XBox 360 Universe Straight from the source
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    July 31st, 2017GamespotUncategorized

    Crash Bandicoot N.Sane Trilogy has spent a fourth week at the top of the UK charts, according to Chart-Track for the week ending July 29. Sales for the game decreased 28 percent week-on-week. 

    Splatoon 2 remained in second place, as sales fell 56 percent. Grand Theft Auto V continues to sell well as it remains in third place. Three Bethesda titles claimed the next three spots - Fallout 4Doom and Dishonored 2.


    Miitopia debuted in seventh place, while Hey! Pikmin, which released on the same day as the New 2DS XL, debuted in 29 place.

    Here are the top 10 best-selling titles (combined sales) for the week:

    1. Crash Bandicoot N.Sane Trilogy
    2. Splatoon 2 
    3. Grand Theft Auto V 
    4. Fallout 4
    5. Doom
    6. Dishonored 2 
    7. Miitopia 
    8. Rugby League Live 4 
    9. FIFA 17 
    10. Tom Clancy's Ghost Recon Wildlands 

    A life-long and avid gamer, William D'Angelo was first introduced to VGChartz in 2007. After years of supporting the site, he was brought on in 2010 as a junior analyst, working his way up to lead analyst in 2012. He has expanded his involvement in the gaming community by producing content on his own YouTube channel and Twitch channel dedicated to gaming Let's Plays and tutorials. You can contact the author at or on Twitter @TrunksWD.

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    July 31st, 2017GamespotUncategorized

    Square Enix announced Dragon Quest XI: Echoes of an Elusive Age will be coming to North America and Europe in 2018. 

    View a message from the developers below:

    The game is currently available in Japan for the PlayStation 4, Nintendo 3DS, with a Switch port later this year. The platforms for the west have not been announced. 

    A life-long and avid gamer, William D'Angelo was first introduced to VGChartz in 2007. After years of supporting the site, he was brought on in 2010 as a junior analyst, working his way up to lead analyst in 2012. He has expanded his involvement in the gaming community by producing content on his own YouTube channel and Twitch channel dedicated to gaming Let's Plays and tutorials. You can contact the author at or on Twitter @TrunksWD.

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    July 31st, 2017GamespotUncategorized

    Niantic announced it has delayed the upcoming Pokémon GO events in Europe for August 5 (Copenhagen and Prague) and August 12 (Stockholm and Amsterdam) until a later date in the fall to ensure the best possible gameplay experience. 

    No other scheduled events are affected. This includes the one on August 14 (Yokohama, Japan) and September 16 (France, Spain, and Germany).


    "We apologize for any inconvenience and hope you understand that our priority is to ensure a great experience for Pokémon GO Trainers in Europe and around the world," said the developer in a blog post.

    "As a special surprise, we understand that some Pokémon that are rarely seen in Europe will be appearing soon in certain European cities for a brief time. Keep your eyes peeled!"

    A life-long and avid gamer, William D'Angelo was first introduced to VGChartz in 2007. After years of supporting the site, he was brought on in 2010 as a junior analyst, working his way up to lead analyst in 2012. He has expanded his involvement in the gaming community by producing content on his own YouTube channel and Twitch channel dedicated to gaming Let's Plays and tutorials. You can contact the author at or on Twitter @TrunksWD.

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    July 31st, 2017GamespotUncategorized

    Studio Wildcard announced the retail release of Ark: Survival Evolved has  been delayed to August 29. 

    "Let's address the mammoth in the room," reads a blog post from the developer. "Official Release. As of today, ARK has completed its Gold Master and certification for retail release. This process took a little longer than expected and as a result, our release date has been pushed back to August the 29th.

    "We're deeply apologetic for those who were negatively affected by the delay; it sucks, it wasn't what we had wanted, nor planned but where we currently stand. We wanted to address this sooner but did not want to make any statements until we were completely sure of what was going to happen."

    Released od the Ragnarok DLC has been delayed on console and Windows PC to August 29. The later release means more content will be available in the in the update than originally planned. 

    "On the date of release, the overground of the world will increase by approximately one quarter, which is near-enough a 'TheIsland-sized' expansion; the update will feature new biomes, a coastal Wyvern canyon, an epic boss encounter, new engrams, and something secret the Ragnarok team are cooking up!" the developer added. "We will also be adding their custom creatures to our main game, which will allow players to transfer them via the CrossARK system, so you'll be able to bring over your Ice Wyverns to The Island, The Center, and Scorched Earth!"

    A life-long and avid gamer, William D'Angelo was first introduced to VGChartz in 2007. After years of supporting the site, he was brought on in 2010 as a junior analyst, working his way up to lead analyst in 2012. He has expanded his involvement in the gaming community by producing content on his own YouTube channel and Twitch channel dedicated to gaming Let's Plays and tutorials. You can contact the author at or on Twitter @TrunksWD.

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    July 31st, 2017GamespotUncategorized

    Sometimes games don’t need to have a deep story or require a strong challenge to be enjoyable.  Indeed, often the most enjoyable games are the ones where you just turn on and relax after a full day of work.  Enter Prideful Sloth’s premiere game, Yonder: The Cloud Catcher Chronicles.  Even though it may be simplistic and straightforward, Yonder provides an experience that is thoroughly enjoyable thanks to its beautiful presentation and relaxing gameplay.

    In Yonder you play a nameless protagonist, shipwrecked on the island of Gemea, a place which you undeniably have history with.  You soon discover you are the Sprite Seer.  From there the story unfolds as you try to discover the secrets of the island and your relation to them as the Sprite Seer.  At the same time, a darkness called murk has spread across the island, blanketing the land and its inhabitants in an omnipresent, oppressive haze.

    Through your journey, you will visit several locales and meet various characters.  These characters have minor quips and foils but generally act as quest givers and merchants without being memorable.  The story is basic and predictable but told effectively without taking itself too seriously.

    Indeed, Yonder is about as far away from a serious game as you can get.  This is highlighted most by the fact that there is no combat.  The gameplay consists of elements like farming, crafting, trading, and fishing but the main objective is to clear Gemea’s various biomes of murk.  You do this by finding cute sprites hidden around the island that only you, as the Sprite Seer, can see.  The more sprites you find, the higher level murk you can remove.  As you remove more murk, you gain access to different areas to continue your quest.

    The main quest will likely take you about 6-8 hours to complete but doing only that will rob you of Yonder’s best offerings.  There is a ton of content to enjoy at your own pace if you choose to do so; each providing its own level of relaxation.  You can master one of the available crafts, establish farms across Gemea, catch all of the available fish species, or even collect every missing cat hidden around the island.  The open world nature of the gameplay enables a high degree of player agency and allows you to enjoy Lazy Sloth’s offering at your own pace, resulting in a relaxing experience.

    However, because there is little pressure in the gameplay, veteran gamers may find Yonder too simplistic and repetitive with little challenge.  For instance, you can't actually die in the game.  Nor are there harsh penalties for running your farm poorly.  Resources are also generally easily found or traded for.  As a result, Yonder is best played by those looking for a game where you can relax, explore, and enjoy the scenery while working away at whatever tasks you choose, rather than someone looking for a deep story or challenging gameplay.

    Fortunately, Prideful Sloth has created a beautiful game that really makes you want to explore.  Although it isn't a technical showpiece, the artstyle and vibrant colours combine to create a pleasing and welcoming world that echoes the very best of the Legend of Zelda games.  Character models are simplistic cartoons yet effective, but what really stand out are the stunning environments combined with the dynamic lighting and weather effects.  There are minor framerate drops when effects really ramp up but they are just small blips.  No matter when and where you explore Gemea, the Unity Engine is masterfully utilized by Prideful Sloth to help bring Yonder to life.

    Another powerful element that engages you with the island of Gemea effectively is the stellar sound design.  Prideful Sloth clearly went to great lengths to ensure this often overlooked element enhances the title and reinforces a relaxing gaming experience.  Sound effects change and are consistent with the alternating weather and seasons.  Wildlife such as birds call out in the background, further bringing the world alive.  Finally, the gentle music consistently conveys an essence of peace that is difficult for most developers to achieve, never mind an indie one.  Overall, the various biomes of Gemea, from its silent mountains to its gently rolling hills, are constantly beautiful and moving thanks to Prideful Sloth’s artistic and technical ability.

    Yonder: The Cloud Catcher Chronicles has a lot to offer but key strengths are hampered by several shortcomings and seasoned gamers may find the experience too simplistic and repetitive.  However, if you're looking for a relaxing game with little pressure and one you can easily get lost in, Yonder: The Cloud Catcher Chronicles is a strong candidate.

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    July 30th, 2017GamespotUncategorized

    From the makers of Jotun comes Sundered, a captivating hybrid between a Metroidvania and a rogue-like. If that marriage of genres seems incongruous to you, you're not alone. Yet developer Thunder Lotus Games crafted an elegant solution. The overall structure of the game is fixed, which allows the classic Metroidvania staples: backtracking, unlocking abilities to access gated areas, etc. However, sub-sections inside the larger structure are procedurally-generated, changing after each player death. It ends up being the best of both worlds.

    Sundered is the story of Eshe, a scavenger who falls into a mysterious cavern holding the remains of a long-forgotten civilization. Guided by an otherworldly voice, Eshe explores three unique environments, collects loot, fights eldritch monsters, and attempts to escape with her life. Along the way, she'll stumble upon clues about the two factions that went to war and died within the cavern: the Valkyries and Eschaton.

    Sundered follows a rather straightforward gameplay cycle: explore, fight, die, and upgrade. Players, controlling Eshe, will explore outward from the game's main hub, illuminating new areas on the map and running afoul of swarms of monsters torn seemingly from the pages of H.P. Lovecraft's dream journal. Eshe will put up a fight but will, invariably, become overwhelmed. She'll die, then be resurrected back at the hub. There she can spend loot, earned from treasure chests and enemies, to upgrade her health, armor, shield, etc. Then it's back out into the unknown.

    This loop is effective and engaging. It combines the unpredictability of the rogue-like with the predetermination of the Metroidvania. Players will find themselves rewarded not only for toppling a boss or unlocking a new ability — two things set in stone in Sundered — but also for making the perfect run through a randomly-generated dungeon with randomly-generated monsters. It bestows upon the title an extra layer of replayability. It also, unfortunately, burdens the player with some painfully long load times. 

    The downside to Sundered's roguish tendencies is twofold: lots of repetition and enemy hordes varying in deadliness. Since one of the four main pillars of the game's cycle is "die," you can expect to expire early and often in Sundered. As a result, you'll be retracing your steps a lot. Along the way, you'll encounter randomized swarms of enemies. The randomized nature of the swarm means that it won't necessarily scale with Eshe's progress in the game, as it might in a more deliberate Metroidvania. In short, you might get unlucky.

    Thankfully, Thunder Lotus provides players with a sprawling skill tree with dozens of upgrades. Thus players can prepare Eshe for the unexpected. With enough loot, Eshe can extend her health bar, boost her armor, and raise critical hit chance, among many other upgrades. By combining these skills with unique power-ups found at Eschaton shrines across the map, players can radically alter Eshe's fighting style and abilities. As the game marches along, its heroine becomes more nimble and more powerful. The mechanics of combat, like much of Sundered, are ever-changing.

    Upgrades will prove especially useful in the game's boss battles. Sundered includes both mandatory boss fights and optional mini boss fights, all of which are challenging. Mini bosses typically come in the form of a larger, more dangerous version of a standard Sundered enemy, but bosses are something else entirely: ancient, corrupted horrors. They'll take up the entire screen (and then some) and attack with devastating power. Each fight is a test of Eshe's acrobatic skill, dodging ability, and brute strength. Only players who've mastered the mechanics of the game will endure.

    Defeating a boss will earn players an Elder Shard, which can be used in one of two ways. It can be redeemed at a shrine to get a "corrupted" version of a special power-up or it can be destroyed in a furnace. Players will need to choose either a path of resistance or one of corruption. That choice will change Eshe's powers, alter which bosses she faces, and, ultimately, write the game's ending.

    Mechanically, Sundered is an excellent game with a lot of room for player experimentation and progress. Stylistically, it's even more impressive. As it did with Jotun, Thunder Lotus uses in Sundered a hand-drawn art style that is simply gorgeous. The animations are fluid and expressive, the character models alternately beautiful and grotesque, and the backgrounds rich in detail. This is one of the best-looking games you'll ever play.

    A procedurally-generated Metroidvania might seem like an oxymoron, but Sundered proves the concept's efficacy. Here is a game both organized and chaotic, filled with carefully-arranged boss fights and, at the same time, randomized enemy onslaughts. It manages to satisfy simultaneously as a back-tracking action-adventure game and as a never-the-same-thing-twice rogue-like title. Tying both experiences together are a flexible combat system, a robust skill tree, some luxurious hand-drawn art, and a meaningful moral choice.

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    July 28th, 2017GamespotUncategorized

    The Regalia vehicle from Final Fantasy XV will be made available in Forza Horizon 3

    The vehicle will be a free download to anyone who has played Forza Horizon 3 on the Xbox One or Windows 10 PC and Final Fantasy XV on the Xbox One by August 1. A download code will be sent via Xbox Live messaging. 

    Forza Horizon 3 is currently available on the Xbox One and Windows 10 PC.

    A life-long and avid gamer, William D'Angelo was first introduced to VGChartz in 2007. After years of supporting the site, he was brought on in 2010 as a junior analyst, working his way up to lead analyst in 2012. He has expanded his involvement in the gaming community by producing content on his own YouTube channel and Twitch channel dedicated to gaming Let's Plays and tutorials. You can contact the author at or on Twitter @TrunksWD.

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    July 28th, 2017GamespotUncategorized

    Sony announced it will be increasing the price of PlayStation Plus subscription in Europe and Australia starting Thursday, August 31 at midnight BST.

    In the UK, the annual membership is increasing from £39.99 to £49.99. The three month from £14.99 to £19.99, and the single month from £5.99 to £6.99.

    In the rest of Europe, the annual subscription is increasing from €49.99 to €59.99, €19.99 to €24.99 for three months and €6.99 to €7.99 for one month.

    In Australia, the price is increasing from AU$69.95 to AU$79.95 for one year, AU$27.95 to AU$33.95 for three months and AU$9.95 to AU$10.95 for one month. 

    A life-long and avid gamer, William D'Angelo was first introduced to VGChartz in 2007. After years of supporting the site, he was brought on in 2010 as a junior analyst, working his way up to lead analyst in 2012. He has expanded his involvement in the gaming community by producing content on his own YouTube channel and Twitch channel dedicated to gaming Let's Plays and tutorials. You can contact the author at or on Twitter @TrunksWD.

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  • scissors
    July 28th, 2017GamespotUncategorized

    I recently wrote an article looking at the PlayStation Vita's 10 most technically impressive games and I always intended for it to be a two-part series, with the second article looking at the Vita's 10 most technically disappointing games. Despite being the most powerful handheld console to be released in 2011, and being more than capable of handling ports of PS2, PS3, and even PS4 titles when the developers put the effort in, not every company was willing to take the time to ensure that the Vita version of their games turned out well - and as such a large number of games are hugely disappointing on the handheld simply due to the way they run.

    In this article, I aim to examine these ports – what was disappointing about them (and why they should have been better than they were), as well as possible explanations on why they turned out the way they did - and ultimately come to a conclusion as to how well the Vita did as a machine capable of handling console ports during its lifespan.


    Accel World vs. Sword Art Online: Millennium Twilight (and Sword Art Online: Hollow Realization)

    The Sword Art Online series has a fairly storied history on the Vita, starting in 2014 with the release of Hollow Fragment, an expanded release of the 2013 PSP title Infinity Moment. Developed by Aquria, the game was impressive at the time, packing a tonne of content into its pseudo-MMO setting while still maintaining the feel of the anime. The game had some slowdown in its main town area, but overall the title ran well, mainly due to the fact that it was a PSP up-port.

    This was followed up in 2015 with Lost Song from developers Artdink, who also had a deep history on the handheld, ranging from Gundam SEED Battle Destiny in 2012 right through to Neo Atlas 1469 last year. They often took full advantage of the console's capabilities, with graphically impressive titles like Macross Delta Scramble, and Lost Song was very much in this vein, with big open areas that actually ran pretty well on Vita, solidifying them as one of the handheld's best developers.

    Yet somehow in 2016 with the release of Hollow Realization, the series suddenly took a massive downturn in terms of quality. The game - also available on PS4 and developed by Aquria - received a serious graphical downgrade in the porting process, removing a wide range of environmental objects and effects as covered in Havian's video. In addition, the framerate slowed to a crawl during boss battles, something that was only ever to be slightly improved through patching.

    Things got even worse with 2017's Accel World vs. Sword Art Online, developed by Artdink. Despite being based on the Lost Song engine - to the point that vast amounts of content was copied across - the game took a serious graphical hit, with models looking pixelated and pop-in being extremely evident. The framerate was also suddenly all over the place. This was particularly disappointing given what the developers had previously achieved on the handheld, even with their last Sword Art Online game.

    The reason for this seems fairly simple, in that the Vita stopped being the lead version for development after Lost Song. You see, Hollow Fragment was based on a PSP game, meaning that with the Vita's increased power it ran pretty well, and Lost Song was developed first for Vita then ported to PS3. With Hollow Realization, however, the main version was developed for PS4 and then it was ported to Vita. This causes a lot more difficulties due to the power gap between the two consoles than developing for Vita and porting up to PS4. It seems the same thing happened to Accel World, and as such we're left with very sloppy ports of the final two Sword Art Online games on the handheld.


    Atelier Firis

    Atelier has been one of the Vita's most prominent series, alongside Hyperdimension Neptunia, with eight entries released over the course of five years. The ports have always been of variable quality - often full of pop-in and framerate hitches - but never anything particularly noticeable, and they've always managed to look beautiful thanks to some great modelling and environmental design.

    The most recent entry - Firis - was widely anticipated by fans due to it switching things up with the formula, opting for a pseudo open-world approach alongside tweaks to the alchemy system, as well as continuing the storyline started in Atelier Sophie, which had been available across PS3, PS4, & Vita. Gust announced that the PS3 version would be dropped for Firis, but thankfully the game was still coming to Vita.

    Unfortunately, despite there being one less version to develop this time around, it seems the company did not put extra effort into making the Vita port work - in fact, it turned out to be the worst port they'd ever done in the series' history. The world of Firis was full of low-res textures, pop-in of objects, and just a general lack of details. Despite all of this the framerate was incredibly low - particularly in the starting town and some of the forest areas. LatestVitaGames captured this perfectly in their video, where the game looked like it was running in slow-motion.

    This seems to be a recurring theme among some of Gust's later ports, as Nights of Azure is notably littered with issues and Blue Reflection apparently doesn't run well either. It's gotten to the point where the company have released a video of their upcoming Nights of Azure 2 with a specific bullet point noting that they will have a "prettier Vita version" this time around.

    Why Gust have struggled quite so much on the handheld is unclear. They're a fairly small studio, but after being bought by Koei-Tecmo they should have increased manpower and access to more development tools. More likely, it's the same reason as with the Sword Art Online games - that they started using PS4 as their lead development version and the gulf of porting down to Vita was just too great to overcome. That at least explains Firis compared to Sophie (which used the PS3 as the lead version), but it doesn't explain some of their other wonky ports.


    Borderlands 2

    Probably the most notoriously disappointing port on Vita, Borderlands 2 was an incredibly ambitious effort - an open-world, first-person loot-shooter with some beautiful cel-shaded graphics. Most publishers wouldn't have even bothered attempting to get in running on a handheld. But when Sony established their 'Third Party Productions' team, headed by stalwart Vita supporter Gio Corsi, this was the first project they took on.

    I have to commend Sony on hiring Iron Galaxy to at least give it a go and to get this title running on the console (especially as the reason for the port's existence was due to fan requests), but the final product was littered with so many issues that many fans thought the game wasn't worth bothering with.

    For starters, the port had its player count for online co-op cut from four players to two - presumably to help it run better, but taking away a big attraction in the gameplay department. The graphics were toned down quite significantly, with things like enemy corpses immediately exploding upon death rather than being left around the environment, and draw distance being significantly reduced. None of this seemed to particularly help the framerate, which still struggled during encounters (Digital Foundry note that the game drops as low as 8fps during one boss fight, and only averages 20fps outside of that). Most frustratingly, the game would hard-crash quite often, requiring you to either restart the application or your console altogether.

    Quite frankly, I suspect the way Borderlands turned out is purely due to what it is - a title far too ambitious for a handheld with a power level somewhere between the PS2 and PS3 - and it's actually somewhat of a miracle that it was made to run on the Vita at all. It's likely the developers weren't given enough time and/or resources to properly finish it either, judging by the improvements that were made through patches, but it's still a shame to see such a landmark Vita title turn out like this.



    Despite a lack of support from AAA publishers, in many cases gaps in the Vita's library have been filled by indie developers. We might not have gotten a new Castlevania game but we've had plenty of metroidvania imitators; and we may not have gotten Deus Ex, but Dex promised a similar cyberpunk adventure on a 2D plane.

    You'll notice there are precious few indie games on my list, mostly due to the fact that the majority are ported with enough care to ensure they have few issues with graphical presentation or performance (assisted by the amount of great porting studios out there, as I detailed in my previous article). Prior to release, it would be easy to suspect Dex would fall into this category - especially as it was being ported by the game's original developers, Dreadlocks - but sadly that wasn't the case.

    For starters, despite being a fairly graphically modest title, somehow things became messed up in the conversion, with shadows in particular looking dreadful on the handheld, as noted in The Vita Lounge's review. In addition, load times took a hit, with the game taking an appallingly long time to load any new areas, and the framerate doesn't hold up during more intense scenes either. It has all the hallmarks of a lazy port - except it's exactly the kind of title that shouldn't really have these issues.

    It seems the reason for the port turning out this way is two-fold. The first is due to the engine the game is running in - Unity - which has traditionally had a lot of issues on the handheld relating to load times and framerates (other games which suffer from this include Corpse Party: Blood Drive and I Am Setsuna, titles from much bigger publishers). The second is simply that the Vita port seemed like a contractual obligation for the developer - something they promised in their original Kickstarter but was subsequently forgotten about, meaning there was just a general lack of effort when they did get around to porting it.


    Disney Infinity 2.0

    As part of what seemed to be an ongoing licencing agreement between Sony and Disney (which also saw Marvel DLC added to LittleBigPlanet and games like Phineas and Ferb being made), 2015 saw the release of Disney Infinity 2.0: Marvel Super Heroes on the handheld after an earlier release on home consoles in 2014. Providing an open-world take on the toys-to-life genre, it should have been seen as the beginning of some great support on the handheld from the franchise.

    Ported by Panic Button Games, who provided coding support on the Vita version of Injustice, the project was pushed as being compatible with the PSTV (allowing for a more traditional way of playing) as well as handheld mode, making it a perfect purchase for families whose children may wish to take the game out and about with them.

    Unfortunately, Disney Infinity 2.0 was both the start and the end of toys-to-life on Vita and if the quality of the port was any indication of what we'd have gotten going forward, then this was probably a good thing. The game's performance is horrendous, routinely dropping into single figure fps whenever a lot of action is happening on screen; it's particularly problematic in toy box mode when adding plenty of items to your level. In addition, the very nature of the genre seemed poorly thought out for handhelds, with the physical portal and figures being required to play even in handheld mode, meaning you'd also have to carry the base portal alongside the models just to play the game.

    Why this game turned out quite so badly is difficult to nail down. Obviously being a 3D, semi-open-world title means it's a potential struggle for the handheld, but with the right optimization this shouldn't have been a barrier. Rather, it simply seems that this was a lazy port - not enough time was spent tailoring the game to the handheld and as such fans were left with a disappointing end product.


    The Jak & Daxter Trilogy

    When Sony announced that the Jak & Daxter games were coming to the Vita, it marked the beginning of a bright future of PS2-era ports on the handheld which would continue through 2013 and 2014, with Final Fantasy, God of WarRatchet & Clank, and Sly Cooper. Sadly, the quality of these various ports fluctuated wildly, meaning the Vita didn't quite turn out to be the handheld PS2 many had hoped it would be.

    I personally rated the first two games in this series fairly highly when I revisited them on Vita, so you may think it a little odd my including them on this list, right? Well, that's because the games themselves are brilliant 3D platformer/adventure titles featuring some fantastic variety, beautiful locations, and interesting plots. All of that is thankfully still in tact with the Vita versions, which do manage to maintain image quality throughout most of a playthrough.

    What isn't in tact is the performance - the games have been ported incredibly poorly; they're full of slowdown and the framerate for all three titles can drop into single digits at points. The framerate is incredibly inconsistent too - getting better as you play through the first game, but then tanking as soon as you step foot in the open worlds of Jak II and Jak III. In addition, the trilogy's resolution seems all over the place, sometimes looking like the most beautiful games on the console but at other times looking abysmal.

    Now, the reason for this one is different from the previous games on this list and is somewhat more excusable. In a 'making of' video for the series, Paul Mithra from Mass Media Inc. - the porting studio for both the PS3 and Vita versions of the games - stated that Naughty Dog used a variety of tricks to basically code the original games on the PS2 to the metal (including using the console's PS1 processor), which couldn't really be replicated on the PS3 (or indeed Vita). As such, the ports were among the trickiest they'd ever done, and quite possibly were too much for a console of the Vita's power. This is a shame, but at least they managed to get the games working on Vita, which is something I'm very grateful for.


    Ninja Gaiden Sigma 2 Plus

    Ninja Gaiden Sigma Plus was among the Vita's standout launch titles - a brilliant port of the PS3 remake of the seminal Xbox release - providing some fast-paced ninja action to go alongside the slower pace of something like Shinobido 2. The game made some smart changes to make it compatible with the console, dropping the framerate to 30 but locking this in to make the action feel smooth, as well as adding some Vita-specific bells and whistles.

    So when Team Ninja rapidly announced that the sequel would also be getting the handheld port treatment, fans were understandably excited. The second game made a number of refinements to the formula but wasn't a complete overhaul, so you could at least expect a competent port that performed well, like the first game, right?

    Sadly, no. For whatever reason, Team Ninja absolutely phoned in the sequel. Although it could look relatively pretty at times, it suffered from a wildly changing resolution and an all-over-the-place framerate, losing the essence of the fast precision action the series was known for. This was particularly disappointing as the studio had shown they could do better with the hardware (and would do better again, as their port of Dead or Alive Xtreme 3 later showed), but chose not to put the effort in this time.

    The reason for this port turning out poorly may also have something to do with the fact that the game it was based on - Ninja Gaiden 2 - was originally an Xbox 360 title, rather than an Xbox title like the original Ninja Gaiden. Still, we've seen plenty of PS360 to Vita ports turn out better than this, so the blame primarily rests with Team Ninja's lack of effort.


    Ratchet & Clank: Q Force

    Sony's cross-buy initiative is probably one of the best things the company did for the Vita, promising that if you bought the PS3 (and later PS4) version of a game you'd also get the Vita version at no additional cost (and even allowing this with select physical releases thanks to a disc benefits system). One of the flagship titles for this scheme was Ratchet & Clank: Q Force (Ratchet & Clank: Full Frontal Assault in North America), a spin-off to the popular action-platformer series which was scheduled to release in the fall of 2012 alongside PlayStation All-Stars Battle Royale and Sly Cooper: Thieves in Time.

    While the PS3 version eventually came out in November of 2012, and the other aforementioned games released without a hitch, the Vita version of Q-Force was nowhere to be found. As compensation for the delay, purchasers were offered a free copy of Ratchet: Deadlocked and promised that the extra time was being taken to ensure the port was up to the high standards Insomniac set for the series.

    Fans who eventually got to play the Vita port of Q Force in February 2013 quickly discovered that the delay had more to do with getting the game running at all, rather than any quality assurance. The title had an array of technical issues, ranging from jagged graphics, to inconsistent framerate, to the dull filter used to coat the whole game, making it look far less vibrant and colourful than the PS3 release. Certainly, if you'd been waiting to play this version of the game, you'd come away from the experience very disappointed.

    What happened with the development of Q Force to make it turn out quite so badly is anyone's guess, although handing porting duties to Tin Giant - a company with no prior experience in development and which has worked on no projects since - likely didn't help. In the end, it appears to have been yet another game that required a lot of love in the porting process which sadly wasn't given, presumably due to the tight time schedules the team were working under to get it released.


    Resident Evil: Revelations 2

    I have to give it to Gio Corsi and the team at Third Party Productions for trying. Their first few years of existence were defined by high-effort ports on both Vita and PS4. Aside from the aforementioned Borderlands 2, they also had a hand in getting Ultra Street Fighter IV onto PS4 and Resident Evil Revelations 2 on Vita.

    All of these titles had their issues (which was particularly surprising with Street Fighter given that it was the version of the game that was supposed to be used at EVO2015. It ended up getting pulled and EVO switched to the 360 version), but at least with Resident Evil the team were providing the kind of experience that had long since evaporated from the handheld - fully-fledged, console-quality games. It was also bringing an IP to the console with a long history on PlayStation consoles.

    But as with Borderlands, what was being done here was just too much for the Vita. The game looked bad - with poor-quality texture work, downgraded character models, and some stripped-back environmental details. Worst of all was the framerate, which was wonky at the best of times, but downright abysmal during some of the game's snowy raid missions or if there was blood on the screen (meaning the game got unintentionally harder as you lost health). Destructoid also note that the Vita release uses a washed-out colour palette and has some extortionate load times.

    Why things turned out so badly is anyone's guess. Frima Studio had experience on the handheld, developing both Nun Attack and Zombie Tycoon 2 in previous years, although perhaps they lacked experience with a game of this scale. Given that the end product looks and performs worse than Resident Evil: Revelations on 3DS - a game which released in 2012 on a much less powerful handheld - it doesn't paint a pretty picture, although at least that entry was custom-built for the hardware it was running on.


    XCOM: Enemy Unknown Plus

    Possibly one of the longest-teased ports in Vita's history, XCOM Enemy Unknown Plus was originally listed by British retailer Tesco in 2014 for a release on the handheld. This got fans very excited, as the franchise's particular brand of strategic, turn-based gameplay seemed a perfect fit for on-the-go gaming.

    The title didn't actually see a release until 2016 - making it one of the last western-AAA ports in Vita's history - and plenty of people expected this extra time to be spent polishing the game to provide a smooth, high-quality experience. The port was handled by 2K China, who had also been tasked with bringing the mobile title Civilization Revolution 2 Plus to Vita at the end of 2015.

    As with Civ RevXCOM was also a mobile port, although despite the similar hardware, things managed to get very messed up in the conversion. Load times were long, meaning it's not a particularly easy title to pick up and play, but worst of all is the performance, which is buggy and stutters nearly all of the time, with enemies moving jerkily and the aiming feeling off. Thankfully the game's nature as a turn-based title manages to bypass a lot of this, but it's a shame to see in a release which is otherwise perfect for the Vita.

    Why the port turned out quite so badly is unknown, especially given that 2K China managed to port Civ Rev to the handheld relatively well. Perhaps looming deadlines meant they weren't afforded the time to deliver a quality product, especially at such a late stage in the Vita's life.



    When Sony first launched the PlayStation Vita they advertised it as providing console-quality gaming on the go, meaning it could handle the home console experiences which were available on the PS3 and Xbox 360, as well as offering unique experiences of its own. In many ways, it did achieve this goal, particularly if you look at the titles included in my list of games that showcased the handheld's technical abilities.

    Yet for all the handheld's success stories, there are an equal number of titles that didn't realize this goal - nearly always ports of home console games which didn't get through the conversion process well enough, running at poor resolutions or with choppy framerates that make the experience less than optimal. What's striking about this is that many of these releases were handled by Sony themselves - if anyone could understand the Vita's technical specs, it should have been them.

    As such, the Vita was less the paradigm shift in handheld gaming that it should have been and felt like more of a continuation of the PSP - capable of handling certain titles in a cut-down capacity, but certainly not the powerhouse it was made out to be. The Vita also suffered from fewer bespoke ports (think Assassin's Creed Bloodlines or Need for Speed Carbon: Own the City) that were custom-built for the hardware and many more examples of full console games being crammed onto the weaker hardware.

    Personally, I'm still happy the Vita received the vast majority of these games - being able to play childhood favourite titles like Jak and Daxter or explore fun open worlds in Borderlands 2 on the go is worth the technical disappointment, but I can't help but pine for a universe where all of these ports turned out much better than the end products we got.

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    July 28th, 2017GamespotUncategorized

    The official Dragon Quest Twitter account has confirmed that Dragon Quest XI: Echoes of an Elusive Age will release in the West in 2018.


    No mention of platforms was given, but the game releases in Japan on both the Nintendo 3DS and PlayStation 4 tomorrow, with a Switch version to follow at a later date.

    Square Enix has also confirmed that more details on the Western version will be revealed this fall.

    Full Article -

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