review: Battlestations: Pacific

Battlestations: Pacific is a bit of a conundrum. On the one hand, the game has an interesting take on both the usual generic limitations of WWII as well as a unique approach to fairly limited offerings of available console strategy games. You can decal the nose of your favorite fighter with swell period pin-up girls for use in online dogfights. Taking command of a massively powerful battleship like the South Dakota class (armed with a full battery of 16” guns) feels undeniably bad ass.

On the other hand, the grainy, real-life film footage shown before each mission begins is, sadly, a little misleading. Pacific’s tactical-yet-arcadey combat may reach the tracer-saturated fever pitch depicted on the back of the box from time to time, but seemingly just as often the chaos of the Pacific theater’s large-scale naval, air and infantry battles (the last of which isn’t playable here) seem strangely muted.

Dive-bombing is often a key component to a successful aerial assault.
The game throws numerous scenarios at you in which you control, say, one or two cruisers or a destroyers, but rarely allows you access to the entire naval armada, instead seeing fit to dole out command of ships one to three at a time (and even then only as replacements for any vessels you may have lost). Carriers, which act as RTS-style bases, can produce fighter planes to help you maintain the offensive or defensive upper hand, but only allot one four-plane squadron each. The result is a campaign of island hopping support that, while enjoyably strategic, isn’t necessarily spread evenly and can feel somewhat sparse at times.

What’s baffling about Pacific is that despite a serious graphical overhaul and boost in available units, in some ways it’s a step backward from its predecessor, Battlestations: Midway. Covering the earlier part of the war in the pacific (including the battles of the Solomon Islands—where there’s some over lap with Pacific—and, clearly, Midway itself) Midway used a full blown narrative and the ability to choose which tactical maneuvers to utilize in order to crush the Japanese resistance.

Torpedoes can be tricky to use, but devastating to the enemy.
Aside from offering virtually no story aside from a spotty approximation of historical events (brought to tepid life by a cast of either bored or far too overzealous voice actors) Pacific has a penchant for tactically shoehorning you into using certain air or seacraft to accomplish various tasks (though it should be noted that additional units can be unlocked as you progress). The trade-off is that Pacific has a little over twice as much gameplay as Midway, complete with a full, alternate history Japanese campaign; beating both campaigns and unlocking everything will be more than enough to keep some of you coming back to this one.

Thankfully, despite a bit less tactical wiggle-room, Pacific’s arcade combat is still fun. Though controls and tutorials for the game’s dual sea and air fleets may seem a little daunting at first (the game even uses the two letter call signs actually used during the war to identify different types of air and sea craft), they’re streamlined so that even novice tacticians can enjoy the game. Letting off a volley of AA or dual-purpose guns is as easy as firing a gun in an FPS, and the intuitive targeting and formation systems can make even the most overwhelming battles manageable. Although you technically control units one a time, the game (mostly) lets you simultaneously carry out naval and air-based actions, issuing different commands while you control your preferred unit. This gives Pacific gives the overall feeling of a more hands-on RTS, which is pretty swell indeed.

Learn to love the tactical map; it'll save your ass on more than one occasion.
Pacific also has its fair share of moments that are a tremendous rush. Laying waste to an entire fleet of Japanese warships in minutes with a bombardment of long-range guns (not to mention actually watching the explosion of twisted metal from a damaged hull or magazine) never gets old, and dodging through an intense hail of AA fire to successfully deliver a torpedo or bomb payload is exhilarating. In short, these are the moments that will make you want to keep playing. The sheer number of different units is a great touch too, although in order to really use them effectively you’ll likely have to take some prep time to familiarize yourself with the catalog.

At the end of the day, Pacific earns its wings as a more than competent strategy-action hybrid. There are times when it may feel a little too straightforward and, let’s be honest, the story and presentation generally come off as worse than a History channel re-enactment. Despite some setbacks, if Eidos Hungary can learn from their mistakes I have faith they can really put out the complete package with their next Battlestations effort. Give it a shot if you’re in the mood for a different kind of war game. At the very least, it beats the hell out of yet another tired period shooter.

Battlestations: Pacific
Eidos
Xbox 360
$59.99
3.5 out 5 stars

review: Bit.Trip Core

Let’s face it: outside of clans, forums and fan communities, significant cultural memes sprung from the collective consciousness of gamers generally aren’t things you hear about every day. “Popular” modes of expression are usually limited to pop-culture commercialism, and even original projects (like, say, fan-made sequels to popular games) are often subject to intense cease-and-desist litigation.

On the other hand, I would argue that chiptunes don’t follow general modes of gamer expression. Using hacked Game Boys, Nintendo’s and the like, chiptune artists combine “chip” sounds, utilizing archaic hardware to compose electronic bleep-bloop melodies that hearken back to gaming’s infancy, creating a sound that is uniquely retro and modern at the same time.

Having stated this, I shouldn’t have been surprised when I learned that chiptunes play a central role in Bit.Trip Core. As the second of four Bit.Trip titles to hit WiiWare from Gaijin Games, Core (much like its B.T predecessor, Beat) revels in its hybridization of old and new.

Ostensibly, the game looks and feels like a cross between a multi-directional shooter and DDR, with a serious aesthetic fetish for all things Atari. Looking at it in terms of arcade history, it’s a natural progression from Beat, which basically reconstituted Pong, juiced it up and added a really crazy difficulty curve (as well as trippy chiptunes and visuals) for a unique retro-modern arcade feel.


Welcome to your Bit.Trip.

Continuing on the idea of gaming progress, Core then fully embraces the conceptual lineage of arcade shooters, mimicking tube shooters like Tempest, only on a 2D plane. The screen is marked with what amounts to a diamond targeting reticle—from the center of the reticle you can aim bars of light up, down, left and right. Your objective is to shoot the various dots, lines, arrows and boxes that fly across the screen when they intersect the path of your light beams. The more hits you get in row, the higher your combo chain and score.

Aside from its shooter-esque mechanics, Core also functions as a rhythm game—a notion
directly linked to its evolutionary ideology. Each successful shot produces an in-key tone, which accompanies the background beat or baseline of the level. As your combo chain grows higher, the music you create evolves from flat, static chipped sounds to full-bodied notes that compliment each track’s (and level’s) musical growth.

Screw up, though, and you’ll fall back down to “nether” status (the game measures your hit rate on four point-based tiers)—a stark, black and white (and one would assume, tongue-in-cheek) representation of the game featuring only the metronomic skeleton of the level’s track. On the flip side, should you actually reach “super,” (the highest) you can flex your musicality muscles by improving notes in the background to go along with the beat. Each note while in this mode nets you 1000 points, so it’s a good way to rack up high scores.


See where all those lines and vertices intersect with the cross hairs? You have to hit ALL OF THEM.

Not that it’s all that easy to stay in super. Core may start off by throwing relatively slow moving patterns of dots at you, but by the time you’re hurtling through the last level the visuals—and challenge—can be quite ridiculous. Patterned dots, lines and others will split off, multiply, rotate around the center of the targeting reticle, jump off in odd places, shift patterns suddenly, seemingly break the rules by traveling diagonally…you get the idea.

It can be quite a madhouse. (For more proof just click here ). The game does afford you one screen-destroying bomb per game, (I'd save it for the boss patterns, which can obviously be very tricky) but given the extremely limited availability of these, you'll mostly have to rely on your own wits and pattern memorization skills.


Pay no attention to the 3D geometric shapes behind the curtain.

But everything is meticulously calculated, and nothing is impossible. In the long run, it makes for a game you can beat based on repetition and perfection, such as throwbacks like Contra or Gradius. But with the obsession that’ll soon take hold in chasing each level's elusive perfect score, (not to mention the game’s fantastic tunes), this isn’t one for simply playing through once and then walking away. And for six bucks, how can you really go wrong?

Now, that just leaves me with one question for Gaijin: when do we get the soundtrack?

Bit.Trip Core
Aksys Games
WiiWare
$6
4.5 out of 5 stars