About five years ago I went through a stage of doing ‘Let’s Play’ videos. I’d purchased some cheaper software, allowing for my lack of expensive equipment, and with a laptop and an XBox 360 I’d started recording videos of me playing games online. There’s only a handful of this footage remaining, to be honest, and I think – looking back – that it carried well.
Primarily I played ‘Terminator Salvation’ for XBox One and PS3; a game which had been singled out as being one of the easiest games to obtain a Platinum Trophy for – at that time – as all you really needed to do was complete the game on a set difficulty level. As a film tie in the game had obviously been rushed and so levels were pretty sparse of enemies, and rather straightforward. I think I even remember finishing the last level and not even realising I’d cleared the game until the credits came up.
This review was written in 2012, when I was working with a charity and writing pieces for a gaming magazine, that was released digitally that year. As a result it will more reflect the situation of that time and will not take into account what has changed since then. Please Enjoy!
In an episode of Big Bang Theory, Sheldon Cooper
recounts to a policeman the series of games that had been robbed from his apartment,
making special mention of Final Fantasy 1 through 9 (and nothing after). I can
personally relate, since the original Final Fantasy is my favourite game of all
time, and Final Fantasy 7 was arguably the most pivotal game I’ve ever played
(sorry Scott). Once Final Fantasy 9 had drawn it’s credits to a close I doubted
they would ever repeat past glories. I mention this because when the man who
created Final Fantasy, Hironobu Sakaguchi, and it’s iconic orchestral scores,
Nobuo Uematsu, reunited for an original title on Wii I knew it was going to be
something special – The Last Story is just that!
The game begins on the seemingly innocent setting of Lazulis Island, shortly after a period of Civil War, that has seen their Empire on unsteady ground. Enter a group of Mercenaries hired at the bequest of Count Arganan (the ruler of the region) to clean up some monsters in the area. Jumping right into the action it’s here we begin our quest, as you control Zeal (Elza in the Japanese version), one of the Mercenaries in this rag tag collection of friends. They hope that their unique service to the Court will eventually make them Knights and they plan on gaining honour, prestige, treasure and alcohol along the way.
The characters are all as unique as you’d expect, and although you only play the majority of the game as Zeal, you will come to know each of them in their own special way. Whether or not the title refers to a hidden text that Sakaguchi had submitted, or had rejected, for a previous Final Fantasy remains the subject of conjecture – either way – this is a powerful and emotive script. Without taking too much from the major plot points, this story isn’t the most original thing you’ll see, doubtless this matters however, as it’s still a compelling and intimate adventure. No far reaching wilderness or majestic roaming of the Globe contained herein.
Those familiar with Final Fantasy will really
enjoy the mechanics of combat in this game. There’s a little magic but you
don’t need to worry about equipping the latest Materia to everyone and it’s
generally easy to understand. For more novice players there’s a handy auto
equip function that allows you to suit everyone up with the best you’ve got in
your kit at the time – kind of like a Football Manager AI picking the best
players for the team – and this is a really nice touch. It could be most
likened to combat in FF7 Crisis Core, which is free flowing, and which gamers
simply engage in battle in real time and then a small levelling up ceremony
neuterers the end of that particular session.
Because this is a Wii title, and not something
overly common on the format, you’ll also find battling is pretty easy – series
bosses will have particular quirks to help you beat them – and generally you’ll
find yourself progressing throughout the story without a major problem. Some of
the harder bosses are contained in Optional Missions, that can extend the main
storyline for a few hours at least, and don’t really give you anything of
consequence you can’t already purchase in the market. That being said, you
really should level up as much as you can, and take every available opportunity
to grow in stature, equip more powerful weapons and take advantage of upgrades.
This is because, after all, this is a Final Fantasy title (albeit unofficially)
and staying one step ahead of the game is what battle mechanics are all about.
While playing this game I used a Walkthrough Guide, unofficial mind, from a
Japanese player who’d translated the guide into English. At some points I
noticed that certain obstacles just didn’t exist and there have been theories
online that the game has removed a few of the harder enemies (although nothing
you’ll miss) to make the game more PAL friendly.
Graphically, and keeping in mind that this game only runs on a 60Hz television, this is the finest looking game I’ve ever seen on Wii. You’ll have a few frame rate issues through the faster paced scenes but it’s nothing that should dissuade you from the fact this is a clean, crisp and well rounded looking game, with everything from the deck of a ship to Market Stalls being recreated with fantastic and vivid imagination. As Zeal runs through town for example, bustling over the bridges and crawling through back alleys, you’ll really soak up the atmosphere of this game in more ways then you can imagine. And, to add to that, Uematsu has once again created an iconic score on par with the his best work of Final Fantasy, Crisis Core and Lord of Arcana.
It’s deep, it’s rich, it’s powerful and adds to the game on a whole new level – especially during the meteor shower scenes which are reminiscent of Cloud and Tifa’s meeting in Niblehiem all those years ago at the beginning of FF7 (again, Scott, I’m sorry). Another connection to FF7 means the games length takes on a life of its own, and at the point where most titles are ending this one just keeps going – the single player alone clocks up near 20+ hours even for the most experienced of players.
As you progress throughout this game you’ll
encounter a number of different regions and area’s throughout which to
traverse. These include the decks of ships, underground passageways, cobbled
streets, a Castle Courtyard and a lavish Ballroom. All of them allow you to
play a different type of game, with underground passages providing little light,
and the cobbled streets being overrun with people. It’s a great touch that
really makes for expansive and long lasting play – just because you’re good in
one area doesn’t mean you’ll be good in another (or even traverse it with such
ease) – and the cut scenes provide for an engaging storyline that allows you to
soak up the dialogue with pleasure. The voice acting can, at times, seem a
little wooden – although the more powerful characters really bring their roles
While this game has a lot of replay value, you do
also get Multiplayer, which adds to proceedings a life of it’s own and becomes
a game within itself. Thankfully, there are still a good amount of people left
online playing this game, as you participate in team battles in either
“Deathmatch” or “Co Op” environments and fight amongst a collection of arena’s
which – although smaller, then say, Transformers Cybertron Multiplayer, do
provide some good ground for beating the unholy hell out of your buddies.
Another good reason for MP is the ability to play as characters from the game,
and not just the original collection of Mercenaries, as you get to choose from
a healthy collection of Major and Minor characters that appear throughout the
story. Its not a Deathmatch MP party unless you’re playing as General Astar!
If there’s one particular flaw with The Last Story, and it’s hard to find, then it perhaps lies with its familiarity that we’ve already mentioned. At certain points throughout the plot (like when one character discovers the secrets of his dead father) you have a certain sense of deja vu from previous titles of a similar nature. That’s not necessarily a setback, but you do have to wonder just how original this title can be, given the rich tapestry and history of its principal creator and director. I speak from the point of view of an advanced gamer with a lengthy experience, but if you’re anywhere near new to the idea of playing JRPG’s (Japanese Role Play Games) then you shouldn’t have anything to worry about, or if familiarity is something you want to experience then all should be good.
That being said, what idea doesn’t rip off another idea in the process, and can a game truly be as unique as it might have been a decade ago. More powerful gameplay mechanics have demanded that games are a lot more than just blocks falling at random intervals – and gamers are starting to demand more (especially in the wake of FF7 & FF8) – if a game says its RPG, then prove it.
In summary, I find a game like this a lot more accessible then the likes of Xenoblade Chronicles or (what I’ve seen) of the upcoming Pandora’s Tower. Of the three, and none of them are connected, it’s seems the most intimate and interactive that a JRPG can be – and even though it sticks to the usual unfrequented love and depressing misery – it takes a lot of humour and change from the criticisms that were launched at Xenoblade. For one, there’s a lot more Welsh and Irish voice actors, and the cast seems to have been plucked from all over the United Kingdom as opposed to just London. It’s also a shame that a game like this has come at the end of the Wii’s lifespan (although with consoles retailing second hand in the UK currently at £40 you can’t be beaten) because you could have so much more to build on if the Wii wasn’t departing for Retro pastures.
This is a really great game and more people need to play it. Now.
This review was written in 2012, when I was working with a charity and writing pieces for a gaming magazine, that was released digitally that year. As a result it will more reflect the situation of that time and will not take into account what has changed since then. Please Enjoy!
First, some facts; FF7 was produced using over 120 artists and designers. It was the most expensive game of it’s time, undertaken by a company who only a decade before had just escaped bankruptcy, one which now controlled a budget (for this game alone) of $45 million. Because of the graphics being used in this game at the time and the programmes, such as Power Animator and Soft Image 3D, this went far beyond what the seasoned animators at Square had been exposed too before. They themselves were in awe at what was being created. They were coding a classic and they knew it.
Plus, on top of all this, Sony levelled a $100 million advertising campaign (yes, you read that right) in order to create hype and anticipation about the title. In 1998 Eidos paid a cool $1 million just for the rights to port the game onto PC. On a new console, with graphics that had never been seen before, and giving long time fans an unfamiliar concept to what they were used too – Square found themselves in familiar waters – FF7 would either propel the company to success or would spell Square’s ultimate end. If the entrance scene of the game is any indicator on success, then I’d say Square nailed it, gaming history was about to be made.
There’s been an awful lot said about this title in the past decade. So much so, in fact, there are websites and blogs dedicated to pages and pages of random comments and theories, designs and ideas, about this game. A lot of people are wholly convinced they know more about FF7 then those who developed it. Before this game came along, I was a different person, since all gaming ever represented to me was getting from level to level, powering up, and finishing the quest. Capcom’s Resident Evil the year previous had shown me what it was like to think about a game’s story, but between solving puzzles and being scared fruitless by zombies, I wasn’t eager to play as much of it as I would. When I look back at my time spent with Final Fantasy 7 however, the original time spent on my PS1 in 1997, it’s hard to imagine that I’m the same gamer or even person I was then – so influential and impacting is this software’s effect on me.
Now, given the amount of rubbish that exists online about this game, that’s a bold statement to make. But you need to remember that when Final Fantasy 7 first hit Europe it was far beyond anything that Square had done before. For a start, it was on PlayStation (having already had too much power for both SNES and N64), importantly moving away from both Nintendo (a relationship that would remain fractured for years as a result, not least due to Nintendo’s shunting in the PlayStation’s own development history) and, of course, the traditional cartridge. That might not seem like a lot upfront, but given Square wanted FFVII to be the game where they moved into 3D, having it on the processor speed of a PlayStation made that dream come true. If it had been financially possible to put this game over several cartridges and maintain the same the same level of quality then Nintendo would now be the world’s leading games entertainer. But it wasn’t.
In actuality, the game was released on three compact discs, which made it more economically cost effective to produce than cartridge, sold more copies per market and allowed Square to think about marketing Final Fantasy to the European Market. Final Fantasy might be a household name now, but in 1997 and prior to FF7, only a combination of titles had made it as far as Europe – and they were both imports – with FF4 released to the North American market as FF2. There’s a lot of reasons for this but the main one could be that the complexities of some FF titles didn’t appeal to the gaming public en mass until FF7 broke that mould and made it more acceptable for gamers to enjoy harder, longer and more challenging titles. So if gamers had heard of this “Final Fantasy” they certainly wondered why it was on it’s 7th instalment and what the hell it was all about. Little knowing that no Final Fantasy was interconnected in any way, aside from some creepy fan-boy rubbish, or some demented Japanese Easter Eggs.
In the same way of “dumbing down” the story by changing pivotal game play to suit more casual gamers, FF7 also greatly reduced the complexity of the fighting systems from previous titles, allowing players to only equip one item and one piece of armour per character. Also, the Materia (or Spirit Magic) system is – quite frankly – genius, and allows you to pick and choose what attacks to best use with what character. For example, should Aerith be the group healer, should Cid hold the power of Thunder, and so forth. It’s a basic concept that applied to all kinds of online role playing games these days as well, such as World of Warcraft and Warhammer, and while I won’t be so bold to say that FF7 inspired all these games how to fight I will say that the fighting system in FF7 made it a lot easier for newer gamers to grasp the complexities of previous Final Fantasy titles, whether they’d played them or not.
To look at the complex story, let’s start at the start, in the City of Midgar. This is the fictional city in which our story begins and in which you’re introduced to the character you’re going to spend at least a few months playing as, Cloud Strife, a former member of the organisation Shinra whose about to turn whistle-blower (in a manner of speaking) and assist in the destruction of one of their nuclear reactors (he might have just sent a letter but the Buster Sword tells us he means business). Cloud’s joined Avalanche, a group of mercenaries set on protecting the planet, and led by the one “gun-armed” Barrett.
As much as Cloud insists he’s just there for the money you can see there’s more too it then that, thrown into a world of adventure we cared little about before it began, but which we will never forget nor want to leave again. Just as the characters grow, you’ll grow too, taking on a number of new members to your group (as well as loosing a few) and then leaving the City for the Countryside, Countryside to Harbour, Harbour to Boat, Boat to New Continent – and before you know it you’re traversing the Globe and saving the entire Planet. Of course where most games will have ended by the time you reach the Midgar climax (Shinra’s President dead, the company in shambles, an image torn down…) FF7 just keeps going, giving you probably the best value for your money of any game you will EVER play.
Characters are instantly recognizable, unique and loveable, with Tifa (Cloud’s best friend) and Aerith (a flower girl from the Slums and so much more) complementing the more hard fought like Barrett (the leader of Avalanche with a secret in his past), Red 13 (the last of his kind, wise and yet not infallible), Cid (an airship pilot who dreams of going to Space) and Yuffie (a young girl with the heart of a Ninja). There are also the more stupid characters, like Cat Sith, which I’ve always retained a soft spot for even if he was a Shinra Spy.
In fact, so compelling are some of the stories for FF7 (such as Red XIII discovering what really happened to his father) they’ve been copied, years later. Then there’s Sephiroth, a man who in reality should have an article just about himself, probably the most legendary bad guy in video game history. Even the mere mention of his name will make grown men cry; remembering the moment when he shoved a sword through a young girl’s heart, and ended a romance that could have blossomed throughout the ages. President Shinra, Reno, Hojo, Rufus, Hed’gar and Reeve are all very well and good…but it’s Sephiroth who became your main obsession – as Cloud struggles to remember why he faced the most legendary swordsman in history…and lived. The first few hours of game play are almost meaningless (I don’t really mean that though), only when you wake up with your cell door open and a trail of blood leading upstairs, do you fully understand just what you’re playing and where you’re going.
The music of this game (produced by Nobuo Uematsu)
adds another depth and layer to the game all by itself. This magic is still
being recreated today (check out my review in this issue for The Last Story)
but in 1997 it was unheard of that a Final Fantasy game would have such a deep,
rich, compelling and lengthy soundtrack (the official soundtrack from Japan is
itself spread across three discs). Sony, being masters of audio, obviously made
PlayStation the best sounding console they could as well as it graphically
outdoing everything on the market. This sound was rarely utilised as much then
by those brandishing Final Fantasy in their name. Tracks like ‘The Turks’ and
‘The Golden Saucer’ are perhaps as about iconic as they come and provide just
as much of a nostalgic transportation back to your original play through and
locations as playing the game does now.
The 3D effects aren’t the kind you’ll find on 3DS,
but do get the job done, with excellent backdrops and beautiful layouts as you
traverse across mountain ranges, deserts and city slums. Graphically, this
wasn’t the best game for it’s time, but that doesn’t matter when you think
about how deep and compelling the storyline is. Also, and unlike previous Final
Fantasy titles, this game didn’t start in the deep end with little
introduction. There’s a gradual (and completely UN-Japanese like) cooling off
period as you come to learn and know your characters. Asian gamers might never
have experienced this before (the original Final Fantasy has us first fight the
main protagonist within 10 minutes or less of the game starting), but it was a
stroke of genius on the part of Square, who couldn’t have foreseen how easily
agreeable the plot was with Western gaming.
Even the game’s sequel (in number only), Final
Fantasy 8 (reviewed in our last Game On Issue), had criticisms from people who
said the story was too far detached from real world events and didn’t gently
break the players in. These are people who just don’t get the Final Fantasy
series, but unless every nerd bought 15 copies, FF7 couldn’t (and wouldn’t)
have sold in the numbers it did without appealing to those who just weren’t RPG
fans (for the record, as of May 2010, that number is 10 million copies). FF7
broke a lot of sacred code and convention when it came to JRPG games, but the
gamble paid off, and a game spanning over three discs was the glorious result.
Of course, to play devils advocate, there are a lot of legitimate reasons why people would hate FF7 – not because of what it is – but what it did to gaming culture in general. Before 7, virtually nobody in Europe had ever heard the term, and few people in North America had legitimately purchased Final Fantasy. VII created a vacuum in time and space that needed to be filled with everything FF including remakes, spin offs, development titles and ports. In fact, since 1997, we’ve had 110 Final Fantasy games released across 15+ different platforms. And in this case, due to the phenomenal success of FF7, this is mostly all down to Cloud and his friends.
Plus, FF7 attracted a lot of fans, including the
kind of cos play and Anime porn fans who felt it would be somehow interesting
(and erotic) to dress as members of the game for conventions. The internet is
littered with graphic artwork of the female characters of FF7 and rarely has a
video game produced this kind of need. If the legacy of Final Fantasy 7 is bad
movies, ports of games only four people in the world will ever want to play on
their IOS (one of them works for Game On) and really bad porn then we’re in
trouble. No, there are a lot of reasons to hate Final Fantasy 7, once you turn
the game off and go out into the real world. That’s if you find the time after
playing for months on end and trying to succeed in the ultimate quest.
This all sounds like a lot of gaming though, and
it is, we know at least one reporter here who (with all the proper medicines
and magic to make sure he wouldn’t be stuck too long) attempted to play a run
through of the game in one sitting (extreme health warning) having traversed
the land before. It took him just under 37 hours to do so. On top of that he
ignored several “optional” quests and never spent any of the wasteful nights we
spent in the late nineties betting on Chocobo Races. Actually, I should correct
myself, I still do that now!
point to this waste of Ink is that it’s a very long game (and this has been a
very long review), and you’ll really want to play it, with a few hours on the
occasional evening you get to use the TV or PC (in-between Dancing On Ice and
Coronation Street no doubt) meaning you might be finished by Christmas if you
start right now. And, when you’re finished, you’ll feel sadness actually having
to say goodbye to a collection of friends. Let’s hope Square make good with
their promises, hinted in 2010, of actually exploring a sequel.
short, play it now, and find the Promised Land.
As with most gamers my age who owned a PlayStation, it’s fair to say that the console had more than a few titles which captured my interest, and the original inception of the console is the dearest to my heart. Indeed, titles like Final Fantasy VII and Metal Gear Solid became integral to my DNA as a gamer and remain with me to this day (I am even currently replaying the former on Xbox One after its 2019 port).
Resident Evil is certainly a franchise I am more than a little familiar about, and whether it was through my Dad or my brother, the game did arrive in my household in the late 90s. But for whatever reason, it was Resident Evil 3 (released in 1999, when I was 14) that I have the clearest memories of. I have always preferred Resident Evil 2 – going to great lengths in obtaining versions of the game through the ensuing years – but RE3 was without question my first. And, as they say, you never forget your first.
Storyline wise the game picks up as a prequel to the second installation, telling us what Jill Valentine (a protagonist from the first game) did during the 24 hours – or so – prior to the events of the second game. Cinematically, therefore, it ties in with the established cannons and you are never likely to struggle with that. Whilst attempting to escape Raccoon City, Jill is pursued by Nemesis – a creature developed by Umbrella to eradicate the members of her STARS Unit – witnesses to the events in the first game. Nemesis is similar in size to the dreaded ‘Mr X’ of the second installation, but this particular foe is a tyrant in more than just appearance and takes a considerable amount of killing – repeatedly killing – to actually stop.
When I played the original game it’s use of cinematic storytelling and multiple choice options, puzzle solving and framerate made me feel this was one of the best things ever made. Graphically, gamers simply expect more these days, unless they are purposefully looking for an 8-bit indie title – but in 1999 this game was the height of technology and testament to the awesome power of PlayStation. So, we should not underestimate it.
When I had played the remake of Resident Evil 2 in January 2019 I was blown away. This game was, and still is, a masterpiece. Graphically, it looks amazing, and it also tells a tale once told exceptionally well. Whether you are a thirty-year veteran, or this is the first survival horror game you will ever play, Resident Evil 2 is an essential purchase. What I didn’t know, in 1999, was that the third instalment was something of an afterthought, created by Capcom to satisfy a contractual agreement with Sony for an additional title – using the framework and templates already created to build another game. Developers Capcom were able to add enough new features into the third title that it was not immediately evident, certainly not to this impressionable pimple faced gamer.
When I’d heard Capcom planned to release a remake of the third game, after the success of the second’s remastered glories, I assumed enough time had passed for their development team to be working on making the game slightly more unique than previous. Unfortunately, I was wrong. Now, with this game being set in the same location as the second – namely Raccoon City – and using at least one of the same locations, that’s not exactly going to be possible; and I get this, but Resident Evil 3’s remaster suffers from the fault of looking brilliant, but having little or nothing to say which distinguishes it from RE2 DLC.
Let us examine some features, for fear that I am being too harsh, starting with the games opening. This takes place just prior to the outbreak of Racoon City. Now, I felt this was a really good idea, because it separates itself from the original game which started later – after the outbreak had occurred – and gave virtually no establishment. So, credit where due, this was a strong possibility. Also, as I’m a huge fan of 90’s FMV style gaming, it was incredible to see real actors performing roles in the opening moments – adding to the feeling that this was a real story about a real place.
Sadly, the game hit a stumbling block almost immediately, as it’s first ten minutes are both glorious – owing to the scenery, the backdrops, the actions, the little Easter eggs; but also feels rushed, the player moved from one place to the next in an effort to escape Nemesis. You are introduced to Brad Vickers, the helicopter pilot from the first game, which is a great plus – only to have the character quickly and meaninglessly written out in what feels like seconds.
In the Resident
Evil 2 remaster, the player has the large section at the start of the original
PS1 game removed, there’s no interaction at the gun shop (Leon gets that later)
and no running through the basketball court (that happens for Claire, in her
orphanage side quest), so you almost immediately stumble upon the Police
Station within the first three to four minutes. In RE3, this felt exactly the
same, since no sooner am I taking my seat to get into the game we’ve met
Carlos, Brad is most probably dead, Nemesis has killed a lot of people and you’re
crashing off a parking lot in a Buick.
As soon as Carlos is introduced, UCBS becomes a thing, and what took an hour of
PS1 gaming to reach in the original has happened in 15 – at most. I was also
disappointed at Nemesis, mainly as Jill battles him about four/five times in
this game, and with the exception of the Police Station and the Hospital (just)
there is little to no time in order for soaking in the moment and exploring.
But then maybe I am being a little too critical, this is not Grand Theft Auto
or Sleeping Dogs, this is Resident Evil 3 and the action is always moving
character is expanded upon greatly in the storyline, and this was a treat,
though I’m not sure whether that happened because the developers wanted it too
or because it was a lot more PC to have African American, Russian and Latino
characters playing heroes whilst the protagonist is a female. Either way, the
characters that do feature in Resident Evil 3 (even the cameos) are excellent,
and there are some ties in with events in Resident Evil 2 remastered as well.
Puzzle wise the
codes remain from Resident Evil 2 in some areas, which is a nice nod, whilst in
others it is the bolt cutters and the lockpick which ultimately become your
best friends. I found the early portions of the game to be the most satisfying,
breaking into locked stores, wandering through the streets of Raccoon City, and
generally appreciating the setting. The second portion of the game, after the
Police Station in particular, felt like it was also winding up too fast. Whether
I am just being a bit of a moaning Michael or not, there was shortened bursts
of gameplay that would have benefited massively from being dragged out.
Even without a guide or walk through, taking the wrong path did not lead to a diversion, as you either found an empty section of corridor or a locked area. Considering the story line actually encourages faster playthroughs (and you’re rewarded trophies for doing so) it seems like Capcom weren’t that fussed about additional content.
While it was a nice attempt, and does take a few shots at fan service, the pay offs just aren’t worth it – then again, maybe that’s why Eagles from Street Fighter opened a Pet Store there!
With the remake having recently hit shelves (physically and digitally, mind); this past week seemed like a perfect chance to go back and tackle the Survival Horror of the original Resident Evil 3; Nemesis on PlayStation 1.
With its sequel, Resident Evil 2, having partially revolutionised the gaming market upon release in January 1998 it might come as quite the surprise to learn RE3 was something of an afterthought. Wishing to release the games official sequel (which would later become Code Veronica) a contractual obligation to Sony meant a prequel built upon the same graphics engine was required.
Thankfully, nobody was complaining, and it fell to Jill Valentine (a protagonist in the first film) to help the player navigate the twenty four hours (or so) prior to Leon and Claire’s arrival in Raccoon City. Very much post Outbreak, the game did manage to focus a little heavier on FMV and story driven sequences than its predecessors, with the multiple-choice options at various locations of the game adding both immediate replay value and some surprising twists.
The game is not lacking in content and you won’t be disappointed. Despite its 20 year plus age, this title remains both challenging and narratively complex. Playing it on the PSVita, with the lights off and curtains drawn, is particularly special.