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Messages - Crimm

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Podcast Discussion / Episode 572: Nintendo Franchise Executioner
« on: May 20, 2018, 11:15:00 AM »

My only regret is that I'm going before that rat, Falco! Don't forget to show my head to the people; it's well worth seeing.

http://www.nintendoworldreport.com/rfn/47248/episode-572-nintendo-franchise-executioner

Jon continues to drift along a silent path, slithering through a dark wood. Guillaume, Greg, and James no longer search; with neither Virgil or Beatrice at their side, his ultimate fate is not theirs to question.

He'll probably be back next week.

Instead we roll with New Business. Perhaps as a beacon to his missing Friend, Guillaume kicks off the proceedings with a return to the world of Elder Scrolls. Do you remember Skyrim? It's back, in pinball form in Pinball FX3. He's also started looking at Xenoblade Chronicles 2, but is still in that awkward early-game phase where nothing makes sense. He'll be fine in 30 or 40 hours. He lastly has a look at another narrative adventure, Three Fourths Home. He's still looking for the scoreboard so he can clown his friends. James just keeps playing games he can't talk about, so he's busy rewriting all of baseball's records in Super Mega Baseball 2, on Xbox One. Greg has been playing our next RetroActive, so he instead opts to talk about Bloodstained: Curse of the Moon. Inti Creates loves making 8-bit spin-offs of Kickstarted spiritual successors.

After the break we take on a duo of E3 rumors. We field emails asking about the rumored Star Fox racing game and a Pokemon word-salad title. You can tell us what Pokemon you'd name a game after by sending us an email.

Our next RetroActive is right around the corner! We're playing Henry Hatsworth so get a move on! Post your impressions in the talkback and we might feature them in the show.


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This is the takback thread for our RetroActive of Henry Hatsworth. Post your comments and thoughts here and we may use them on the show.

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Podcast Discussion / Episode 571: Mandatory Hooligans
« on: May 13, 2018, 08:37:00 AM »

...and Jon's not even here.

http://www.nintendoworldreport.com/rfn/47198/episode-571-mandatory-hooligans

A three man show rolls no faster. This week Greg kicks off New Business with impressions of Shantae: Half Genie Hero Ultimate Edition. There's a lot of Shantae out there these days, and he lets you know if this is this is the genie you've been wishing for.

I don't even feel shame for that joke.

Guillaume has Sonic & Knuckles, specifically the weird "lock-on" docking between Sonic and Knuckles, which was only replicated on Wii Virtual Console...and that's not even a euphemism.

I do feel shame for that one.

He also has impressions of the gorgeous-looking demo for PixelJunk Monsters 2. James concludes New Business with impressions of Immortal Redneck, a Switch first-person shooter/roguelite that he had actually already reviewed before the show was even recording. You could just go read that, or listen to how he thought it plays well but is let down by the roguelite elements.

After the break we try to do an email segment, but instead spend all of our time talking about Nintendo's recently-announced Switch Online plans. You can send us an email here.

RETROACTIVE PLANS! We'll be playing Henry Hatsworth for our next RetroActive. Get started! The talkback thread is here.


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TalkBack / Immortal Redneck (Switch) Review
« on: May 10, 2018, 01:25:57 PM »

If you’ve been mummified in order to live forever, then taking a long time to “wrap” a run isn’t a problem. I’m sorry.

http://www.nintendoworldreport.com/review/47181/immortal-redneck-switch-review

Immortal Redneck sounds like a good fit for Switch, a run-based roguelite first-person twitch shooter. Something you could play for short bursts, before putting the Switch to sleep. However, a handful of decisions keep that from being true, and at the same time keep this game from being a real blast.

These guys are about to have bad time.

Immortal Redneck has our titular hero, mummified following an accident off-roading in the Egyptian desert, climbing his way up three Egyptian pyramids, filled with monsters and mummies. Each floor of the pyramid is comprised of a randomly generated assortment of rooms. Killing all of them is required to unlock the doors, in order to seek out the stairs to the next floor. Defeated enemies will drop health, ammo, money, or random buffs (some of which have a negative impact). With each death, you respawn outside the pyramid, where you can spend the gold collected on your previous run to increase attack, defense, or buy the “favor” of gods in order to access unique powers. You can also buy temporary buffs and items that do things like keeping the map from remixing during the next run, in exchange for no money spawning during that run.

The problem is the runs can get really long. Every few floors you confront a boss, and clearing it allows you to move up the pyramid to the next section. However, because the floors are randomly assembled from pre-constructed set of rooms it can be difficult to find the way to the next floor. Chains of three or more rooms can ultimately end in a dead-end, having done nothing but drained your health and ammo. Rooms packed with enemies can make the process of clearing your way to the stairs feel like a real chore. The rooms themselves are reused, so while their location might be unique you're ultimately still replaying the same rooms, and there are definitely some that become unwelcome sights.

I have seen this room 1000 times.

I’ve had multiple runs get close to 30 minutes, and it just feels a bit too long - especially when you ultimately fail to beat a boss and unlock the next checkpoint. The incremental progress from increasing your stats just feels slow. Most of my successful runs came from getting lucky with a drop, such as finding an item that refills your health if you die or one that reveals the entire map. But these are random, so the odds of getting the item you need, on a run where you’re positioned to take advantage of it, are not great.

It’s a shame, because this is a mechanically solid first-person shooter. The gunplay is fast-paced and the character movement is smooth. The aim-assist is aggressive, drawing your bullets towards targets in their general vicinity. The number of enemies shooting demands constant movement and situational awareness. It would be preferable if enemies didn’t emerge from the ground, often in your blind spots, only to score cheap hits, but in general that situation is manageable. The only downside is this game consistently asks the player to jump between platforms, and it isn’t always easy to make sure you land on the platform from a first-person perspective.

Some of the weapons are a blast to play with, such as the rocket launcher and the shotgun, but others feel decidedly underpowered, especially as enemies get stronger deeper into the pyramid. A good mix of weapons represent the titular “Redneck” (potato gun) as well as weapons themed around Egyptian theology (flaming cat claw). It would be nice if weapons dropped more frequently, as you’ll spend most of a run using the default weapons in the loadout you selected at the start. More variety would break up some of the repetition, and finding yourself stuck with more than one of the underpowered weapons is frustrating. You can buy additional loadouts, but they can only be changed at the start of a run.

The game is colorful, and has an creative Egypt-inspired aesthetic that shows up in the world and its enemies. Sentient sarcophagi spit out pint-sized mummies, cartoonish cobras swarm around your feet, and depictions of Egyptian deities fly through the air. It also performs well, maintaining a smooth framerate and complementing the frenetic combat.

Oh, hey. Just uh...passing through.

The boss encounters are an especially good mix of using the Egypt setting and creative design. They’re unique looking and require significantly more thought than the average room. Each requires you “solve” their fight, and while not especially complex, provide a nice bit of variety. Clearing a boss is deeply rewarding, and losing is absolutely crushing. Every loss just makes me wish I could get back to the boss sooner, so I can refine my approach.

The game’s humor is a bit trite. It leans into the redneck persona with as much elegance as you might expect from a Jeff Foxworthy stage show. The requisite FPS hero’s one-liners are about things like getting drunk in seedy bars and blowing things up for fun, all delivered with the necessary accent. It’s harmless; a thin window dressing on the game that largely is unimpactful. There’s probably more humor to be found in the redneck-made-mummy but it’s not here.

Immortal Redneck is a mechanically solid game. The shooting feels nice, the game moves well, and with the exception of some enemies being absolute bullet sponges and questionable decisions regarding platforming, it feels like a modern take on early ‘90s FPS like Duke Nukem, Doom, and Wolfenstein 3D. The roguelite mechanics and the run-based structure could serve this genre well, and at times it does provide replayability. However, buying enough stat boosts to really feel the impact takes a long time, and long runs that result in no meaningful progress frustrate. If you’re looking for a solid, retro-influenced, first person shooter on Switch then this game is worth a look. Just be prepared to die and restart a lot.


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I’ve spent dozens of hours synthesizing the best paper possible and yet I still feel empty inside.

http://www.nintendoworldreport.com/review/47046/atelier-lydie-n-suelle-the-alchemists-and-the-mysterious-paintings-switch-review

Somewhere in my second hour, trying to catch a Balloon Fish so that I can take an alchemy exam, I broke. Atelier Lydie & Suelle The Alchemists of the Mysterious Painting had been plucking on my nerves for a while. The Atelier series has a good hook and at its best is an addictive, Switch-perfect experience. But at its worst it’s: tedious, half-baked, awkward, and obnoxious. I can’t hate Atelier Lydie & Suelle, but a good concept is totally wasted on an otherwise weak game.

Sue thinking hard about why she became an Alchemist.

The Atelier series puts you in control of an alchemist in a world where literally anything can be created with the right combination of plants, animal material, and bugs. What makes these games so compelling is how alchemy is represented by a series of complex and intertwined systems. Each recipe requires a combination of ingredients, but affords tremendous flexibility in picking them. The ingredients have attributes that can add buffs or properties to the object they’re used to synthesize. These attributes can be passed from one item to the next by chaining together synthesis, rewarding careful planning. Even two items of the same type often show wild variation in quality and attributes. The order ingredients are added to the mixture and how they’re placed inside a grid has a huge impact on the ultimate result. With the ability to fine-tune over 100 recipes, the game lets you make tremendously customized items.

Suelle.

It works because you’re always making new things and therefore you’re always getting better. New ingredients allow the creation of new items. New items let you make new recipes, take down new enemies, and access new places. New enemies and places yield new ingredients. When things are clicking, the next trip into a dungeon, represented as “living paintings” in this game, might be the one that unlocks the recipe for a new healing item or a new bomb. It could give you access to new material for making weapons and armor or new accessories to buff your characters. Progress is self-perpetuating. Even the dull “dungeon” areas, where the party ventures to collect ingredients and to advance the story, are exciting because of the new material they’ll provide for alchemy.

Except, at some point it stops. Progress slows. The game begins to demand increasingly specific requirements in order to unlock new things - in order to progress the story. You become beholden to not just finding the exact item you need, but also potentially finding one with the right attributes. On multiple times, I could not easily advance the plot without just wandering around looking for a random fish.

Lydie.

If I had seen the fish before, I could check the in-game Encyclopedia to see which of the 10+ zones feature it, even if it doesn’t tell me where in the zone to find it. But just like everything else, it feels unfinished. I can’t sort the Encyclopedia alphabetically; I can sort it by the game’s arbitrary “item level,” but I don’t know what level a Balloon Fish, so instead I flip through 24 pages of items only to see I’ve never encountered one and don’t know where to look. The in-game Encyclopedia has been largely rendered obsolete by Gust’s inability to make it user-friendly and by the fastidious work of fans documenting all the game’s items in Google Sheets.

The Encyclopedia is deeply emblematic of a lack of polish. For a game that’s largely played via menus, they’re all horrible. Sorting and filtering functionality makes going through ingredients possible, but it takes far too long to find the exact right ingredient I need in order to make a “High Class Rainbow Neutralizer,” so that I can complete a request.

Not really interested anyway, Alt.

The world looks like it’s from a different era - featuring both simple, and often ugly, level geometry and textures. The primitive character animation results in events like a hard cut between characters standing and sitting because they don’t have a “sit down” animation and a weird trot being both the walk and run animation - just played at slightly different speeds. The framerate is a mess, with frame drops happening consistently both docked and portably.

The game is not dubbed, featuring only the original Japanese audio. It goes with this intensely anime-style writing. Cute girls saying weird things to other cute girls. It’s insipid, grating, and stupid, but manages to still be funny sometimes. Beyond the silly dialog, the plot is extremely predictable and not particularly engaging. This game’s writing will drive away people who don’t have a tolerance for this sort thing. Even having some tolerance for this kind of writing, I found that it grated on my nerves at times.

CAPTAIN BACKEN!

Atelier games have a great hook. I’ve always enjoyed the time I spent with them, but with reservations. Lydie and Suelle requires ever more gracious reservations than usual. The alchemy mechanics will always be the highlight, but so much of this game is sub-standard that it it drags the entire experience down. It’s a shame, because this concept deserves better. If making items wasn’t so much fun it would be extremely easy to write this game off. If the game was ever-slightly-more polished it would be a solid recommendation. Instead, this game’s a shrug. It doesn’t earn the credit it gets and instead just perpetuates a good idea that’s been at the core of this franchise for two decades. This series needs a lot of improvements before the next entry; hopefully series’ developer Gust will put in the work. If they do, I’ll be there to play it myself.


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Podcast Discussion / Re: Episode 565: High Stakes Wiiware Gamble
« on: April 03, 2018, 10:48:34 AM »
Atelier games have dropped the time limits. In a way this feels a loss. Makes it more aimless.

Some minor randomly generated quests are limited time, but they're literally just to grind out money. Missing them is workout punishment.

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I need to setup my Azorean bank accounts first

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It's alarmingly accurate.

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Podcast Discussion / Re: Episode 562: So, It's Sonic Forces
« on: March 13, 2018, 05:57:00 PM »
Hey! Prince of Tennis is a bad show but delightfully idiotic.

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Podcast Discussion / Episode 562: So, It's Sonic Forces
« on: March 11, 2018, 10:42:00 AM »

The sequel we all deserve.

http://www.nintendoworldreport.com/rfn/46677/episode-562-so-its-sonic-forces

Jon Lindemann is on assignment this week, so in his place we have the recently-appointed NWR Site Director John Rairdin. The timing was fortutious, as we spend the entire first segment talking about Thursday's Nintendo Direct. We got Splatoon 2 DLC, Super Smash Bros., ports, ports, and uh... ports. In all seriousness, it was a fun Direct and we dig deep to break down all the news.

The second half of the show is devoted to New Business. John kicks us off with a look at Hollow, which sounds aptly named. He then gives us some impressions of Mulaka, a far better game - even if he can't remember his review score. This action game takes up the challenge of representing the folklore of indigenous communities of Northern Mexico, while still providing excellent gameplay. James reviewed Fear Effect Sedna. It's bad. To get ready for Yakuza 6, he's been catching up on the adventures of Kiryu by playing Yakuza 5 via Sony's PS Now streaming service. It's a surprisingly smooth experience, even if the monthly price is a bit steep. Guillaume closes out New Business with a duo of Switch games. Old Man's Journey is a mobile port that probably works better in handheld mode. A Hole New World is a convincing, and strong, NES-like. Only a few technical issues hold it back from being great.

Email returns next week, so get us your questions now.


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TalkBack / Undertale Coming to Switch
« on: March 08, 2018, 09:50:51 AM »

You can make friends with skeletons wherever you go.

http://www.nintendoworldreport.com/news/46655/undertale-coming-to-switch

Undertale is coming to Switch. No release date was provided during today's Nintendo Direct, which Nintendo described as "focused on Nintendo 3DS and Nintendo Switch titles launching this year," beyond teasing that Undertale for Switch would release "eventually."


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TalkBack / Fear Effect Sedna (Switch) Review
« on: March 05, 2018, 10:54:11 AM »

The only thing getting my heart racing is the thought of plot-important characters dying off-screen.

http://www.nintendoworldreport.com/review/46609/fear-effect-sedna-switch-review

Fear Effect Sedna is a bolt from the past. A Square Enix-approved, Kickstarter-funded, sequel to the 17-years-dormant Fear Effect franchise. It’s a game that feels like it’s from another era. A deeply flawed one.

Hana and Rain share the game's only exposition.

I should state at the outset that I have no history with the Fear Effect franchise, beyond being the target demographic of Eidos’ unusually sexuallized advertising campaign in the early 2000s. This is important, because Fear Effect Sedna makes little effort at introducing our cast or the world they inhabit. This is an understandable omission in a normal sequel; you wouldn’t want to re-introduce the mercenary Hana and her compatriots every game. But, after the better part of two decades, some introductory effort would be a welcome inclusion. As an outsider, it was incredibly frustrating for characters to allude to past events as the story leveraged those experiences to provide context. The lack of worldbuilding almost comes across as fan fiction, where the writer doesn’t need to provide such context. Their target audience is already deeply in the fandom.

Story-telling weaknesses go beyond a lack of context. The exposition frequently jumps in ways that make all the events feel disconnected. While I can sketch out the parameters of the plot, I can’t claim to understand most of the motivations. Likewise, I don’t understand the characters in this character-focused plot. Much of this is attributable to my lack of connection to Fear Effect, but how they interact feels weird and disjointed. At random times, one character might break an absolute and prolonged silence with a demand another stop acting like they “know everything.” As a cherry on top, the stilted dialog is delivered and via hilarious “accents.” Deke’s account should cause Canberra to write a sternly-worded letter. Even emotional tone can vary wildly, as if two actors in a scene were given dramatically different direction.

This game is very dark.

Fear Effect Sedna moved away from the fixed-camera, tank control style of its predecessors and instead adopted an isometric perspective. You directly control a party member to move them through a the stage, utilizing their unique weapons and skills to engage enemies or sneak past. Items that can be interacted with get icons when inside visible range, and they are used to solve puzzles or to provide lore. Mechanically, it all functions, but the stage design consistently fails the game.

Combat encounters feel bad. Stealth kills are usually the right choice, but the routines of enemies inside confined spaces frequently feel as if they were laid out to make stealth impossible. The gunplay is repetitious, as most enemies (and allies) are literal bullet sponges. The sheer number of enemies devolves the game into “Press ZR a lot.” The game affords each party member a unique set of skills, such as decoys, rockets, and automatic turrets, but it never teaches when and how to use them. They also have massive cooldown on top of limited ammo, further cutting their effectiveness. A cover system is present, and the game tries to reward playing smartly, but more often than not the answer is just try to outlast the foes. The game seems to agree, as it awards health packs constantly. It never feels like the mechanics come together. In one encounter, the game demands you destroy a set of tombstones, won't let you target them, and then slowly doles out grenades while you’re being shot to pieces by identical and unkillable enemies. It’s intensely frustrating and deeply emblematic of the issues this game faces.

A mode slows down the action and lets you give orders to each party member, which is necessary given their habit of standing out in the open and taking bullets. However, it seem like the right answer is still just to take over a character and move them yourself. It didn’t feel like a true strategy game, where I could layer the party’s skills to overwhelm the enemy. Instead it felt like a tool to just limit the chaos.

Deke, off to show a wallaby his knife and the barbie, or something.

The puzzles are poorly designed. There’s little else to say, in more than one occasion it just felt like trial and error, resulting in a hilarious death animation, and a less hilarious loading screen so that I could try again. Hints are in the stage, but they often aren’t clear. One example involved a locked safe, with a four digit code. The first three digits came from the only other interactable item in the room, a poster with a compass and the number 180 highlighted by an arrow. The final digit, a 4, was in a completely different location - part of a sign that read “SEDNA IV.” It wasn’t interactable, nor was it highlighted. It was of so little note that I only noticed it standing directly in front of my TV. Good puzzles should make you feel happy to solve them; these often make you feel cheated.

Navigating the world is frequently made difficult by stage layouts that don’t work with the camera angle. A constant array of issues recur: enemy line-of-sight cones obstructed by walls, important items/doors that aren’t properly highlighted to the player, enemies standing just off screen, a fog of war system that assumes your party can only see halfway down a long hall, etc. I like the choice of this camera angle. It retains the feeling of “old” games, without being beholden to the series’ antiquated tank controls. The stages just need more polish in order to work with it.

Fear Effect Sedna is a historical oddity. Square Enix greenlit this revival of a long-dead franchise that they only own because of an acquisition of Eidos. A second-tier title in even Eidos’ catalog, it’s understandable that the revival would be developed outside Square Enix proper. Likewise, it’s also clear that developers Sushee Games are big fans of the franchise. It just doesn’t work. As an outsider, I don’t see what they loved about this series. The story is disjointed, the dialog stilted, and the characters feel like cutouts. But all that could be forgiven if it were fun to play, but it isn’t. Bad puzzles, repetitive combat, and poorly designed encounters are constant companions. I respect the desire and the work that must have gone into making this revival a reality. I just wish the product would have been better for long-suffering fans.


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Podcast Discussion / Episode 241: The Thirsty Mage
« on: February 26, 2018, 10:05:00 PM »

NWR Connectivity presents a new segment devoted to RPGs, starting with Xenoblade Chronicles 2.

http://www.nintendoworldreport.com/connectivity/46522/episode-241-the-thirsty-mage

A new podcast segment has come to NWR Connectivity.

The Thirsty Mage is a quiet place for a group of friends to enjoy a pint while discussing their favorite RPGs. This episode is located in the Goldmouth Warehouse at the Argentine Trade Guild and will feature veteran NWR podcasters discussing Xenoblade Chronicles 2.

At the table we have

  • Thirsty Mage Host - David Lloyd
  • Half of the Talk Nintendo Podcast - Casey Gibson
  • Host of Radio Free Nintendo - James Jones
  • The voice of reason at Radio Free Nintendo - Greg Leahy

We need your help, as a brand new podcast segment we need to get the word out. Our Twitter handle is @TheThirstyMage and we would love to hear from you. Let us know if you liked the show, or if you had some game requests, or even if you have some advice of how we could improve.

We hope you like the show and look forward to providing more on a bi-weekly basis.


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TalkBack / Re: Ace of Seafood (Switch) Review
« on: February 22, 2018, 09:31:36 PM »
Like I said, giving this game a score is utterly futile. In an absolute, it is dreadful. But the goofiness helps it along. The score should be lower

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TalkBack / Ace of Seafood (Switch) Review
« on: February 22, 2018, 11:01:57 AM »

This fish has some psychoactive poison.

http://www.nintendoworldreport.com/review/46495/ace-of-seafood-switch-review

There are basic things about a game that you can check-off when writing a review: how does it feel, how does it look, how are the sound effects, is the music good, is there a clear the mission structure, is it fun? Ace of Seafood bravely rejects judgement in all the above - embracing either a gross ignorance of game development norms or a visionary avant garde ethos. This is not a good game, but it is profoundly strange. It is not a fun game, but it is curiously amusing. Never has giving a game a review score felt more futile.

This game is like a mackerel.

Ace of Seafood is a bit like Tokyo Jungle, tasking you with surviving and evolving. You control a squadron of fish, as they barf lasers or pull off appendages to shoot at other sea creatures. Capturing reefs allows integrating increasingly complex sea creatures into your school, such as: barracuda, great whites, and Otsu-class submarines. I found torpedo-armed submarines and laser-clawed lobsters to be a punishing combination.

A fish.

This is all more baffling than it is fun. Collecting submarine DNA in order to “breed” a sub is a fine objective but as a Star Fox-style combat game it is severely lacking. The action is too slow for what it is trying to do, and yet is still plagued with game-impacting slowdown. Control seems to arbitrarily decide what impact the stick will have on your movement; it is impossible to know if the fish will turn left or right. The camera seems intent on averting its eyes from the neon nonsense, flailing around to find something more soothing to look at than the maelstrom before you. This means the game has no flow, and feels unrewarding as a dogfish fighting game.

The serenity of the deep.

The combat is impossible to follow, looking like a chaotic mess of lasers and crustaceans. The models seem like assets collected at random, with no regard for scale or quality. Giant squid flail about at a questionably-articulated barracuda, both eclipsing a comparatively puny battleship. Thanks to its wealth of camera issues, slowdown, and very aggressive pop-in, Ace of Seafood is actually bewildering to behold in action. The interface is a masterclass in what not to do. It is littered with various prompts, gauges, maps, indicators, and reticules. While highly amusing, this makes playing it physically uncomfortable.

The sound is a constant whine of the laser fire set to a curious collection of music. It all wears thin quickly. However, the inclusion of battleship-specific music was a fun surprise.

The game features local and online multiplayer, although I wasn’t able to try it. However, the seafloor is wide and it's easy enough to get lost looking for stationary targets. Tracking down moving players would be extremely difficult. Overall, It doesn’t seem like it would add much to the experience beyond subjecting a second person to the madness.

Ace of Seafood is a joke delivered with a knowing smirk. The image of a laser lobster engaging a flotilla of tiny submarines defending a sunken refrigerator is not something that springs from a serious mind. It’s surreal, amusing, and bewildering. But it isn’t fun. It’s a good joke, and without it this game wouldn't merit a mention, but the joke is let down by execution. If it played well, if it looked better, if it performed acceptably this could be a funny little cult-classic, a recommendation to the right audience. As it stands, however, all it has going for it is a prevailing mania. That’s not enough.


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NWR Forums Discord / A Place for Me to Dump Dumb Threads
« on: February 17, 2018, 11:23:26 AM »
We'll build a golf course on it, in 50 years

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More like Geoshity

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But this is fun Karma. Do you claim James Jones as your god to bring about judgement or Lindemann on someone.


I don't know if James Jones should be the analogue for good karma.

I also never cared one way or another about Karma, it's kind of funny to see my point drop over the last day, cause now I'm wondering what compelled the drop.
Ask for a Lindeman, see your score drop

320
Podcast Discussion / Re: Episode 558: The Quest to be Ruthlessly Topical
« on: February 12, 2018, 02:11:35 AM »
What time-stamp is the Celeste talk?  I can't seem to find it.


My mistake, I think it got cut and I didn't pull it from my notes. It's hard to keep track four days out. Greg DID talk about it last week though.

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Podcast Discussion / Episode 558: The Quest to be Ruthlessly Topical
« on: February 11, 2018, 07:53:00 AM »

Sisyphus looks on in admiration...

http://www.nintendoworldreport.com/rfn/46410/episode-558-the-quest-to-be-ruthlessly-topical

Jon is out doing something more productive than this, so we delayed the first round of our WiiWare RetroActive (You, Me, and the Cubes; Bansai Barber) until next week. James forgot he actually had New Business, leaving the opening segment to Guillaume and Greg. Gui has a look at adventure/platformer Night in the Woods, now on Switch. It's a game driven entirely by its wit and charm, which thankfully it has in spades. He also gets limber with Wii Fit U, in anticipation of its cardboard-focused replacement. Greg concludes this rather paltry New Business with some thoughts on the demo for Radiant Historia: Perfect Chronology (now finally headed for Europe).

After the break we bowl through a huge number of emails. This is a lie...we get through three. This week we: identify the best remake candidates; kill off Nintendo franchises; and create a New New Super Mario Bros. You can demand blood via our inbox.

Just as a reminder, next week is our first set of WiiWare RetroActive games. As mentioned earlier, the games are Bonsai Barber and You, Me and the Cubes. You can post comments in their respective talkback threads.

We're also ready to announce our NEXT WiiWare RetroActive: Alien Crush Returns. We are going for a quick turnaround on this one; we'll be recording the segment on Episode 560, so get your thoughts in now.


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Podcast Discussion / RetroActive 41 [C]: Alien Crush Returns
« on: February 11, 2018, 02:57:47 PM »
This is the talkback thread for part 3 of our WiiWare RetroActive Marathon. Please post your comments for Alien Crush Returns here.

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NWR Forums Discord / Re: The YouTube Thread.
« on: February 08, 2018, 07:56:35 AM »
I see your Ace Attorney and raise you a Ghost Trick.


[/size]

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This post got one James Jones from me.


I approve

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NWR Forums Discord / Re: How do I James Jones?
« on: February 07, 2018, 12:43:26 AM »
Torture yourself with obscure games, then take it out on Jon.


That's about 60% of it

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