously as narratives and as educational tools.

It is appropriate, then, that Japan, Inc. is not a modern manga; released in 1988 by University of California Press with an introduction by Stanford professor Peter Duus, it represents a mature, academic style of manga publishing almost completely divorced from the modern, teen-centered world of North American manga. Heck, I obtained my copy by borrowing it from my college's library, which mostly has textbooks and other purely academic texts!

Released to Japanese readers in 1986 as a companion to Zeminaru Nihon Keizai Nyuumon, an economics textbook released by Nihon Keizai Shimbun (the Japanese equivalent of the Wall Street Journal), Japan, Inc. makes no bones about its status as an educational tool. Nevertheless, writer/artist and Osamu Tezuka follower Shotaro Ishinomori (Cyborg 009, Kamen Rider) makes valiant and often successful attempts at infusing a sense of humanity into the dry facts and figures that populate the comic.

Our story centers around two workers at the Mitsutomo Trading Corporation: Kudo, a young businessman who works tirelessly to ensure that the "little people" are not left out in large business decisions, and Tsugawa, a ruthless schemer who's always got his eyes on ways to make the company as much money as possible. Surrounding them is a small cast of other businesspeople, including the curious and idealistic young worker Ueda, the cute and feisty secretary Amamiya, and a number of older executives who give advice to the younger workers.

The bosses often serve as our teachers, explaining the long-term ramifications of events like the 1970's oil crisis on world trade and business, while Ueda's cluelessness about business gives us a character to connect to in the frequently confusing web of connections that Ishinomori walks us through. Most of the time, these explanations work out fairly naturally, thanks to a cast of characters with all different levels of knowledge and experience. Unfortunately, though, the need to explain far-reaching consequences of events can lead to confusing flashbacks, and at one point Japan, Inc. even employs the most dangerous tool of all: the DOUBLE FLASHBACK.

Despite Ishinomori's valiant attempts at narrative, including some examination of the differing relationships that Kudo and Tsugawa have with their families, Japan, Inc. is absolutely an educational text. The chapters are separated based on their respective topics, and given invigorating titles like "Trade Friction," "Countering the Rise of the Yen," and "Deficit Finance."

Every other page features a small footnote describing the topic at hand, and there are a few pages that simply stop the action to provide a short essay on the topic or show some graphs. (I dubbed them "economic Masamune Shirow moments.") While all this information is great to have, it's clear that the book is written for businessmen and women looking to bolster their existing knowledge of the business world, because at times the jargon can get pretty confusing for laypeople.

Unfortunately, Japan, Inc. suffers from its age, as University of California Press chose to flip most panels, but leave the ones with drawn text unflipped, resulting in page layouts that lose their natural artistic flow. Additionally, all of the information comes from 1986, so while it's fun to read predictions about how the Internet just might change the landscape of business by 2010, some of the facts are laughably out of date now. (Everybody in Japan is really excited when the yen-dollar exchange rate finally reaches ... 150 yen/1 dollar!)

Japan, Inc. is certainly not what most people expect from their manga: it's considerably drier than even the more subdued seinen manga series, and Ishinomori's art is an acquired taste, lying somewhere between Tezuka (Astro Boy), Mitsuteru Yokoyama (Tetsujin-28/Gigantor), and Akira Toriyama (Dragon Ball). The American version's sporadic flipping shakes up Ishinomori's panel layouts a bit too much for comfort, while the footnotes and full-page info sheets break the flow of the manga from page to page. As a result, Japan, Inc., which clocks in at just over 300 pages, is a considerably slower read than the average manga.

Without any really powerful modern relevance, Japan, Inc. stands as little more than a fun little curiosity for amateur manga historians. Still, if you're interested in economics, international business, or modern Japanese history, and/or if you enjoy seeing manga-fied versions of Ronald Reagan and the Pope, Japan, Inc. might be just the right little curiosity to pique your interest.

[Passable]

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This review is based on a copy borrowed from the Folsom Library at Rensselaer Polytechnic Institute.

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Review: Off the shores of Albion – Traitor's Keep DLC

Title: Traitor’s Keep DLC for Fable III
Genres: Action, Adventure, RPG
Platform: Xbox 360 (Downloadable)
Developer: Lionhead Studios
Publisher: Microsoft Game Studios
Release Date: Mar. 1, 2011
ESRB Rating: M for Mature

Lionhead Studios, as if apologizing for the embarrassment that was their "Understone" DLC, released another downloadable quest as an add-on to Fable III (see my review of the full game here). An apology is worth nothing, however, unless there is heart in it. With that in mind, "Traitor’s Keep" DLC is a panting fireman who’s just saved a family from their burning home and runs back in for their beloved cat, Claws.

Unlike "Understone," which provided only one very small location (albeit inventively placed) with an all too linear objective and short, humorless narrative, "Traitor’s Keep" spans three brand new and expansive areas (islands) – Ravenscar Keep, Clockwork Island, and The Godwin Estate – that collectively play host to 4 new missions and several side quests capable of quenching any post-crowned adventurer’s wander-lust. Lionhead claims that the main story, which concerns events and people at a secret prison that keeps Albion’s most notorious criminals, takes no less than 2.5 hours to complete. As wandering about is half the fun of Fable, I think my gameplay clocked in somewhere around 5 or 6 hours for obtaining all 250 Gamerscore worth of new achievements.

"Traitor’s Keep" is all about back-story. By way of an assassination attempt, the monarch comes to learn of Ravenscar Keep (the aforementioned prison) and that it has long been used by at least the two previous rulers: the current hero's brother, Logan, and mother. Given Logan’s predisposition towards military might and his hard-line tactics towards the general populous, one can imagine what types of people he incarcerated there ... namely revolutionaries, like the present monarch (though less successful), who’ve been seething ever since their imprisonment. While touring Ravenscar, players learn of a plot betwixt three pathologically fixated inmates, each of which (gasp) constitutes a quest, and one of whom fills in some blanks about how Albion transitioned to its industrial state.

While "Understone" presented little challenge to players who had already leveled-up their character by way of completing the game, "Traitor’s Keep" introduces new enemies as well as a few variants on some favorite beasties that manage to evoke some mildly impressive battles (some of which are more inventive than tough and vice-versa). In addition to the new clockwork creatures (beetles, exploding dogs, and psychotic automatons), there are rainbow-licious hobbes, extra-hollow hollow men, and (my favorite) drunken balverines. There are humans to fight as well, and being in a prison seems to have honed their group-based fighting skills a bit.

If there’s a weakness to "Traitor’s Keep," it’s the obvious moral choices. Kudos are deserved for including them at all, but the few choices that are presented are so heavily weighted that there is absolutely no ambiguity concerning where the hero’s yea or nay would place him or her in an opinion poll...a shame given Hobson’s prominence throughout the earlier portion of the DLC. More decisions affecting the public-at-large would have been terrific, especially if they came to learn of the prison despite attempts at secrecy. That could have at least added a feeling of political pressure.

Most importantly, "Traitor’s Keep" brings the funny. Sight gags and great writing as well as Fable in-jokes found scrawled across myriad notes and letters abound throughout this DLC. Supplement all of the above with four new outfits (three collected and one given) and one robot dog (non-exploding) to call your very own, and the 560 MS points it takes to purchase this quest seems a pittance for the experience.

[Highly Recommended]

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This review is based on downlodable content purchased by the reviewer.

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Review: Dead Space 2 (360)

Genre: Action, Survival Horror, Third-Person Shooter
Designers: Steve Papoutsis (executive producer)
Developer: Visceral Games
Publisher: Electronic Arts (EA Games)
Console: PC, PS3, Xbox 360
Release Date: Jan. 25, 2011 (NA), Jan. 27, 2011 (AU), Jan. 28, 2011 (AU)
ESRB Rating: M for Mature

Following Isaac Clarke’s horrific journey during his time on the planet-cracking ship, the USG Ishimura, Dead Space 2 is a sequel that introduces new elements to the series while disbanding with some previous ideals. Some of the newly introduced concepts have their uses and are relatively fun and easy, yet not all of them fall under this category.

The story takes place three years after Isaac Clarke escaped the nightmare aboard the USG Ishimura. He has been kept in stasis this whole time and doesn’t seem to remember a thing. Brought back to help during a new Necromorph outbreak aboard the space city known as "the Sprawl," he must fight his way through Unitologists, government workers, and both old and new Necromorphs, his main goal being to destroy a newly-created Marker which is being protected at all costs by members of EarthGov. While the story sounds fascinating on paper, it is delivered rather poorly throughout the game. Dead Space 2 falls back on the previous game’s downfall: that Isaac is merely moving from place to place because someone else told him to do so.

This problem is even worse, however, in that the people talking to you don’t clarify what it is you’re supposed to be doing. You can travel through nearly three of four areas, not knowing where you are, before discovering what purpose you have in being there. It is confusing, disorienting, and oftentimes frustrating. I had to replay the game’s first several chapters just to understand what the point of it was, and such a thing should not be a problem.

While the storyline itself comes off as being somewhat poor, the elements that bring the story to life are very well executed. Isaac now speaks throughout the game, and his dialogue fits him quite nicely. He is obviously a man who is perturbed by his past, and his experience with the Necromorphs comes through in his dialogue. He is a survivor with nothing to lose, and he reveals this through his conversations with the remaining survivors on the Sprawl. His messages and video logs are oftentimes hard to hear, however, even with the volume turned up, and subtitles are almost necessary to catch everything Isaac and the other people are discussing. Sound effects during the course of the game are both well produced and well timed, somewhat making up for lost words.

The first Dead Space was known for its horrific images and gruesome, nightmarish areas. While Dead Space 2 delivers on its horrific images and enemies, the game isn’t as scary as its predecessor due to an increased amount of action sequences. There were only a few places where I jumped in fear, and never once did I hesitate to enter a room. It could be because Dead Space fans know what to expect, but it also comes from Isaac’s attitude mentioned earlier. He has experience and a lack of care towards survival; he is going to get the job done, and to hell with whatever comes his way. Another reason for this is the game’s increased difficulty. Even after mastering Dead Space 1, I found Dead Space 2 to be quite the challenge, and given that there are now up to five difficulty options available, it is easy to assume that the producers were specifically aiming for an action-type game. Guns and armor (which are now specialized, individual suits rather than upgrades to a single suit) can be purchased at the store, and newer weapons have some nicely added effects. Melee is also much more impressive this time around, as Isaac’s swings and kicks are fluid and effective. In conclusion, all this combined means that enemies are less scary but tougher to deal with.

The environments in Dead Space 2 are gorgeous. Instead of crowded, packed-in hallways and gray, metallic facilities, the Sprawl is filled with facilities, such as a train station, a daycare center, and a shopping mall. Areas are much more open, and the amount of detail placed into the different objects adds a unique touch to the game’s overall quality. Lighting is particularly effective, as Isaac’s shadow and flashlight are very well defined, and the images located on the various televisions, monitors, advertisements, and stores all hint towards a much more peaceful time. Players can easily picture people living in such an environment, and to see it now overrun with Necromorphs and covered in blood is tragic. When navigating these areas, an upgraded locator module becomes extremely useful. Instead of just pointing Isaac in the right direction, the new locator shows objectives, stores, benches, and save stations, making it easy to navigate when one gets lost in the often-twisting hallways of the Sprawl. Another upgrade used for traveling is the capability for 360-degree movement in zero-gravity zones. Instead of jumping from one wall to the next, Isaac can now fly in any direction he wishes, using his boots to travel quickly.

Perhaps the most interesting aspect of the game is Isaac’s dementia, which plays a huge role in the story. Nicole appears in the form of a ghoulish corpse from time to time, talking to Isaac over her death and his guilt, and the images he sees due to his dementia are perhaps the most horrifying elements to the game. It is clear that Isaac is haunted by his dead girlfriend, and her appearances reveal a darker side to Isaac’s thinking. His conversations with Nicole, as well as the terrifying visions that accompany her appearances, add an element to the story that will stick with gamers.

Overall, Dead Space 2 is an enjoyable game. While the plot doesn’t go very in-depth this time around, the gameplay itself is smooth, fun, and a bloody mess. Players watch the return of Isaac Clarke and his haunted visions, and with five difficulties to master, there are plenty of opportunities to get all weapons, suits, logs, and achievements. And hey, if the single player mode sounds boring, why not play with friends online? The game also has a multiplayer aspect, where online gamers can either carry out a mission as a human or attempt to stop all humans as a Necromorph.

[Recommended]

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This review is based on a retail version purchased by the reviewer.

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Review: Wireless Controller with Transforming D-Pad (Xbox 360)

Category: Accessories
Console: Xbox 360
Manufacturer: Microsoft
Release Date: Nov. 9, 2010

The only possible reason behind the release of this new version of an already outstanding controller is greed, pure and simple. For the pleasure of spending $15 dollars more than a regular controller to replace one that went bust or $65 in hopes of better functionality, what will gamers actually get when they buy the new Xbox 360 Wireless Controller with Transformable D-Pad? Unless their collection is dominated by titles such as Street Fighter, Dead or Alive, or similar fighting games, there is absolutely nothing gained aside from a compulsory, slightly discounted ($5.00) Play and Charge Kit they probably already own.

The big advantage, according to the product catalog on Xbox.com, is that the protruding D-pad can be tucked into a disc so that players can more easily perform "sweeping movements" in addition to "cardinal directional moves." I may have not played many fighting games since DOA4, but I never remembered the D-pad being all that much trouble. So basically, the new disc-integrated D(ummy)-pad is nothing but a cheat for the Hadoukenally handicapped.

The only other argument I've heard as to why this is such a fantastic "redesign" is that the D-pad is seldom used anyway. And while the D-pad has certainly become antiquated for motion control by way of standardized dual analog joysticks, the iconic cross has come to bear much more important functionality, such as quick item selection, character dialog options, squad-oriented commands, and various other in-game actions.

Unlike the redesigned Xbox 360 console (or 360-slim, as I like to call it), the new controller offers no real new functionality or benefits to anyone except a niche audience of fighting game newbies and obsessive veterans. Its new feature, the Dummy-pad, is merely a crutch for those lacking skill enough to emulate a rounded motion using a centrally pivoted plus or one more slight advantage to pros who already have each in-game character's every move memorized. I refuse to sincerely call it a redesign, because slightly different button coloring and nigh-unnoticeable ergonomic improvements do not a worthy $65 investment make.

I used this new controller interchangeably throughout a couple of hours of heated battles against an experienced fighting game pro friend of mine. No matter who was in possession of the fancy new controller, he still kicked my butt. There is no magical advantage to pulling off moves with this controller; the sneakers will not make you run faster, nor will the dress make your thighs look less composed of cottage cheese. However, the disc-based action does feel smoother when playing, and I'm sure that, in the hands of newbies and experts alike, such fluidity is both welcome and (slightly) advantageous.

So if a fighting gamer has a spare $65 burning a hole in his or her pocket and there are no new games on the chronological horizon that would compete for said cash, why not pick up this controller package? Any other type of gamer, however, should simply pass this off as a fadget (fad-gadget) and save the money for something more relevant or interesting.

[Passable]

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This review is based on a retail version purchased by the reviewer.

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Review: Professor Layton and the Unwound Future (DS)

Genre: Adventure, Puzzle
Lead Designers: Akira Tago (Puzzle Master), Akihiro Hino (Producer), Usuke Kumagai (Lead Programmer), Jun Suzuki (Art Director)
Developer: Level-5
Publisher: Nintendo
Platform: Nintendo DS
Release Date(s): Nov. 27, 2008 (JP), Sept. 12, 2010 (NA), Oct. 22, 2010 (EU)
Rated: E10+ for Everyone 10+

Professor Layton is back and his latest adventure is just as odd and charming as ever. Layton and his apprentice Luke are thrust 10 years into the future, and in the future random people are still ready to solve all problems — not through violence or debate, but through puzzle solving.

The plot is just as quirky as ever and, as with the previous games, becomes absolutely ridiculous at the end. However, in The Unwound Future, the plot becomes more ridiculous earlier, with moments such as the professor building a gun out of slot machine parts and fending off the mafia by shooting them with coins. Older characters are introduced somewhat haphazardly and some plot points feel rather forced. However, there is a welcome amount of character development in this game as we find out more about Layton's past as well as Luke’s.

I have no idea how they keep coming up with puzzles for the Professor Layton games. I would think that they would have to start repeating themselves more, but Professor Layton and the Unwound Future has an even greater puzzle variety than the previous games. So when the waitress asks you to solve a stacking puzzle before she gets you your drink, you don't have to worry about seeing the same puzzle but with more objects when you talk to her again later; you end up with a slider puzzle or a visual puzzle instead. While I do miss having increasingly complex variations on a single puzzle idea, the variety more than makes up for that. This also eliminates the problem of simply being bad at a certain puzzle and getting stuck as it shows up more and more often.

There are, of course, the slider puzzles and mathematical tricks, but they tend to have a little twist on them that makes them feel new, such as having to solve a slider puzzle in a certain number of moves. To facilitate these sometimes more complex puzzles, the memo system has been redone so that you can use different brush sizes and colors on your memo overlay. Especially welcome is the addition of an eraser brush — no more clearing all of your written notes because you made one mistake. Another welcome addition is the Super Hint, which all but solves the riddle for you. It is available after you use up the other three hints and costs an additional two hit coins. So on those puzzles that you just cannot seem to solve, you now have a way out.

While the plot does feel contrived at times, the puzzles and just plain quirky fun of the character interactions more than make up for it. The addition of more animated, fully voiced cutscenes also adds to the experience and never failed to put a smile on my face. The game is great fun and I look forward to the next Layton game.

[Highly Recommended]

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This review is based on a retail copy purchased by the reviewer.

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Review: What a Wonderful World, vol. 1 (Manga)

Medium: Manga (2 volumes)
Author: Inio Asano
Genre: Drama, Slice of Life
Publishers: Shogakukan, Inc. (JPN), Viz Media (Viz Signature imprint) (NA/UK)
Release Dates: May 19, 2003 (JP), Oct. 20, 2009 (US/UK)
Age Rating: “Older Teen” (16+)

Because I love starting reviews with some kind of admission, I want to say here that I have been putting off reading this manga for a long time. Since May, in fact. (Ed. Note: The review was written in August.) It’s not because I was rushed off my feet with other manga, but simply because I was afraid to crack it open for fear of it being too powerful for my weak psyche. Author Inio Asano also wrote Solanin, an amazing manga that I have a very hard time reading simply because it is emotionally powerful and I have to put the book down every 30 pages or so for fear of collapsing into a sobbing wreck.

Yes, I’m a wuss. Deal with it.

What a Wonderful World, or World as I shall shorten it from here on out for the sake of brevity, is thankfully not as emotionally harrowing as Asano's other works in part due to it's fragmented structure. The manga is split into individual vignettes, each focusing on a single character and giving you a brief moment in their life before moving on to someone else.

Each story is wonderfully crafted, effortlessly introducing you to the new main character so you connect with them instantly each time, often with just a single panel. One such story shows you a girl staring listlessly at the split ends in her hair, and suddenly you are right there with her for the duration for her tale.

From there on you are hooked, each panel containing just the right amount of (or lack of) art, speech and action to keep you fully engrossed. Like having a door opened to find a tiny snowman with cigarettes for arms, with nothing else to clutter the page in between. The easy flow of the storytelling on the page is remarkable, as you’ll find your eyes being drawn to the right place each time by the layout of both the panels and the items contained within. This helps the art pull off some amazing shifts in perspective to get you right into things without noticing how much the viewpoint has shifted.

All this helps you enjoy the stories on offer effortlessly, and break down any barriers between you and the drama playing out on the page.

The main theme the manga explores is that of thwarted dreams or expectations, and how the colorful cast of characters deals with them, or fails to do so entirely. The storylines contain just the right amount of grit and texture to give them depth without needing a cumbersome back-story to the issues that are presented, and at the same time they give you something meaty to chew on. The characters feel like actual people who have lived rather than blank slates who only begin to live when they are drawn. It’s very refreshing in general to read something that is not just about dreams coming true but instead about opportunities lost, or times when things have slipped away. It also manages to avoid feeling grim for the sake of it, maintaining a very welcome air of absurdity whether in the form of death taking the likeness of a crow, or a turtle climbing out of its shell to escape it's owner. Everything presented as part of the human characters feels instantly relatable and, if it hits close to home, rather personal. Well, except the whole thing with the turtle. I would probably need some form of therapy if that happened to me.

Not all is sunshine and rainbows, however. Reading a whole volume in one sitting, even with its amazing pacing, can get very wearing due to the poignancy of emotion that is on display. There is only so much biting realism I can take before it begins to cause my soul to ache and thoughts to turn to happier things, and for this reason I would recommend spacing out your reading of World. Another problem is that the stories can begin to feel predictable as you are immersed by the atmosphere of the manga. After a few pages of a new story you can guess how events will play out in a vague sense. This sucks a lot of the magic out of the stories and so is best avoided by putting the book down for another day.

There is also some confusion surrounding the overarching plotline, or perhaps lack of one. Multiple times even in this first volume you will see characters recur, but in their new appearance the situation will have changed and so any previous experiences with the character have to be thrown out in favor of the new story being told. When this first happens it is very disorienting, and I found myself exclaiming "Heyyyy, wait a second! Wasn't she supposed to be in a band now?" before I realized what was happening.

So would I recommend it? Sure. World is a solid and very enjoyable manga to read, for me because it feels like a more manageable version of the Inio Asuno I know from reading Solanin. It is also the first manga Asano published (Note: according to Wikipedia and other research) so it is useful to see the author’s development from here into his later works.

World is a welcome shot of reality packaged just right to prevent it from hurting if things strike too close to home. You'll come out of reading it feeling a little wiser, if perhaps wearier.

[Recommended]

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This review is based on a retail copy purchased by the reviewer.

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Review: Vampire: The Masquerade Bloodlines (PC)

Genre: Action RPG, Fantasy
Lead Creators: Jason Anderson (creative director), Leonard Boyarsky (executive producer), Tim Cain (design), Brian Mitsoda (lead writing, design)
Developer: Troika Games
Publisher: Activision
Console: PC
Release Date: Nov. 16, 2004 (NA), Nov. 19, 2004 (EU)
Rating: M for Mature

Based on Vampire: The Masquerade, the story-telling RPG designed by White Wolf, Vampire: The Masquerade Bloodlines places you in the shoes of a newly turned vampire whose sire (the vampire who turned you) is killed for breaking vampire law. You are set in the service of Prince LaCroix, the leader of the Camarilla vampires within the city, and are sent straight to Santa Monica for your first mission. The game spans across four districts of L.A., and the major goal of the game is to uncover a supernatural artifact called the Ankaran Sarcophagus for the Prince. The story goes very in-depth, and players will learn much about the different bloodlines, political sects, and hidden agendas of vampires and humans during both the main storyline and the numerous side quests available.

The game starts off on a positive note with character customization. You can choose from one of seven clans as well as gender, both of which influence subsequent dialogue options. From there, players can customize their character however they so desire, making for some rather unique combinations, including a seductive computer hacker, an intimidating gunslinger, or a persuasive brawler. Stats greatly influence not only dialogue but world interactions, such as lock picking, hacking into computers, and effectively fighting in combat, so planning ahead is key. If you choose a clan that goes against what you want, such as picking a Tremere vampire who uses blood magic while wanting to be a fighter, then you’ll have great difficulty in enjoying the game.

After character customization, you are shown several cinematics, in which the political background and foundation of modern vampiric society is displayed at its finest. The laws, known as the “Masquerade,” are extremely important in the game, and breaking vampiric laws results in a Masquerade violation. Invoking too many violations, such as feeding or using abilities in public, not only causes your fellow vampires to hunt you down, but also attracts the likes of witch-hunters.

The gameplay is rather basic; your job is to complete as many quests as possible, obtaining as much experience as possible, in order to make the strongest vampire ever. Easy, right? While the quests are indeed rather fun, the experience points rewarded are oftentimes a bit sketchy. There are times when players will think “only one point for killing a leader of a death cult?!” This can make leveling up your character seem tedious and unbalanced, particularly at the beginning of the game. Unfortunately the game can often be weighed down by the sheer amount of loading time. Every time you enter a building or area, be it a place you never visited or a place you have visited a hundred times, the game takes some time in loading the area. Most loading screens run rather smoothly and quickly, but the massive amount of loading screens (accompanied with tips on gameplay as well as information on the World of Darkness background) can also be tiring to go through, particularly if you’re merely visiting an area to view an email or talk to someone standing next to the door on the other side.

The sense of atmosphere in Bloodlines is extremely well done. Graphics are good on the whole, although cinematics (particularly when you choose a female character) could have been much improved. Timing always seems a bit off between sound and movement, and as a female character, you will take note that your chest is sunken in and your stature seems to have been designed to mimic a male character’s stature. Not something you want to see while listening for cues as to your next destination. The backgrounds are nicely designed, however, as the musical soundtrack adds a level of dimension that is quite impressive. The music is just right for the area: haunting themes in haunted mansions, pulse-pounding background to combat areas, and a nice mixture of techno and Gothic music for the number of clubs you visit during your travels. The dark, gritty feeling of L.A. is captured nicely, and proper attention has been given to buildings and scenery.

There are two major flaws in Bloodlines, however. The first is the combat system; it relies on your stats in combat (naturally), but it seems more like a “mashing of the buttons and praying you hit your target” system. Guns are practically useless, as they do little damage to supernatural entities (the exception being a shotgun), and even with a high skill level you will find that a majority of your shots miss for no apparent reason. Melee and fighting hand-to-hand are a bit better, as these attacks typically do more damage, but there is also an obscene amount of hitting-and-missing action going on. You can see the blade hit the enemy, yet it will register as a miss. The only fun part about combat is your vampiric abilities (each clan obtains three distinct powers), and even some of those are worthless in combat.

The other problem is that there are glitches everywhere. Literally everywhere. In fact, players who purchase the game must download Patch 1.2 from the official website in order to complete the game, since the game is known to crash at specific points throughout the main quest line. Once downloaded, however, there are still plenty of problems, including errors in items, dialogue options not appearing when they should, quest errors, and issues concerning character placement and camera. While all these glitches are rather minor things, they tend to add up to a frustrating overall experience.

Despite these two major flaws, the game itself is a unique addition to the RPG genre. The storyline is original and dark, and the amount of customization available to players, both for their character and for the development of storyline, is quite enjoyable. The fact that there are five available endings also makes Vampire: The Masquerade Bloodlines worthwhile to play over and over again, as players will be able to change sides each new night.

[Passable]

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This review is based on a retail copy purchased by the reviewer.

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Review: Ayako (Manga)

Medium: Manga (1 volume, 704 pages)
Genres: Drama, Historical, Suspense
Author: Osamu Tezuka
Publishers: Shueisha (JPN), Vertical Inc. (NA/UK)
Demographic: Seinen (ran in Big Comic)
Release Dates: Jan. 25, 1972 – Jun. 25, 1973 (JPN), Fall 2010 (NA/UK)
Age Rating: 16+

It's no secret at this point that Osamu Tezuka's reputation as the "Walt Disney of Japan" is fairly inaccurate. His corpus of English releases, which began with his more well-known children's works like Astro Boy (1952), has grown in years past to include a lot of the artist's more racy material, serving as a reminder that Tezuka was able to tackle a wide variety of styles. Ayako (1972), which came to American shores just last month in a new hardcover translation from Vertical, Inc., illustrates this better than nearly any other Tezuka manga I have read.

Gone are the science-fiction themes of most of Tezuka's other works. Even in his darkest of moments, such as the gripping Ode to Kirihito (1970), there are twinges of the fantastic that betray Tezuka's love for science fiction. In Ayako, Tezuka focuses on the harshness of a historical reality in which there are no robots or aliens or mysterious diseases — only humans are to blame for our misfortunes, and only we can pull ourselves out of them.

The Tenge family is reeling in the wake of the post-war American occupation. As they watch their lands in the Japanese countryside get sold off to tenant farmers, the once-rich clan sees the return of P.O.W. son Jiro, who is now working undercover for the American occupation forces. He comes home to find a family rife with sin and dark secrets. His brother Ichiro is letting his own father sleep with his wife in return for the family fortune, resulting in Jiro's new four-year-old sister/niece Ayako. After Jiro is implicated in a high-profile murder case, with Ayako’s testimony serving as the only evidence toward his indictment, the family decides to preserve their honor by locking her away in the storehouse cellar, to be kept there until she dies.

It is a testament to Tezuka's tight cast and vibrant characterization that he manages to keep the story interesting despite its frequent jumps in both time and place. The Tenges eventually spread out into different places and careers, but the connection to the original reasons for Ayako's imprisonment remain a burden upon all of their consciences, thus keeping everything centered around the title character. The small cast helps you create a deeper connection with them, as their relationships and feelings are all easily understood within the structure of their acutely dysfunctional family.

Ironically, though, Ayako herself is little more than a caricature. She emerges from her 23-year imprisonment as an emotionally stunted young woman, completely ignorant of many customs and ideas that come naturally to most people. This simplistic personality can get a little grating after a while, and it certainly makes her character hard to connect with, but Tezuka makes it clear that he intends her odd behavior as an expression of her tragic upbringing.

Speaking of tragedy, Ayako is horrifically sad beyond any other Tezuka manga I have ever read, and in fact beyond most other manga, period. With murder, rape, and incest throughout, this is not a book for the faint of heart. Sometimes it feels like Tezuka is just throwing in more tragedy for the sake of making you sadder, but it all ends up serving the author's ultimate message: a condemnation of secrecy and hidden sin. In the end, what destroys the characters is a compounding of everything they have ever done (and not done) to other people. As the vessel for the Tenge family's sins, Ayako gets the brunt of their love, hate, compassion, and anger, making its conclusion all the more impactful.

Throughout Ayako, Tezuka revels in the vastness of the Japanese countryside, providing beautiful full-page drawings of hills and fields alongside meticulously drawn cityscapes. Additionally, he tries his hand at recreations of photographic images, a technique that accentuates the historical relevance granted by his frequent references to real events during the Japanese reconstruction. It's also worth noting that only a single character from Tezuka's Star System (the detective Geta) shows up in Ayako, a very deliberate choice that serves to detach the characters and their predicaments from the sometimes whimsical worlds of Tezuka's other works.

Vertical's translation is great as always, but this time they've brought on Mari Morimoto, well-known translator of manga like Dragon Ball (1984) and Naruto (1997). The one notable facet of the translation, which may be credited to either Morimoto or the editors in charge of revising her translation, is the depiction of the characters' country accents. All of the Tenges speak in a Southern American accent, depicted phonetically in what I can best describe as the manga equivalent of a Mark Twain novel. I find that it adds a welcome sense of place to the work that manga often don't have, but some might find that they can only read "Naw!" so many times before it gets a little grating.

EDIT: Naturally, no review of Ayako can go without mentioning that it is flipped (i.e. reads left to right) and features beautiful art direction — from Peter Mendelsund — both inside and on its striking hard cover. Clearly Vertical did both of these things in order to promote it among literati types (as opposed to your average teenage manga fan in Barnes & Noble) as they did with Buddha (1972), and it does a great job. The flipping is an unfortunate consequence of this, but it should hopefully help the book find an audience outside of the manga crowd.

Ayako isn't quite perfect, mostly due to Tezuka's over-reliance on tragic twists and the title character's flat characterization, but as an examination of sin and long-term guilt, it is a powerful story, almost Shakespearean in its penchant for melodrama. Fans of Ode to Kirihito will find much to love here; in fact, its dedication to only a few locations and a centrally connected cast of characters makes it a little more accessible than the sprawling epic that is Kirihito. Be warned, however: Ayako is manga at its most tragic — in this seemingly endless bout of sin and suffering, no one is safe from the taint of evil, and no one is spared its consequences.

[Highly Recommended]

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This review is based on a complimentary review copy, graciously provided by Vertical, Inc. (and given away to an Ani-Gamers reader after this review was written).

Reminder: Ani-Gamers is giving away copies of Ayako to two lucky readers. Check out the contest rules to enter!

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