XBox 360 Universe Straight from the source
  • scissors
    April 30th, 2018GamespotUncategorized

    Remember when World of Warcraft exploded in popularity in 2004 and basically became the biggest game in the world? Or when Call of Duty 4: Modern Warfare made the franchise the biggest FPS series in the market? Or when music games became massive in the wake of Guitar Hero's release? And remember how following all of these things every other big publisher began to frantically put together their own version of the big, new, popular game? How well did that work out for most of those games trying to catch up to the market leader? You might notice that a lot of them aren't around anymore.

    MMOs were everywhere for several years, each new hopeful trying desperately to become the next WoW, all failing to realize that there already was one. Similarly, for a while every FPS was trying to be like CoD, but again, there already was one. At one point everyone was trying to make the next Grand Theft Auto after that series became the biggest thing in the industry, once again just missing the tiny detail of there already being one. Notice a pattern emerging here?

    The entire history of video games is littered with the graves of games that were made with the sole intention of doing the same thing that someone else found great success with. The mid-to-late 2000s saw a plethora of MMORPGs come up to try and wrest away the throne from World of Warcraft, and outside of a few rare exceptions they died within two years of launch. The same pattern has repeated itself countless times already, and right now I see a new cycle beginning in the near future.


    The 'Live Services' Model

    In a recent financial presentation, Ubisoft laid down its plans for the future of its video games. In it the publisher essentially called 'games' the past, and 'live services' the future. The goal is no longer to make games, not really. What Ubisoft is striving to do now is to create platforms upon which to build services it can sell to people. Simply put, Ubisoft's business model is no longer about selling as many copies of video games as possible, but about getting people to spend money to buy stuff within the games themselves.


    Right now, the new dominating trend within the industry is not a specific genre or type of game, it's a marketing model within a variety of different games. Every publisher, it seems, wants its own 'Live Service' platform that it can just bolt a massive amount of additional content onto which people can then buy after they've already bought the game itself. 

    As Ubisoft put it, it's no longer a matter of how many copies of a game are sold, but for how long people keep playing the same game. Essentially, instead of video games as a hobby, it's a hobby as a video game. Thus was born the idea of 'games as service', or 'live services', as they are now being called by publishers in an attempt to jettison the negative connotations of the former.


    What has brought about this desire to turn games into platforms that keep people coming back to for - potentially at any rate - years? The same thing that led to the influx of MMORPGs in the wake of World of Warcraft. Every publisher has noticed the amount of money so-called 'lifestyle' games are making (i.e. games that people devote the vast majority of their playtime to, and on which they spend much of their gaming budget).

    Games like Overwatch, PUBG, Rainbow Six: Siege, and many more have made massive amounts of money through players spending money to buy content within the game, in addition to paying money to acquire said games in the first place, so naturally everyone wants their share of this new and highly lucrative business model.


    One massive strand of this has been the recent surge of battle royale-type games. I've already mentioned PUBG, but that was just the start. Fortnite was soon to follow, and once both games essentially became the two biggest new titles on the market, everyone wanted to quickly put together their own battle royale game and cash-in on the fad while they could. This led to an influx of battle royale video games being announced and quickly appearing on almost every platform imaginable.

    Just recently there were even rumours that DICE was testing a battle royale-type mode for Battlefield V, and you can bet that every single big publisher is at the very least toying with the idea of attaching one of its big IPs to a battle royale-style game. Some of them might have a chance of taking off just based on their name value alone, but most will likely die a miserable death a few months after release.


    Here's the main issue with this line of thinking, though. When every publisher starts putting out its own games that each demand players devote a massive amount of time to them, there simply isn't going to be enough room for all of them to succeed, or even survive. Just talking about the battle royale games - how many of them do you honestly believe are going to be able to thrive in an environment where PUBG and Fortnite are drowning out the competition?

    What developers and publishers seem, time after time, to fail to realize is that by the time the titles that were late to jump on the bandwagon come out most people have already chosen their preferred title and are unlikely to migrate to a different one. After all, the one they're already playing has the playerbase, the history, and often a large personal financial investment in added content, not to mention the fact that the established titles have had time to iron out the issues that will inevitably arise in games like these early on.


    The only incentive would be to just see the shiny new toy, but as we've seen countless times with games that have tried to find success by copying the likes of World of Warcraft or Call of Duty, most players will eventually just return back to the titles they've already spent hundreds of hours on. The vast majority of people just do not have the time to dedicate themselves to more than one, or maybe two, of these massive time sinks. There's a reason why Overwatch is one of the biggest games around while Battleborn and Lawbreakers are on life support.

    From the very beginning the video game industry has often been about chasing the most recent fads to make a quick profit before moving on to the next one. All the way back in the 1970s when Atari's Pong became the first true video game success story, literally dozens of copycats sprang up in rapid succession. Since then the industry has been repeating this same cycle over and over again, driving each new trend into the ground and in the process killing that particular game type or genre for all but the few lucky exceptions that had the foresight to get onboard early.


    In my eyes, the Live Services model is just the latest in a long line of examples of video game companies only focusing on short-term profits. Microtransactions and lootboxes already backfired on big publishers in 2017, and I predict that in a few years' time almost every game using this particular business model will no longer be around. Naturally, as is always the case, there are going to be a handful of successes amidst the sea of failures. This industry unfortunately has a tendency to forget the failures, however, and so when the next big thing hits the market this cycle will begin all over again.

    The Live Services or Games as Service models may not be a genre in the traditional sense, but they're no less susceptible to the fatigue and oversaturation than MMOs, music games, or modern military shooters. Whether it's a game like Fortnite, Destiny 2, the upcoming Anthem, or Overwatch, they all ultimately ask the same thing from players: to spend hundreds of hours and several years of their time grinding through variations of the same task to make progress within the game, either to develop their characters or get better in-game items or cosmetics. For most people just one game like that is more than enough at any time.


    This bubble is going to burst sooner or later. We've perhaps not quite yet reached the saturation point, but it's coming closer with every new title that uses this model. Ubisoft is working on a sequel to The Division, EA has Anthem lined up early next year, and numerous other publishers are working on their own Live Service games as well. Eventually we'll get to a point where most of these games will not have enough players around to support them, and when that happens we can look forward to games shutting down, lay-offs at various companies, developer closures, and ultimately, excuses for why it happened.

    The video game industry has a long history of not learning from its past mistakes, and this time looks to be no different. Hopefully I'm wrong about this, but I foresee the Live Services model as just another temporary boon that will eventually lead to disaster for many developers and publishers trying to cash in on the success of others in the industry. It's nothing but a temporary bandage that masks the real underlying issues surrounding the industry and the constant rising costs of game development.

    What do you think? Is this business model sustainable in the long run in your opinion? Are you planning on supporting more than one of these games in the long term? Let me know in the comments below, and as always thanks for reading.

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  • scissors
    April 30th, 2018GamespotUncategorized

    Appearances can be deceiving. A quick glance at Rogue Aces and all you might see are some uninspired graphics and simple arcade gameplay. Yet there's more to the game than meets the eye: light simulation elements, rogue-like mechanics, and a wide variety of modes to keep things interesting throughout. Is the game a masterpiece? Hardly. It is, however, much better than its cartoonish facade suggests, especially in short bursts.

    In Rogue Aces, you'll take control of either a male or female pilot in an attempt to win air, sea, and land superiority for your side. Who or what your side is exactly is more than a little unclear, but one thing's for sure: it's British. Supremely British. Your commanding officer is basically Winston Churchill multiplied by Stephen Fry. Most of the game is story-less, with rogue-like loops replacing narrative beats. The only thing in the game that approximates a plotted adventure is "Frontline Campaign," a timed mode in which players hop from island to island in an attempt to win military control.

    Rogue Aces is a 2D side-scrolling fighter pilot game with light simulation features — very similar to Wings of Fury, which launched on Apple II all the way back in 1987. Taking off from an aircraft carrier, you'll fly your WWII-era fighter into enemy territory, sinking destroyers, demolishing radio towers, and deflating Zeppelins along the way. The game sits in an entertaining middle ground between arcade and flight sim, so that while your machine gun operates with unlimited ammunition, your missile, bomb, and fuel stores are finite. Eventually, you'll need to retreat to the carrier or an enemy airfield — if you're skilled enough to capture one — to restock.

    The game's mixture of arcade and sim sensibilities works well; it's neither too simplified nor overly complicated. It extends to aerial control also, as the left stick steers the plane in a number of acrobatic manoeuvers and the right stick controls thrust, the careful manipulation of which is essential to avoid crash landing. From its trailers, Rogue Aces might look like a simple horizontal shooter, but it actually allows for a great number of skillful movements. Depending on how you manipulate pitch and thrust, you can begin to dominate the skies. Ultimately, yes, the game isn't a true flight simulator, but it does respect the physical limitations of airplanes.

    To that end, damage absorbed on different parts of the plane will affect you in unique ways. Take too many shots to the wings or tail, and your turning speed might decrease, for example. By pressing the d-pad, players can bring up an overlay revealing damage to engine, wings, tail, etc.

    All of this mid-air mayhem takes place in a rogue-like environment, where death is permanent and environments are procedurally-generated. In the game's basic "Campaign," players will fly up to 100 random missions with three planes and a single pilot. If your vehicle stalls, you can always bail and parachute to safety (or, in the game's most bad-ass move, hop into an enemy's cockpit and commandeer his vessel) but once every plane is gone it's game over. Fortunately, by playing over and over and earning experience, you can level up. Reach certain experience benchmarks and you'll unlock power-up slots before your next run — a friendly concession in an unforgiving genre.

    If "Campaign" was all Rogue Aces offered, it would be a tiresome affair. Luckily, there are many more modes to unlock, including (but not limited to) the aforementioned "Frontline Campaign," a timed adventure with a small dose of strategy; "Veteran Campaign," a more challenging take on the standard mode; Survival, a non-stop collection of dogfights with a single plane; and "Bomber Defense," where you'll control the turrets on a heavy bomber surrounded by enemy fighters. This adds some much-needed diversity and freshness to a title that, even with these extra modes, struggles to ward off a certain amount of tedium.

    That brings us to Rogue Ace's biggest flaw: its production values. From its menus to its soundtrack to its colorful-but-generic art design, the game gives off a free-to-play mobile vibe. It's a shame, really, because there is a decent amount of content and a surprisingly nuanced flight system hidden behind these, admittedly, cosmetic things. 

    If you can look past some uninspired visuals, you might find yourself having a lot of fun with Rogue Aces — particularly if you're a fan of games like Wings of Fury or, more recently, Luftrausers. Its rogue-like randomness works in small doses, and its wide variety of modes keeps things crisp. Will it find its way into your regular rotation? Probably not. However, in the words of Mike Daw, Creative Director at Infinite State Games, "Its short, frenetic levels are great if you’ve got a spare 5, 15 or even 50 minutes."

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  • scissors
    April 29th, 2018GamespotUncategorized

    The VGChartz Gap charts are updated monthly and each article focuses on a different gap chart. The charts include comparisons between the 7th generation and 8th generation platforms, as well as comparisons within the 8th generation. All sales are worldwide, unless otherwise stated.


    Switch Vs. Wii Global:

    Gap change in latest month: 632,258 - Wii

    Gap change over last 12 months: 884,581 - Wii

    Total Lead: 915,599 - Switch

    Switch Total Sales: 16,108,373

    Wii Total Sales: 15,192,774

    March 2018 is the 13th month that the Nintendo Switch has been available for. During the latest month the Wii has closed the gap with the Switch slightly. The Wii outsold the Switch by 632,258 units in the last month and by 884,581 units in the last 12 months. The Switch is currently ahead of the Wii by 915,599 units.

    The Wii launched in November 2006, while the Nintendo Switch launched in March 2017. The Switch has sold 16.11 million units, while the Wii sold 15.19 million units during the same timeframe.

    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
    April 28th, 2018GamespotUncategorized

    Nintendo and Koei Tecmo have released the third in a new series of trailers for Hyrule Warriors: Definitive Edition that provides a highlight of the characters in the game.

    View it below:

    Hyrule Warriors: Definitive Edition will launch for the Nintendo Switch on March 22 in Japan, and May 18 in North America and Europe.

    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
    April 28th, 2018GamespotUncategorized

    Ubisoft has released a new trailer for The Crew 2 that features the Jaguar Vector V40R Powerboat.

    View it below:

    Here is an overview of the game:

    The newest iteration in the revolutionary franchise, The Crew 2 captures the thrill of the American motorsports spirit in one of the most exhilarating open worlds ever created. Welcome to Motornation, a huge, varied, action-packed, and beautiful playground built for motorsports throughout the entire US of A. Enjoy unrestrained exploration on ground, sea, and sky. From coast to coast, street and pro racers, off-road explorers, and freestylers gather and compete in all kinds of disciplines. Join them in high-octane contests and share every glorious moment with the world.

    Key Features:

    Push boundaries and take on new experiences in iconic locations. Fly and spin through fog and clouds above the snowcapped Rocky Mountains, burn rubber in the backstreets of New York City, sweep through the Mississippi River, and explore every inch of the Grand Canyon. Driving your dream hypercar, riding some of the most iconic American bikes, and taking control of the swiftest aerobatic planes and powerboats: opportunities for fun and challenges are limitless in a fully redesigned USA.

    Join four different motorsports families from around the country: street and pro racers, off-road experts, and freestylers. They’ll hook you up with new rides, and they’ll introduce you to their own unique motorsports culture and set of disciplines. Through competitions and chance encounters, find and hone your personal style, collect and customize your dream rides, show them off in your HQ, and make your mark on the entire US motorsports scene.

    The world of The Crew® 2 is fueled by the need to share your personal accomplishments and unique moments with friends and others – break records and be a pioneer! Every time you achieve something, it will be saved as a new challenge for other players, while you will be encouraged to surpass the feats of others. Capture and share all of your best moments with the press of a button.

    The Crew 2 will launch for the PlayStation 4, Xbox One and Windows PC on June 29.

    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
    April 28th, 2018GamespotUncategorized

    Sony announced all of the games that will be releasing this week on the PlayStation 4, PlayStation Vita and PlayStation VR in the US. Eight games in total will release this week.


    Here is the full list of games:

    • City of Brass, PS4 — Digital 
    • Deiland, PS4 — Digital 
    • Guns of Icarus Alliance: PS4 Edition, PS4 — Digital
    • Hex Tunnel Touch, PS4 — Digital
    • Hive: Altenum Wars, PS4 — Digital
    • Killing Floor: Incursion, PS VR — Digital
    • Pirate Flight, PS VR — Digital
    • Super Mega Baseball 2, PS4 — Digital

    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
    April 28th, 2018GamespotUncategorized

    Nintendo Labo did debut at the top of the Japanese charts in its first week, however, it appears that the two Labo kits only sold 30 percent of the initial shipment, according to Media Create. 

    The two Labo kits sold a combined 119,039 units. That would put initial shipments for the two kits at around 400,000 units. 


    The figure could mean one of two things. Either, Nintendo expected it to sell better or the company wanted to overship in its first week, so it wouldn't need to ship more units over the coming weeks. 

    Despite debuting at the top of the Japanese charts, Switch sales did decrease week-on-week in the country.

    Thanks DualShockers.

    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
    April 28th, 2018GamespotUncategorized

    The 2D platformer is a genre in danger of growing a bit stale. Thankfully, Bishop Games’ Light Fall proves you can still work within the parameters of a borderline worn-out and overpopulated genre, while still creating an artful and entertaining platforming experience. Light Fall provides an artistic sensibility that’s both simple and enriching, along with some downright fun and unique gameplay that’s further solidified by unorthodox yet sound mechanics.

    The layers of dark, shadowy elements juxtaposed with the colorful backgrounds of the world of Numbra help the visuals pop and prove to be a nice balance of darkness and light, color and shadow. The game does a lot with a little in this regard, and the 4 major environments throughout manage to feel distinct and relatively detailed despite their flat, silhouetted aesthetic. Fluid animation and a rich orchestral and classical soundtrack further paint a serenading atmosphere that draws you in. Fans of Limbo might recognise the cell-shaded silhouette art style prominent throughout; and while there are admittedly plenty of similarities, the interesting and satisfying gameplay is really what stands out and allows Light Fall to shine.

    Bishop Games also dials back the heavy puzzle elements Limbo embraced, settling for lighter puzzle portions balanced with more traditional, fast-paced platforming gameplay. The closest mechanical comparison I can make might be the co-op portion of New Super Mario Bros. U, where much of the gameplay involves one player generating platforms beneath the feet of a player-controlled Mario and friends.

    Light Fall takes this gimmick and runs with it full throttle. Most of the gameplay essentially revolves around the rapid-fire creation of “shadow cores," instantly creating unique platforming dynamics. Shadow cores are magical boxes which can be summoned four at a time, before the player must hit the ground to refresh their stock. They can be utilized in a number of ways but mainly as makeshift platforms to traverse gaping pits, fields of crystalline spikes, and other hazards that stand in your way. As you progress you also gain a more versatile palette of these cores. These include boxes to hold in front of you as a shield and hoppable wall, platforms you can place above you, and even keys that trigger various events.

    While these mechanics seem odd and jarring upon first glance, they're implemented surprisingly smoothly and seamlessly throughout. Platforms are simple to draw up with the mere push of a button, and even glide with you a bit as you run, ensuring your running momentum won’t often lead to accidental deaths by overshooting them. Of course, the keyboard and mouse configuration makes this process a bit trickier, but the use of a supported controller makes everything click a lot faster. So plug in that Xbox One controller and go hog wild with your shadow cores as you get lost in the shadow lands of Numbra.

    Light Fall certainly isn’t shy about throwing a ton of exposition at you throughout your journey. For a relatively short game - clocking in at 5 or 6 hours - there is a wealth of backstory staggered out regarding the game's strange, gloomy world and its inhabitants. This is done through some detailed still-image cutscenes, collectible crystals that unlock scrolling text descriptions, and plenty of well-acted narration from your wise-cracking owl companion named Stryx. I found myself resisting the urge to skip through many narrative bits, as they can slow the pace of the gameplay at times, and contain some typical “redeem the world from evil alien machines” tropes. Still, for those craving a juicy story, there is plenty to sink your teeth into to help further immerse you into the world of Numbra.

    The amount of content Light Fall provides might be one of the few blemishes in an otherwise well-rounded and enjoyable platforming experience. There are four acts, each containing three or four stages (and with how quickly you can glide through areas by hopping across generated platforms, you’ll likely find your journey comes to an end a bit too soon). Still, there are collectables for completionists, and a hard mode chock full of more punishing obstacles for masochists.

    There’s also my personal favorite inclusion - a speed run mode complete with online leaderboards and ghosts of real players that you’re able to race against. This is the primary source of the game’s replay value, and the area I can see myself returning to, as I try to work my way towards the top of the boards and beat my previous times. For my money, the emphasis on gliding through each stage as quickly as possible Sonic-style is the essence of Light Fall’s enjoyment, anyway. The drawn-out narrative and the few cumbersome puzzle sections? Not so much.

    One could perhaps nitpick about the relative ease and chill nature of the gameplay, as your shadow cores can often bail you out of trouble a bit too easily, and the environments are sparsely populated with actual enemies. I really only struggled during the final act of the game, including an annoyingly-cumbersome final boss fight that all but required a good deal of trial and error. The sheer linearity can oversimplify things a touch, though there are some diverging paths from time to time to give some sense of player freedom. The game’s hard mode does make things a fair bit more challenging too, and there are segments where checkpoints are scarce, giving me moments of gaming-anxiety. You're even thrown into a few brief segments where the game deprives you of core usage, falling back to a truly oldschool and gritty platforming experience.

    Despite my previous notion of being somewhat burnt out on the platforming genre, Light Fall still managed to grab me, and it kept me engaged throughout. Bishop Games has excelled in most key areas; from the controls, to the appealing art style, to the steady learning curve. Perhaps most notably, though, the developer has provided an enjoyable balance of innovation and fundamental oldschool platforming gameplay with its charming box-hopping platformer.

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  • scissors
    April 28th, 2018GamespotUncategorized

    After Gal Gun Double Peace sold 100,000 units worldwide on PS4 and PS Vita, the series proved that it had definitely become a strong contender in the niche market of sexy-centric games. Going really far in terms of sexual innuendo, it garnered a solid reputation among fans of the genre. Two years later, can Gal Gun 2 pick up the torch and run with it?

    The story begins as the protagonist (the player; everything is seen in first person view) receives a mysterious package in his classroom. The mail contains some sort of virtual reality headset, and once on your head, a cute angel called Risu appears and begs you to help her.

    Risu works for a firm in the Heavens called Angel Ring company, which is developing gear used to hunt demons in the human world. Risu wants you to get rid of the demons dwelling in the school within a month. You have no particular choice, since you'll never be able to remove the headset if you don't accomplish the task. Also, your gear has an un(?)desirable side effect - it makes you super attractive, so much so that all of the girls in the school will pursue you.

    Gal Gun 2 is a first person shooter in which you shoot... girls. In most levels, girls will come at you with love letters, jump at you to kiss you, and so on. Such actions will make you lose stamina and eventually faint, leading to a game over screen if you don't fight back. Relax, though, you're not hurting anyone - your strange equipment fires pheromones that will quell the girls' excitement and halt them in their rampage.

    Inti Creates developers have clearly stated in interviews that, with Gal Gun 2, the gameplay was intended to evolve and move away from being a rail shooter. After clearing the game three times, however, I can say that this is obviously not the case. It plays basically the same way as Gal Gun Double Peace, but instead of your character progressing automatically through the stage, you move to a new position by pointing at the protagonist's silhouette after you've cleaned an area. That absolutely doesn't change the fact that you follow a predetermined and linear path. There is none of the freedom implied by Inti Creates' statements.

    There are five types of mission in Gal Gun 2: demon hunting, defense, search, purifying, and boss fights. Demon hunting has you progressing within a specific part of the school (cafeteria, pool, gymnasium, etc.), repelling girls and shooting the small demons which have taken over their minds. In short it's your average Gal Gun gameplay. Defense tasks are about protecting one or several classmates from the mini-demons coming at them. You can either shoot the demons or suck them up with a vacuum cleaner-looking device Risu gives you. In searching missions, you have to find a couple of items hidden parts of the room; and in purifying you have to shoot one of the main heroines from different angles to expel the demons within her. None of the new mission types are particularly exciting, nor do they introduce interesting novelties.

    Another disappointing change is that all of the challenging or scoring aspects that were in Gal Gun Double Peace have been scaled back. In that game, you were awarded a score depending on your time, accuracy, damage taken, and various other stats, and this was linked to your progression, driving you to try your best. In Gal Gun 2, there's a score attack mode that is completely separated from the main story, and there's little incentive to actually try it. Every girl still has a weak point (head, chest, waist, or legs) that allows you to one-shot “kill” them, but it doesn't really matter since the difficulty is set very low. Boss battles are also very similar, regardless of the character you're up against. Here, again, Gal Gun Double Peace was superior and featured very different types of encounters.

    Gal Gun 2's best asset is its characters. There are four main heroines, each one as nutty as a fruitcake. That guarantees unique and hilarious talk during the frequent chit-chat you'll have with them. Risu's professional issues, for example, lead to a couple of excellent jokes. Chiru, a reclusive girl constantly playing or reading in her room, has some brilliant lines too when it comes to geeky stuff. The game also contains several character routes and six different endings, which ensures a good amount of replayability. In order to reach the ending you want, you simply need to pay attention to your answers and give the girls plenty of sweets. This is far less sophisticated and difficult than in the previous game, but I think that's actually a good thing since the endings in Gal Gun Double Peace were a pain to unlock.

    Yet Gal Gun 2 doesn't really live up to the series in terms of character events. They're much more generic and there's also less interaction than before. The equivalent scenes in Gal Gun Double Peace, which were considerably naughtier, included lots of risqué situations. There definitely aren't as many such scenes in this sequel, nor are they as exciting. There are some new additions, like being able to strip any girl when your sweeper is upgraded, or the possibility to call any of them out in your preferred part of the school. But even in such sequences you have very few interactions to choose from, a lot less than in PS Vita's Senran Kagura Shinobi Versus, for example. Surprisingly, the game is also lacking a gallery mode, and some illustrations seen in the opening are not featured in the game during the indicated scenes. 

    Another significant letdown is that Gal Gun 2 shows arguably weaker modelling than Gal Gun Double Peace, despite the developer insisting on Unreal Engine 4. Some 3D character models (including main heroines) look seriously rough, although they do display more convincing facial animations. Ultimately, and looking back at screenshots of Gal Gun Double Peace, the previous title is better-looking overall. 

    Sadly, Gal Gun 2 seems to be nothing but a watered-down version of Gal Gun. Less content, less visually attractive, less daring in its fan-service, and less challenging, it left me wondering what happened to the evolutions promised by Inti Creates. Some series fans might like it, but they won't find a Gal Gun experience at its fullest.

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  • scissors
    April 27th, 2018GamespotUncategorized

    Welcome to the latest edition of the ‘PS4 vs Xbox One vs Switch Worldwide’ article. This series compares the monthly and lifetime retail sales of the three main consoles - the PlayStation 4, Xbox One, and Switch.


    Looking at the total sales of the PlayStation 4, Xbox One, and Switch though March 2018 shows the Switch continuing to close the gap on the Xbox One.

    The PlayStation 4 passed the 77 million mark, the Switch the 16 million mark and the Xbox One passed the 37 million mark. The PS4 has sold 77.57 million units lifetime, the Xbox One 37.01 million units, and the Switch 16.11 million units.

    Taking a look at the marketshare, the PlayStation 4 currently leads. The PlayStation 4 has a 60 percent market share, the Xbox One sits at 28 percent, and the Switch 12 percent.

    PlayStation 4 Total Sales: 77,571,007

    Xbox One Total Sales: 37,009,601

    Switch Total Sales: 16,108,373


    During the month of March 2018, the PS4 outsold the Switch by 212,048 units for the month and the Xbox One by 705,955 units. The Switch outsold the Xbox One by 493,907 units.

    When you compare monthly sales to a year ago, the Xbox One is up and the PlayStation 4 and Switch are down. The Xbox One is up 147,422 units, the PlayStation 4 is down 246,270 units and the Switch is down 1.25 million units. The huge decrease in Switch year-over-year makes sense as March 2017 was the month the console launched.

    Taking a look at the marketshare, the PlayStation 4 managed to achieve 44 percent. The Nintendo Switch accounted for 36 percent of the consoles sold, and the Xbox One 20 percent.

    PlayStation 4 Monthly Sales: 1,292,878

    Xbox One Monthly Sales: 586,923

    Switch Monthly Sales: 1,080,830

    The PlayStation 4 and Xbox One launched in November 2013, while the Switch launched in March 2017.

    As a reminder VGChartz tracks consoles sold to consumers.

    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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