Jurassic Radio #17: All Hail the J-Man
I'm your tireless servant! Today finds me sunning naked on a Vancouver public beach, but I've found time to make sure you, loyal reader, know that we did a podcast this weekend.
Just me, Ben and Rambo and my attention-hungry labradoodles on this week's show, wherein we discuss BATMAN: ARKHAM ASYLUM, WOLFENSTEIN, DISSIDIA: FINAL FANTASY and PROFESSOR LAYTON AND THE DIABOLICAL BOX.
We also count down our top three non-playable videogame sidekicks, break down MC Chris' "MC Chris is Dead" and gab for some minutes about PS3 commercials, Xbox 360 price drops and Venezuela. Next week: PAX!
I was serious about the Vancouver thing (and, incidentally, about the nude beach thing; win!). I'm vacationing in the Pacific Northwest this week and, as fortune has it, will be in Seattle for the first day of the Penny Arcade Expo, which completely sold out today.
I've got at least one interview lined up, and I'm actually pretty nervous about it. I've done well over a thousand interviews since taking my current reporting job last September, but actually wading into the whole games journalism thing is a different story. This is what I would have done professionally in a different life.
But I intend to have fun, too, and to take hella pictures and video. I'll also be back in time for next week's podcast to discuss my findings.
PODCAST
(right-click to save, use player below, or get the show on iTunes here)
Jurassic Radio #17: All Hail the J-Man
00:00 - 38:22 -- What we've been playing
ACT BREAK -- Franz Ferdinand (Blood remix), "Feeling Kind of Anxious"
38:54 - 52:41 -- Top 3 NPC sidekicks
ACT BREAK -- Andrew W.K., "Party Hard"
53:32 - 1:13:44 -- Music Club: MC Chris, "MC Chris is Dead"
ACT BREAK -- The Guild, "Do You Wanna Date My Avatar?"
1:14:23 - 1:44:56 -- The news, what's coming out
OUTRO -- MC Chris, "Metaphor"
SHOW NOTES
Game Politics - Venezuela bans games to stop war - http://www.gamepolitics.com/2009/08/27/facing-crime-wave-venezuela-moves-ban-violent-video-games
Various - Harmonix reveals how Rock Band network will work - http://www.gamasutra.com/php-bin/news_index.php?story=25015 - http://kotaku.com/5346803/power-to-the-people-how-rock-band-network-expands-the-game-gets-any-song-online
Bruce on Games - Video Games try to get you to do things you may not want to do sometimes - http://www.bruceongames.com/2009/08/24/video-games-as-propaganda/
Kotaku - Sony airs funny PS3 commercials, ditches slimy black morphing gadgetblob motif - http://kotaku.com/5346940/a-first-look-at-two-of-the-ps3s-newer-funnier-ads
Major Nelson - Microsoft community dude unveils 360 price drop, "pro" model being phased out - http://majornelson.com/archive/2009/08/27/its-official-xbox-360-elite-price-drop.aspx
Gamasutra - Gamestop eyes digital distribution - http://gamasutra.com/php-bin/news_index.php?story=24995
Jurassic Radio #16: Butcher Pete Goes To Texas
Hi, everybody! It's Gameodactyl here. Last night I discovered just how much of a burden Gameosaurus Rex feels every week having to put together a giant podcast. He is either out of town or he became a girl. Listen to the podcast to determine, for yourself, what really happened.
Please don't be alarmed by the occasional crying baby, creaking door, or my own booming (annoying) voice! Everything is just fine at the 'dactyl residence. Don't believe me? Listen to this 2+ hour podcast and hear it for yourself.
After last week's foray into a good book and plenty of good summer movies, we're pretty game-centric this time around. Thanks to Blizzcon '09, there's more WORLD OF WARCRAFT discussion (new expansion: CATACLYSM). I talk about a possible game-breaking glitch in MANA KHEMIA 2: FALL OF ALCHEMY (which, I just found out from NIS America, will not be in the retail North American release... GOOD!). Nate uses a videogame to discover what he knew all along about restaurants: local is better than chains. We also have a healthy chat about ROCK BAND and GUITAR HERO as full franchises, and one of us relives some precious moments from PARAPPA THE RAPPER. For our "winning time" segment, we all talk about our experiences playing the Clover Studio title GOD HAND.
Oh, and I shouldn't forget, Rambo leads us in multiple discussions about SHADOW COMPLEX; first, about the game itself, and second, about how Orson Scott Card is crazy and is also somehow profiting from this game. Fortunately, we don't care enough to join a web-based boycott. We'll just speak out against his wild homophobia and hope that does the trick.
PODCAST
(right-click to save, use player below, or get the show on iTunes here)
Jurassic Radio #16: Butcher Pete Goes To Texas
00:00 - 23:14 -- What we've been playing
ACT BREAK -- Kenji Ito, "Mana Palace" (Final Fantasy Adventure / Seiken Densetsu)
24:07 - 57:13 -- Top Three Obscure / Lesser-Known Mascots
ACT BREAK -- Ken Nakagawa & Saitama Saishu Heiki (SSH), "Alchemic Blast" (Atelier Iris: Eternal Mana)
58:20 - 1:17:44 -- Winning Time: "God Hand"
ACT BREAK -- The Wilderness, "I Am the Song of the Drunkards"
1:28:49 - 2:05:38 -- The news, what's coming out this week
OUTRO -- L70ETC, "I Am Murloc"
SHOW NOTES
Tubular Review: "TMNT: Turtles in Time Re-Shelled"

I've written only two reviews so far; one had an obscenely long title and the other was shitty remake. This week I review TEENAGE MUTANT NINJA TURTLES: TURTLES IN TIME RE-SHELLED, a shitty remake with an obscenely long title. It's called synergy. Look it up.
TiT is a truly terrible game whose only real purpose is to remind you that, when you were in 3rd grade, you bought shitty beat-'em-up after shitty beat-'em-up because the Ninja Turtles were — excuse me — are awesome. Taking a page from the LucasArts playbook, Ubisoft chose to make this version worse than the original. It almost feels like LucasArts and Ubisoft are doing some kind of perverse market research: "How little effort can we put into our remakes while still turning a profit on nostalgia alone?" asks some asshole in marketing. "I don't know, let's use Xbox Live Arcade to find out," replies some asshole in sales.

For a game whose entire premise is time travel it's strange that no one explains how or why Shredder sends them back in time.
The first inkling I had that things had gone horribly wrong was when I got to the third level and there was no Rat King. This remake is of the arcade version, which has fewer levels and fewer bosses than the vastly superior SNES version of TiT that I grew up on. I already can hear you moan as you realize this means the totally EXTREME dark ninja turtle, Slash, has been cut. I expected more, not less content from the remake, but apparently I suffer from perversely high expectations.
But we're here to talk about the game, not my deep emotional attachment to Slash and his totally sweet eyepatch. First off, let's remember that the gameplay in the original was garbage. Your options were to smack a ninja, smack a ninja really hard, and various jump kicks. There's no reason to use your basic attack because the strong attack does more damage and knocks down your opponents. And I think they've pared down the number of jump kicks, but it's possible I didn't find them because I was busy spamming the super move. I also avoided jump kicks because they've removed the shadows that used to track your character's position on the screen, making jump kicks a crap shoot for anyone without the keenest of depth perception.

I didn't mention that the SNES version has a cool VS. mode not found in Re-Shelled because I only get 600 words to pummel the remake with unless I sneak in some long captions.
Hardcore is the game's new mode. Hardcore means more ninjas. But as anyone familiar with the Conservation of Ninjutsu knows, more ninjas doesn't mean more challenge. Spamming your super move works just as well on twenty Foot Soldiers as it did on five. The game also has a time attack mode, but it's more useful as a level select then as an actual gameplay option.
The graphics are certainly an improvement. They capture the TMNT style well but they only highlight the fact that all of the enemies are palette swapped ninjas instead of fixing it. After my 800th fuchsia ninja kill I was glad they didn't include the extra levels. In fairness, I should mention that there are a few robots. Oh, and there are a couple rock soldiers. Rock soldiers, robots, ninjas...yeah, that's it.
TiT is a repetitive, poorly designed exercise in button-mashing that was passable in the 90s and is laughable today. If you're looking to trade in on some nostalgia and button-mash your way through an hour of ninjas, go ahead and pick this up. If you're looking for some fun beat-'em-up action, save your money for Castle Crashers or The Dishwasher.
Jurassic Radio #15: Gentle Chainsaw
So it's Tuesday. Sigh. Jobz jobz jobz. But for the record, the podcast was edited and went up Sunday night as usual. It's just the roundup on the blog that took so long.
And don't mind the incessant, vocal crickets who chirp their way through this entire episode. There's quite a bit of good stuff here!
We take a break from all our video games to talk about even more video games, methampethamines and movies. In this week's show, the five of us assemble before Rex's grand hiatus to dissect Nick Reding's "Methland" and a handful of recent big-screen releases, including "500 Days of Summer," "Ponyo," "District 9" and "G.I. Joe."
As for games, Ben discusses endgame malaise in WORLD OF WARCRAFT, Rambo and Rex giggle at the casual carnage in TRIALS HD, Pat previews MANA KHEMIA 2 and Nate gets his hate crime on with some fruits in WII SPORTS RESORT.
PODCAST
(right-click to save, use player below, or get the show on iTunes here)
Jurassic Radio #15: Gentle Chainsaw
00:00 - 23:05 -- What we've been playing
ACT BREAK -- The Fantasticks, "It Depends on What You Pay"
24:00 - 56:38 -- Book Club: "Methland" by Nick Reding
ACT BREAK -- Explosions in the Sky, "The Only Moment We Were Alone"
57:22 - 1:31:29 -- Movie Club: "Ponyo," "G.I. Joe," "District 9," "500 Days of Summer"
ACT BREAK -- The Aquabats, "Lovers of Loving Love"
1:32:20 - 1:41:15 -- The news, what's coming out this week
OUTRO -- Badly Drawn Boy, "Once Around the Block"
SHOW NOTES
"Methland" author Nick Reding discusses his book on NPR
City Paper via Game Politics - Group wants to make Philly gaming's Hollywood - http://www.citypaper.net/articles/2009/08/06/videogame-growth-initiative-philadelphia
Oelwein Daily Register - Paper editorializes on "Methland" - http://communitynewspapergroup.com/articles/2009/07/08/oelwein_daily_register/news/doc4a54be82d63ad880013294.txt
Also, an Amazon review of "Methland" by assitant Fayette County prosecutor Nathan Lein - http://www.amazon.com/Methland-Death-Life-American-Small/dp/1596916508/ref=sr_1_1?ie=UTF8&s=books&qid=1250362484&sr=8-1
Review: "Vampire: The Masquerade – Bloodlines"
Based on the tabletop RPG by White Wolf Games, VAMPIRE: THE MASQUERADE – BLOODLINES puts you in the shoes of a vampire belonging to one of seven clans. The game world is divided into areas, which you travel to and from via taxi. Each main locale has its own set of primary and side quests.
At first, the game world seems open-ended, and some might even mistake it for a sandbox game. But this façade comes crumbling down when you walk around any town and realize that 95 percent of the doors are merely textures. Non-essential NPCs seem to lack souls as they either stand completely still or walk around with limited animation, save for the occasional urination or fellatio.
Environmental interaction is limited to TVs and radios. There are no randomly generated loot stashes; only a few baked-in ammo crates and personal belongings. Aside from quest items and keys, enemies drop weapons only because they apparently keep leaving their jewelry and medicine — loot useful only for selling — on countertops and floors. Items and secret doors are highlighted with sparkles so that you’re not squinting in the game’s minimally lit environments. Most hidden doors and secret stashes are highlighted only if your inspection attribute is high enough.
Attributes are raised by assigning experience points gained by completing quests. I completed most sidequests on my first playthrough and was disappointed near the end of the game when I realized there weren’t enough points to max out my stats. The completionist in me hated this, but on the positive side, it encourages playing the game again using different skills.
I chose to be Malkavian, a clan cursed with incurable insanity, because I was told they make for the most interesting experience. Halfway through the game, I started hearing eerie voices while talking to NPCs. Because these were whispers and other dialogue was being spoken at the same time, I could make out only a few words and phrases, such as “die” and “don’t trust”.
My dialogue options were off-the-wall and sometimes confusing. I often found it difficult to foresee the ramifications of each choice. I would choose a sentence that sounded like an insult and the NPC would become delighted with my rambling. This confusion could also stem from the fact that dialogue “options” are mostly an illusion. At several points I reloaded and went through an entire dialogue tree and found little difference in character reactions. This problem of illusory freedom is a metaphor for the entire game until the end.
The endgame gives you the choice for which faction to side with. The illusion of choice in a game is ruined when you can throw caution to the wind with character interactions, and then make the only decision that influences the ending during the last chapter.
Characters have a slightly cartoony look and feature interesting models. Some prostitutes wear shirts that show much underboob. I could have sworn I saw the villain from The Fifth Element.

One developer was asked to make a mixed-race NPC model.
Combat consists of ranged and melee attacks, as well as vampiric powers that add buffs or deal damage. Using guns is a useful tactic for enemies with strong melee attacks or for situations where you are low on health and do not want to risk close combat. I found melee combat to be more satisfying, especially when I watched my character — all melee combat is in third-person — send enemies across the screen with weapons such as the katana and sledgehammer.
Your blood meter is essentially your mana pool for your powers, but if it gets too low, your character may frenzy, which causes you to uncontrollably attack the nearest human or vampire in a blind rage. You can refill your blood by feeding on humans and rats, or by using blood packs that can be purchased from vendors. Feeding is more economical, but if humans see you perform this act, or any other action that breaks the law, you lose a masquerade point. If you lose all of your masquerade points, it’s game over. You can regain these points by completing certain quests.
The environments are drab with washed-out colors and uninspired architecture. The level design is unintuitive, and I often found myself backtracking because of an out-of-the-way quest item or from dead-end corridors that sent me on wild goose chases. On the other hand, the ambient, eerie music keeps the atmosphere from being completely ruined. Songs in the clubs and bars also fit the gothic theme with bands such as Lacuna Coil and Ministry.
At times, the game felt more like a chore than a leisure activity. I found myself turning off clipping in order to travel efficiently through towns and avoid their arduous layouts. I don’t mind hoofing it in an RPG like MORROWIND because it presents a multitude of dungeons and random events between travel points, but the levels in Bloodlines are mostly desolate, save for NPC clones.
Parts of the game felt unfinished. I couldn’t figure out who to speak with in order to finish certain side quests, which I assumed were broken. The stealth aspect of the game could have used polishing since I was able to sneak around enemies that I was physically touching, even in front of their faces.
But there were moments when I was glad I’d chosen the game. Low-brow humor is one of the many ways to my heart. I found random cans of “Cock Cola” strewn in a few shops as well as other product parodies. SPAM emails found their way to my in-game laptop and crude commercials ran on the radio, similar to Grand Theft Auto games. At one point, the anchorman on the news actually spoke to me, telling a terrible joke involving tuna. While in a convenience store to purchase weapons — some vendors moonlight — a man walked into the store looking for junk food to satisfy his munchies. As he counted change in his hand, he exclaimed in his stoner voice that he needed only fifteen more cents, and then the Choco Bombs would be in his stomach.
In the end, Vampire: The Masquerade – Bloodlines is like Lucky Charms. You have to eat several bland pieces before getting to the sweet marshmallow ones, but once you do, you don’t mind eating more grains to get to more mallows. The only difference is that Lucky Charms disperses its sweetness somewhat equally, whereas Bloodlines wouldn’t be as arduous if it would spread its sweet parts throughout the game more evenly.

Jurassic Radio #14: Lockpick
My most sincere apologies for the very late post. Feeling a little under the weather, but I live to serve you, the imagined listener! We're down another man for another show, which likely will become a trend over the next few episodes. That's probably the risk one runs by cramming five people into what began as a three-person enterprise. But we keep on keepin' on.
This week, we dissect WORLD OF WARCRAFT v3.2, SACRED 2, WII SPORTS RESORT, NINJATOWN, VAMPIRE THE MASQUERADE: BLOODLINES, HOLY INVASION OF PRIVACY BADMAN, SPACE INVADERS INFINITY GENE, SECRET OF MONKEY ISLAND : SE and the Xbox Live remake of TURTLES IN TIME.
We also wrap up our Winning Time tour of PIKMIN 2, and we count down our three favorite in-game tutorials, except for Ben, who once again derails the segment to do it his way. Next week: meth!
PODCAST
(right-click to save, use player below, or get the show on iTunes here)
Jurassic Radio #14: Lockpick
00:00 - 27:24 -- What we've been playing
ACT BREAK -- Blur, "Girls and Boys" (7" mix)
28:11 - 57:55 -- Top Three Tutorials
ACT BREAK -- Ozma, "Korobeniki"
58:34 - 1:16:45 -- Winning Time, PIKMIN 2, part 2
1:16:45 - 1:32:00 -- The News
OUTRO -- The Pilfers, "Choose Life"
SHOW NOTES
Vertically Conscious Review: "My Life as a Darklord"
If Square simply would concede that Crystal Chronicles is its own universe, we wouldn't be stuck with the tongue-tying title FINAL FANTASY CRYSTAL CHRONICLES: MY LIFE AS A DARKLORD. On the bright side, the unwieldy name is this game's biggest shortcoming.
At its heart, FFCCMLAD — you know what, let's just go with "Darklord." At its heart, Darklord is a tower-defense game. Waves of adventurers assault your tower, and you must build defenses to dispatch them before they reach the top. Instead of building towers, you build floors in your own tower and fill them with monsters. You are given an army of Goblins, Bombs and other Final Fantasy favorites. Between levels, you level up your monsters to make them stronger.
Every floor comes with an artifact, each of which has its own powers and effects. Some poison your enemies; others shield your monsters from damage, and so on. Adventurers climb the tower fighting the artifact and whatever other monsters you've placed on each floor.
Battles between adventurers and your monsters are governed by simple rock-paper-scissors rules. Melee beats ranged, ranged beats magic and magic beats melee.
Enemies, meanwhile, move at differing speeds, stay on floors for different amounts of time and use different tactics. For example, an illusionist will stay on a floor casting spells on all monsters and artifacts for 25 seconds, whereas a thief fires off two shots at the floor's artifact and moves on. The adventurers skip any floor already occupied by one of their friends, so when and where you build a floor becomes just as important as what you build. The upshot of all this is that no level requires the same floors as the one before it. You need to think long and hard about what floors you're going to need, where they should go and when you should build them. Ultimately that's what makes any tower defense game worth your time.
The game balance does teeter a bit toward the end. You unlock new floors and monsters as you progress through the game and some of these are ripe for abuse. Also the new monsters are simply better then the ones that come before them. Instead of giving you new tools the game basically has you level a new set of monsters and discard the ones you used in the first half.
Graphically this game is as polished as you would expect from Square. The Crystal Chronicles trademark style of bedtime-story-meets-Final-Fantasy is back and looks great in action, though cutscenes between battles do suffer from the Japanese belief that a portrait with text underneath is an acceptable storytelling technique. It doesn't detract from the game, but moving characters would have been nice. The writing is a little juvenile and the plot makes absolutely no sense, but I didn't find myself sweating it.
For 10 bucks, Darklord is the perfect length — I wrapped up the final levels just as the game started to drag. I had a blast playing through it, and anyone who likes puzzle or tower defense games will find it engaging. I haven't had a chance to play the expansions, but Square will need to throw a few new tricks into he mix to keep the game feeling fresh. I don't know that I'd buy 20 more levels of the same, but the standalone package gets a recommendation with no reservations.
Jurassic Radio #13: Odorless
We're down one man this week as Pete Rambo flees Repuglican York County for scenic Something Beach, but the Gameodactyl, Gamertooth Tiger, Benji and I rally for a shorter and more focused episode.
We've been playing LITTLE KING'S STORY, more SHATTER, more 'SPLOSION MAN, MARVEL VS. CAPCOM 2, WII SPORTS RESORT, MAGIC: THE GATHERING -- DUELS OF THE PLANESWALKERS and WIZARDRY 8.
And CHOCOBO RACING. "It's actually a pretty good game," Benji intones as we groan incredulously.
Toward the middle of the show, we engage in some furious musical masturbation to talk up Karmella's Game's "You'll Be Sorry" one more time. Now that we've all dissected the album for twenty minutes or so, I swear not to talk about it for a while, but I highly suggest anybody with even a passing interest in synth and pop check the record out. Link in the show notes.
PODCAST
(right-click to save, use player below, or get the show on iTunes here)
Jurassic Radio #13: Odorless
00:00 - 30:56 -- What we've been playing
ACT BREAK -- Further Seems Forever, "On Legendary"
32:00 - 34:22 -- Pat slams a handful of odorless garlic tabs
34:22 - 41:55 -- Wii Sports vs. Yahtzee
41:55 - 1:01:42 -- Game length vs. bottom dollar vs. us
ACT BREAK -- New Order, "Temptation"
1:02:47 - 1:27:40 -- Roundtable review: Karmella's Game, "You'll Be Sorry"
1:27:40 - 1:32:30 -- The News, what's coming out
OUTRO -- Mighty Mighty Bosstones, "Bad News and Bad Breaks"
SHOW NOTES
www.karmellasgame.com -- The new CD should be available in more outlets soon, but for now, it's a mail-order-only thing through label Insubordination Records.
Console-Comparative/Informative Review: "Space Invaders Extreme"

I'm generally wary when developers remake a game, or add an entry to a game's series, by merely tacking on a buzz word like "Super" or "Extreme" and then running said franchise into the ground with lackluster improvements and game-breaking mistakes. It's happened many, many times. But for every bad Super/Extreme/Ultimate version of a game, there's a good one too. So you hedge your bets and give these things a try, hoping for the best.
Indeed, during the '80s and '90s, the original 1978 arcade hit SPACE INVADERS was ported and graphically enhanced for nearly a dozen different platforms. Despite making huge waves in the early world of arcade gaming, Taito allowed their classic arcade shooter to lie dormant for some time. But after Taito was bought out by Square Enix, the good folks at Square Enix did what they do best: milk all the possible potential out of a franchise. SPACE INVADERS EXTREME is an example of how you do the whole "remake" thing right, particularly for classic arcade titles.
To mark the 30th anniversary of the classic game, Square Enix released two versions of their fully upgraded Space Invaders Extreme to the public in late 2008: one for the DS, and another for the PSP. Six months later, on Xbox Live Arcade, a third version of the game was released, featuring four-player online modes and optional expansions. The game was a big enough hit that Square Enix and Taito have already released a sequel, SPACE INVADERS EXTREME 2, exclusively for the DS (arguably the most interesting platform for the title, due to the two screens and the tall orientation).
The reason the remake is so successful? There is no one reason, but in my time playing the game, I've been able to observe a few reasons why the game is addictive enough for today's audience that you'd want to keep going back to it, the same way it was once such a wonderful novelty 30 years ago.
The basic gameplay is the same. You're a little space ship stuck to the bottom of the screen, only able to move left and right, and you shoot vertically at waves of alien ships, grouped in different formations. You shoot up, the enemy shoots down. You avoid their shots, and you hit them. That's the basis of Space Invaders.
Extreme adds a whole bunch of fun stuff. For starters, there are the power-ups. The four basic power-ups are a bomb (area of effect explosions on contact), a broad shot (five vertical beams instead of one), a laser (persistent, death-dealing blue beam of awesomeness), and a shield. These four power-ups are generally obtained by killing four enemies of the same color in a row, with different colors corresponding to the power-ups. The three offensive power-ups also have "super" versions that can be obtained in bonus rounds: bigger bomb explosions, wider broad shots, and an undeflectable giant blue laser (this last power-up is undoubtedly the coolest thing in the game). Each power-up has an ideal situation for use between each wave of enemies, as the waves are scripted per stage and are in no way randomized.
(Also know that there are a few more special guns to obtain in bonus rounds; they're hard to describe, but generally, they're quite destructive.)
Then there are the boss fights. These are most fun (and most complicated) on the DS, because the action takes place across both screens. In one fight (stage 4 boss), you have to ricochet your bullets on regular enemies in front of you, have them bounce back, dodge the bullet, and have it hit the boss (who is behind you). It's the only time in the game that your ship is positioned on the top screen. Genius idea? Yes! But also a frustrating and difficult boss, to be sure.
The game's presentation is another strong point. Visually, the game retains its pixelated roots by intentionally designing everything in pixelated blocks. But the animation is incredibly smooth, and the graphical effects are fantastic. In the background of each level, a continually-looped movie plays. It's faded dark enough so that the action on the screen takes prominence, but this colorful addition to the game really helps to make it stand out.
The audio is also fantastic. The soundtrack is a great blend of electronica (with an emphasis on blending chiptunes and modern synth), but the real treat is that every single shot fired has a sound effect played in time with the music. Depending on which beat, or whether you're on the beat or hitting in-between beats, a different tone might play when you fire. If your bullet hits a shield, you hear a cymbal crash. And if the bullet is deflected, you'll hear a different sound. If your bullet hits an enemy's bullet instead of an enemy, that makes a unique sound as well. But no matter what, the sound effects are processed alongside the rhythm of the music playing. Whoever programmed this was a genius.

Never thought I'd associate high-end graphics with Space Invaders. But the XBLA version is stunning.
My two complaints about the game are as follows: the difficulty curve gets a little ridiculous, and the game could offer more content. There are only five stages in the game, but stage 3 has an "A" and "B" version, stage 4 has A B C, and stage 5 has A B C D. This branching path for stages can only be traveled based on high scores. If you stick to the "A" Path, the game is tremendously easy. But if you get a high enough score (and thus, rank) for the stage, you have the option to proceed down a harder path. And let me tell you, 5-D is just absurdly difficult. I've been playing the game for months and still cannot beat it. Even 5-C was a huge challenge that took me over a dozen attempts to complete.
But if I did beat 5-D, that would be the last thing I have to do. I've played the same stages over and over, in basically the same modes. The setup is great, but we need more content! The XBLA version of Space Invaders Extreme offers some remedy with the downloadable content and a great multiplayer mode, but even that isn't enough. Hopefully, SIE2 will save the day with all of its new modes and additional stages.
Taito and Square Enix set the framework for a great casual shooter. Now just tweak it, balance the difficulty, and throw tons of content in, and we'll have something that nears perfection. But Space Invaders Extreme, even with these complaints, is a super-fun game that utilizes a classic arcade title in the best of ways. So, whether it's the two-screen DS version, the wide-screen PSP version, or the extra-content XBLA version, you're in for a 4-out-of-5 experience.






