Yet on the other hand, it’s hard to ignore that the game at times doesn’t feel like a game, but rather an exercise in blast that, cover there and blast that again. This gameplay works for a majority of the game and is done well, but gamers will not question their actions as it’s clear from the sadistic story that Kane & Lynch have no other options. The sense of direness and escape is present and strong, but there is nothing that breaks up the gameplay. There is however one major action set piece towards the latter third of the game that is quite stunning and fun, but the sequence is too short and peaks the action without really staying there in terms of what is epic. This in turn makes the game feel a little underwhelmed. I wouldn’t say I was disappointed with the ending to Kane & Lynch 2: Dog Days, but it just kind of ends and you’re left sitting there wondering if your sixty dollars was well spent. IO Interactive has successfully created a game that feels and plays like a movie, but at the expense that it lacks the kind of depth and re-playability that us gamers love to engage in.

Shanghai is simply a beautiful mess of bright lights and graffiti

The level of detail and atmosphere is something IO Interactive should also be applauded for. It’s easy to tell how much time and effort went into the effectiveness of the aura of the game and how that creates a realistic world. The environments of Kane & Lynch 2: Dog Days incorporate a perfect application of color. Between the bright lit streets of Shanghai to the dark and dingy sweatshops, the wide range of color palettes used throughout the game genuinely allow the player to feel their surroundings and put it all into context. This is a very important aspect to any game and Dog Days certainly nails the feel of Shanghai in every miniscule detail; making it stand out as one of the more engrossing games out there without having to be extremely pretty graphically.

There are a handful of multiplayer modes with really fun and interesting concepts. The mainly advertised mode, Fragile Alliance throws you in a randomly selected map with fellow robbers. Your goal is to kill all the cops that get in your way and make it to a van getaway while making the most money during the heist. The catch is that you can betray any of your teammates during the heist and if you survive you can in turn make more money, but once you do this, you are labeled as a traitor and it’s not an easy task staying alive once the rest of the team knows of your treachery. If you die as a traitor, you don’t respawn and have to wait until the round is up. If you die by getting killed by a traitor or cop, you respawn as a cop and fight the robbers during the same match. This concept is great on paper and some rounds really feel hectic and like madness, but that’s its biggest fault as mainly you’ll find yourself getting killed by a traitor the moment before you hit X to get into the getaway van or just at the start of the round by someone angry at you for betraying them in a previous round. The other modes are basically just slight variations on Fragile Alliance’s central theme, one being a simple Cops and Robbers mode, and the other being an Undercover Cop mode where one player on the team is randomly selected as the undercover cop who has to stealthily execute the robbers during the heist.

The unlucky and inseparable criminal masterminds

Verdict:
Unfortunately, these modes aren’t enough to really hold my attention for more than a half hour to an hour at a given time. I could never see it becoming a game in my regular online rotation. I’d be lying if I said that I didn’t love this game. Kane & Lynch is one of the coolest criminal duos to ever hit video games and there is so much I love about the aesthetics and atmosphere, but it’s hard for me to recognize this as a video game that is soaked in depth. In essence, Kane & Lynch 2: Dog Days is the best gritty, Hollywood crime thriller to come out in years, but it’s trapped in a video game’s body. Further more, the game never gets out of that shell with its lack of versatility and the way it never really challenges the player with anything else than effective shooting and covering. The campaign is a blast even though it only lasts about 5-6 hours. The game truly shines during moments where the shooting and atmosphere meld together, creating sights and tensions that one must see and feel on their own. You’ll understand what I’m talking about when you’re battling on a disorienting and car infested highway, only to take cover in a parking garage where only more cops and dogs are on the attack. IO Interactive has truly created some amazing action set-pieces with Kane & Lynch 2: Dog Days, but once the experience is over, it’s over.

Score:
out of 5

-Eric Egavian
© All Rights Reserved

Offering a barrage of bullets in a much needed healthy dose, Deathsmiles is one of two horizontal scrolling shooters by Cave. The other being a game called Progear that was published by Capcom for the arcades in the 90s. What sets Deathsmiles apart from most of Cave’s other repertoire of games is the lack of aircrafts and ships you control for a more personal approach, controlling actual characters. Deathsmiles oozes with style the moment you see everything on screen in beautiful harmony. From werewolves, demon dogs, and other mysterious creatures, Deathsmiles will unlock your imagination with a golden key. It’s purely a style that tends to be not so popular here in the states, a style that is purely Japanese and is like nothing you’ve really ever seen, and I mean that in the loveliest way possible.

Deathsmiles is simply an incredible shoot-em up (also known as shmup) with stunning color and visuals. I had a chance to play a good portion of the game at PAX East 2010 and it was a blast. Like I said before, the style of Deathsmiles is what takes the cake. The game is so dark with its gothic lolita heroines, yet also so bright and eye-popping. Cave may not be a well known company in the states but they sure are the masters of their art in creating classic gameplay experiences with minor updated mechanics and smoothness of play. They actually recently released the previously mentioned Espgaluda II Black Label on the Apple iPhone and iPod Touch, which is somewhat surprising given their previous track record and the intense visuals of the game itself.

It’s the nostalgia feeling this game brings that evokes the excitement and vigor that many games today seem to lack. It may not have the best replay value or varied gameplay, but it’s pure, simple fun. I’m getting older now and while sometimes I want to sit on the couch for hours and grind with an RPG or a first/third-person shooter, I’m finding more and more that arcade gameplay just hits the spot, short and sweet. What other game can you battle a giant cow, stampeding towards you from the left side of the screen (and then proceeds to blow up after you defeat it)? It’s these boss moments that make me grin with glee and the intense shooting, switching between left and right that put me on the edge of my seat. The presentation also makes the game feel instinctively good. From the classic map-like “Stage Select” screen with multiple branching paths (reminiscent of games like Donkey Kong Country and Super Mario World) to the silly little details when you select your character, this game knows how to keep your attention visually and it’s the gameplay that keeps you there.

Deathsmiles in essence is simplicity and chaos in perfect harmony. It’s taking what is usually a very difficult game and making it into one that is really your choice. Most Cave shooters are known to be really hard affairs with little chance for error and requiring scrupulous precision and movement for survival. From what I’ve seen though, Cave and Aksys Games have really gone the extra mile with this port, making it accessible to anybody willing to give it a chance, thanks to the varied difficulty settings, continue settings, and the ability to play any mission at any given time as practice. I expect many great times to be had in the next couple weeks whipping out my arcade stick for some much needed love and blasting all the interesting monsters and scum that come my way. For only $50, a special edition of Deathsmiles is yours next week and that shit’s gonna be devilish.

-Eric Egavian
© All Rights Reserved

With a full season (eight episodes) under its belt, Bored To Death starts to get good towards the end. I say that because while the first season is some great TV programming, you can tell that many episodes are used as more setting and building devices than just pure gags and laughs. A couple episodes are practically useless and essentially go nowhere for the overall plot and contain little to no laughs. Not to say that Bored To Death isn’t good, it just needs some time to lift off its own feet. George Christopher (played by Ted Danson as Schwartzman’s boss at the NY magazine “Edition”) brings his performance to a level that we’ve never really seen from Danson. His child-like nature, coupled with his profound wisdom throughout the show make him a dual layered character who becomes funnier and more witty with every episode. Zach Galifianakis also gives a nice performance as best friend to Schwartzman and comic book creator. His personality is very real to life and true with many men in his situation being tied down to a relationship and the insecurities that surround him.

Most episodes throughout the season consist of Schwartzman getting a case and trying to get his girlfriend back, while also trying to hook up with new women. Even in episode three (The Case of The Missing Screenplay), we see Danson get Schwartzman a possible opportunity to re-write a screenplay for indie film director Jim Jarmusch in which Danson raves, “Look at that hair, God I love that!” This episode is one of the standout episodes of the season because it shows that Schwartzman can still be persuaded into chasing his real career, which is something that he seems to forget because of his moonlighting as a private detective. The episode also shows Schwartzman’s and Danson’s desire for women and how those urges only leave them in trouble and eventual heartache.

The show really picks up though at episode six, when Schwartzman is given a case to stop a blackmailer who’s act is prostituting married men by videotaping the act and then threatening to mail the tape to their wives. It’s the first episode where Schwartzman finally reveals to Danson that he has been moonlighting as a private detective (even though he doesn’t believe him at first). This causes an epiphany within Danson as he gets as giddy as a school girl who just got the newest Barbie playhouse for Christmas. Since Galifianakis has been acting as Schwartzman’s driver since episode four (The Case of The Stolen Skateboard), the three are suddenly paired together on the adventures and it creates a certain special moment where you know that these three together are gold.

While their intentions start out great when Danson buys night vision goggles at a secret spy store and puts it on the company credit card, things end up not turning out to well. Schwartzman, Galifianakis, and Danson throughout the show all smoke marijuana like it’s their job and typically Schwartzman smokes in order to get his mind into the mood of a detective sort of like Sherlock Holmes’ prominent drug use within The Sign of Four. When Schwartzman posing as a married man and is in the hotel trying to bust the blackmailer, he finds out that she is absolutely beautiful and he is unable to resist her charm. During this Danson and Galifianakis are getting high in his car down the street and Danson becomes distracted by Galifianakis’ comic book art. This whole sequence and series of events are very well done and the climatic chase between them and the blackmailers leaves them getting the money and sex tapes, but also slamming into a police cruiser. Danson assures them though that he has away out of it by the end of the episode and even offers Galifianakis and Schwartzman to make a comic for the magazine about the entire adventure.

With the three together now as a team and seemingly best buds, the real focal point of the show comes down to a long time beef with one of Danson’s worst enemies, Richard Antrem (played by Oliver Platt and in the show is head of NY magazine GQ and is now married to Danson’s ex-wife). Through a series of run-ins with Platt’s character, Danson becomes enraged with his stupidity and lack of respect. Danson ends up writing an editorial in his magazine in episode seven (The Case of The Stolen Sperm) about his nemesis and it is heavily rooted in slander and is basically a direct attack on Platt’s character. This eventually fuels a rebuttal and Platt’s character challenges Danson to a boxing match, which Danson happily accepts. On top of that, Schwartzman and Galifianakis both step up and want to fight too. Platt’s lackey and critic Louis Green (played by John Hodgman and better known as his role as the PC guy in Apple commercials) steps up to the plate in fighting Schwartzman as he once reviewed his first novel, basically trashing it and rebutting it as an actual work of fiction. Galifianakis ends up fighting a random comic book writer who looks like him, beard and everything.

Verdict:
These events all lead up to the season finale which basically focuses on the big fight between Edition and GQ, the new pot smoking love interest of Schwartzman, and Danson trying to somehow and someway get his ex-wife back. Overall, the episode does a good job of really showing these three main characters’ true intentions and goals, the fight acts as a sort of outlet for the things they seem to be really fighting for. Seeing Galifianakis work out in Pink booty sweatpants is also quite hilarious. The season finale of Bored To Death truly left me wanting more and while some episodes were lackluster, the season overall was fun and really relaxing to watch. I don’t always need a show that keeps me on the edge of my seat, sometimes it’s just nice to watch characters interact with each other in real life situations, because we all like to relate to what we see on screen. If writer and director Jonathan Ames is able to to keep a fine balance between the show’s laid back Brooklyn nature and interesting detective storytelling while also improving and maintaining strong plot development, the show’s second season will undoubtedly be just as entertaining as the last.

out of 5

-Eric Egavian
© All Rights Reserved

What first strikes me the most with SSF IV is the updated presentation and elegancy. While there was nothing wrong with the menus in the previous iteration of SF, the menus in Super have been significantly spruced up, with lively backgrounds showing up various character art and sketches, to even the streamlined online interface. The online component of Super is much stronger than that of it’s predecessor. One of the nice features I really enjoyed was the fact that in Super titles and icons are much easier to unlock than SF IV. Now you don’t have to clear all the character’s trials in order to get their specific icons. Instead, you just have to complete a certain number, making the personalization and online community aspect much simpler and unique.

On top of that you have the new replay channel. You can now finally record and save battles onto your Hard Drive and even upload them to Capcom’s servers for everybody to see. What’s real neat about the replay system is how the game handles when it records or not. It works by tracking how many Ranked Battle wins you have in a row at a given time. Winning three matches in a row puts you in an “on fire” like state. When you begin another battle, a little reel-to-reel icon turns red and begins spinning at the “versus” screen, indicating that the battle will be recorded. You will be given the option to upload your replay should you prevail against you’re competition. It’s a really fun system and adds excitement to the battles that never really existed before. The Replay Channel hub is also really neat simply because all the replays are broken up neatly into various categories, such as Random, New Face, Boss, etc.

In terms of finding a match and latency issues, I did occasionally run into problems with lag, but when both people had a good connection, online play ran smoothly. The two new modes, Endless Battle and Team Battle both add to the community aspect of Street Fighter. They both somewhat replicate the feel of being in an arcade, with Endless battle giving you an up to eight player winner stays, loser goes type scenario and Team Battle allowing for 2 vs 2, 3 vs 3, 4 vs 4 battles where the winner of a team continues fighting until he or she is knocked out. What ends up making these modes flawless is the fact that now you can watch battles in progress, whereas before you had to wait in a lobby. This difference creates more community and allows players to watch other player’s strategies and techniques. It also at least gives the player a sense of what he’s up against, just like if he were standing in line at the arcade. The feel of these modes are strong and it’s great to see them implemented so well.

Visually, Super Street Fighter IV is not much different from its original, but it definitely looks sharper overall and is still one of the prettiest games I’ve ever seen this decade. The new stages are absolutely gorgeous (especially the Dhalsim and the Solar Eclipse stage), displaying vibrant colors and landscapes that only enhance the overall experience. The ten new characters are also add much needed style to the roster, boasting creative design that is top notch. The two completely new fighters, Hakan and Juri are both extremely interesting in looks and play style. Hakan is certainly the silliest character Capcom has conjured up in a while, and his Turkish oiling antics are as fun as they are ludicrous. Juri, on the other hand is a fighter who is deceivingly quick and powerful. She has an incredible set of moves in her arsenal, which are all easily combo-able into each other, allowing her to be an extremely deadly on the rush down.

The same applies to Guy, a badass city ninja from the Final Fight universe who has a slew of interesting defensive and rush down moves. He even has his popular Target Combos (a technique new to the Street Fighter IV realm and first established during the Alpha series) that are utilized as combos that may link into special moves or other combos. Cody, also from the Final Fight universe is so laid-back that his power will surprise players seeking revenge on the jailbird. He also has fun little tricks up his sleeve such as being able to throw rocks (acting as an attack and anti-projectile) and he can even pick up his knife and slash away. T-Hawk and DeeJay of the original remaining cast of the original Super Street Fighter II are back as well and are equally as fun. T-Hawk’s power is unmatched and will seriously rival Zangief and Sagat. Deejay has some fun tricks up his sleeve and his play style is very similar to that in SF II. Ibuki, Makoto and Dudley are the new characters from Street Fighter III: Third Strike and they are also wonderful additions. People will love Ibuki’s evasive nature and her acrobatic prowess, while fans of Fei Long will dig Makoto’s old school fighting technique. Players looking for a new powerhouse to their lineup will enjoy the fine balance of Dudley’s speed and strength, as he’s certainly one of the coolest and more exciting characters to play.

Verdict:
Super Street Fighter IV is simply awesome. For $40 you get the definitive Street Fighter experience, one that supersedes the groundwork that Street Fighter IV paved last year. It’s an update that the fans wanted and we couldn’t be happier. With all the new balance tweaks and characters, Super Street Fighter IV will without a doubt make the original obsolete. It just feels tighter, more responsive, and most importantly balanced. No longer will I be simply KOed by two pile drivers by Zangief. I’ve been playing this non-stop since last week and it will always be one of those games I go back to. Whether it’s a couple rounds here or there, or teaming up with a friend in Team Battle mode, beating the crap out of each other just never gets old with the Street Fighter formula. I learn something new every time I play SSF IV and that simple fact is what invites me to never stop playing.

Score:
out of 5

-Eric Egavian
© All Rights Reserved

Five long years after their last highly regarded album “What We Must” stunned audiences with beautiful melody and cohesive songwriting, Jaga Jazzist see themselves once again reinventing the wheel, combining rock and jazz in ways that seem like a soundtrack for intergalactic space travel.

Everything on “One-Armed Bandit” makes sense. Every melody, transition, and stylistic choice seems carefully planned out and it shows through the rich textures and vibes the songs carry. According to the two main songwriters and brothers of the Norwegian nine piece (Lars Horntveth and Martin Horntveth), the inspiration behind “One-Armed Bandit” was focused around the vision that the lights, sounds and euphoria you get from being in a casino is a certain feeling that is everlasting and loud. This is one of those albums that must be heard loud. I feel that way about most music, but there are many intricacies within “One-Armed Bandit” that can be easily ignored.

The first of these intricacies appears after the short 25 second intro track “Thing Introduces…, The” on the title track “One-Armed Bandit.” The song is filled with wild synthesizers, warm horns and woodwinds, and a driving bass line that burrows its deepest tones in the roots of your ears. It has been referenced previously when the title track was released that it was very Zappa-esque and I fully agree, but the track detracts away from that style of songwriting through various synthy breaks that give the main melody a sense of belonging.

The next track, “Banafleur Overalt” features some great rhythmic drumming, smooth pianos, and cool guitar ambiance that is much in the style of the work on their previous album, “What We Must.” The track also has a more unpredictable nature that a lot of the rest of the album encompasses. The next track “220 V/Spektral” follows in grand tradition, with complex rhythmic styling through heavy synth pads that rise and fall, dissipating in the background, accompanied by light horns and what I believe to be an oboe. It is certainly one of the most interesting tracks on the album and its brilliance won’t probably strike you immediately.

“Toccata” is the song for when you realize you’ve suddenly reached a new planet and there are new opportunities and problems you may face. It begins with a simple two to three note appregiating pattern that eventually is accompanied by large, booming horns as a sign of what is to come. It kind of acts as an interlude track, breaking the album up in half, and while it isn’t the strongest track, it’s certainly mesmerizing.

The most proggy and mathy song of the album has to be “Prognissekongen.” With its angular guitar line opening its stage for the moody vibraphones and chimes, it probably is my favorite track on the album. The drumming doesn’t hold back either, drummer Martin Horntveth gracefully catches every note and attack with precision. It all comes to a sudden realization at 3 minutes and 21 seconds where the bass rapidly scales to a large piano crash, followed by an absolutely mesmerizing synthed and horned progression that is one part dancey and one part jazz.

Things heat up in the melodic “Book of Glass” which reminds me of one of my favorite tracks by Jaga Jazzist, “Stardust Hotel” off of “What We Must.” While “Book of Glass” maintains a certain level of springiness with hard hitted accents and a middle section that successfully borrows from vigor and experimentation of the post-rock blueprints that Tortoise created in the 1990s. The song ends with heavy bass and scary tones that set the atmosphere they have been crafting so far with this album.

The last two tracks, “Music Dance Drama” and “Touch of Evil” are probably my least favorite of the rest, but that doesn’t mean that they have no redeeming qualities. I guess my dislike from them stems from my tastes in melody and progression. While both these songs have a fluid progression and don’t derail what is already a fantastic album in terms of mood, they just lack a real form of remembrance with me.

Overall, “One-Armed Bandit” is a milestone in progressive, instrumental music. It surpasses my expectations and opens up doors in my head to the kinds of music I like and disliked before. It will change your perception and notion of what an album must and can be. It’s melodic, driving, heavy, quiet and everything in between. It’s definitely got something for everyone and is highly recommended.

Score:
out of 5

-Eric Egavian
© All Rights Reserved

While the Devil May Cry series was always released by Capcom, Sega is publishing the game. It’s not that important though, what is important is the fact that the key players are involved and the results are fascinating. Creator of the previous Devil May Cry series Hideki Kamiya and Platinum Games have truly made something remarkable here with Bayonetta. I had a chance to play the Japanese demo and I will say that the game is fantastic in every regard. It’s the type of game that old school gamers have dreamed of. It has beautiful, but violent gameplay and stunning visuals that truly push the 360 and the clarity of my HD projector. More importantly though, the game oozes with a gorgeous art style that is similar to old European and archaic architecture. The game is certainly a sight to behold.

There’s something about a game like this that gets me all giddy and warm feeling inside, it’s the kid in me I swear. I can’t say that I’m in love with the story or characters so much. The star of the show is a voluptuous woman who’s named after the game itself. She’s fulid, flowing and able to pull off a boggling number of moves and techniques. The game feels like Devil May Cry on speed and the amount of combos through magic and attacks feel tight and amazingly responsive. The demo was a joy to play and the exclusive 360 clock tower level is an insane trip through beautifully cut sequences and action. On top of having an extra level, the 360 version is the one to play as the PS3 version has reportedly been labeled as the lesser version having slowdown issues and lesser clarity in color and sharpness.

Overall, Bayonetta is most likely going to be not recognized so well when it’s initially released, but seemingly more with time. The game is already out in Japan and has received a perfect score in the latest issue of Japanese popular gaming magazine Famitsu, which is somewhat of a rarity. For myself, this is one of those games that makes me regain all my faith in the creativity and possibilities of an action video game. If it gets a nice push when it is released it could do well. With the game recently price dropping five dollars from it’s original price of $60, and it’s January 5th release date, it’s time to get warm and cozy with Bayonetta this winter.

-Eric Egavian
© All Rights Reserved

Hearing all about Mother 3 over the past several years has been quite a tease (with promises met with disappointments) and when the gaming community finally got word of Mother 3′s official release for the GBA, the fans rejoiced. Unfortunately, we soon discovered that it would only be released in Japan, at least for the time being. For a game that is so story driven and text based, the sorrow set in. The creator, Shigesato Itoi seems to only be really appreciated in Japan and even Earthbound was met with a lot of criticism in the US when it was first released on the SNES. But, true gamers either know or remember the beauty of Earthbound. Itoi has a distinctive meaning of what a video game should be, it’s more of a medium for his storytelling and quaint humor. He even at one time co-wrote a book of short stories with legendary Japanese writer Haruki Murakami. I knew I had to eventually play this game.

Luckily, after a couple years of waiting and with a team of translators and programmers, an excellent fan translation was finally created. I could have been playing this game a while ago when the Mother 3 Fan Translation came out, but I got disinterested in it because I was playing it on my computer and I was busy with school work at the time. Thankfully, my friend recently sold me his old PSP and I figured what better way to play the game then on an GBA emulator on the PSP. All I have to say is that I’m loving it so far, every RPG should be made with such care and humor that Mother 3 has. The large screen on the PSP makes the experience lively and playing it on the train or wherever I can is perfect. The game is so colorful and beautiful despite is minimal art style, I think the PSP brings this out. I will eventually write an in-depth review of the game when I finish, it will probably be the hardest review I’ll ever have to write.

-Eric Egavian
© All Rights Reserved

The laser rifle is as powerful as it ever was

The story of Metal Slug 7 is one that has been repeated throughout the entire series with just another twist to make it seem different. Once again our heroes must stop General Morden (basically a Hitler clone) from another coup d’état on their government. The series has never been strong with a tale, but they make up for it with hilarity and absurdness. There are seven levels in Metal Slug 7 while most Metal Slug games average at about six levels. Also, for the first time in a Metal Slug game are three difficulty settings: Easy, Medium, and Hard. Since this iteration is on the Nintendo DS, they have utilized the bottom screen as well as a map reference of the current level showing the various powerups and prisoners to be rescued. Though playing through the game, I never found that I actually used this feature or felt the need to use it. Although I’m sure that there are secrets to find in using the bottom screen, with all the action and chaos going on most of the time, it is practically impossible to concentrate on a second screen. That’s what makes this game great though; the relentlessness of the action.

The stages also are nicely varied and offer up some unique possibilities in terms of strategies, such as higher paths to take out enemies from below, and even a train level utilizing moving carts. The stages seem to take a lot from previous Metal Slug games, but I give the developers credit for making the levels flow together. The levels in this Metal Slug are pretty different from the ones in the previous titles and because of this the game seems to feel fresher and more modern. I think the DS helps this cause. Metal Slug feels like a game that needs to be played on a handheld and playing this game on the train definitely turned some heads.

Classic elevator section increases the condensed chaos

The music in the Metal Slug games has never been too exciting. Some Metal Slug fans would disagree with me and even buy the soundtracks, but it doesn’t really do it for me. I think the music is usually fitting and it’s not bad by any means, it just seems to get old fast. Other than the music, the sound effects are nice. It was jarring at first to hear some original sound effects tampered with though, like the standard pistol shot sound.

Verdict:
Metal Slug 7 is a great title to add to you DS collection. I’m a classic, hardcore gamer, and because of this, I’m always in the need for some classic shoot ‘em up action. I love the library on the DS and all of the new innovative games that incorporate the stylus and touch screen, but classic and beautiful 2D gameplay never gets old for me. Metal Slug 7 is a great pick up and play game that sports some of the best 2D graphics and animation we’ll probably ever see in gaming. Even if Metal Slug doesn’t really appeal to you, whether it be the rising difficulty or dated gameplay, it is still worth playing. Especially when you take a seat in the new vehicle called the “Slug Gigant” towards the end of the game; it is just too fun. While most Metal Slug games are short and can be beaten in under an hour (this one is no exception), the fun takes a while to wear off and you’ll definitely be strapping up your army boots for more replays once you’ve beaten the game.

Score:
out of 5

-Eric Egavian
© All Rights Reserved

Tracklist:
1. Fogbow
2. The Garden of Cartoon Exclamations
3. Flowers
4. Fasting
5. Explain Yourselves #2
6. Tsunshine
7. A Delicious Herbal Laxative
8. Explain Yourselves
9. Table of the Laments
10. Fable of the Elements
11. Life Sentence / Twisted Ladder
12. The Sun Rose

Let me preface this review in saying that I saw Joan of Arc live for the first time this past summer, it was absolutely amazing and one of the best shows I’ve ever been to. It was the tour following their previous record “Boo! Human” which didn’t come out too long ago. So it came as a big surprise to me when this album came out of nowhere. I’ve loved every band and project the Kinsella brothers have been apart of and another Joan of Arc record is never a bad thing.

This album is being pushed as more cohesive then the previous “Boo! Human” on the Polyvinyl Records web page for the album. But from the listens so far of the album I’d have to disagree. “Boo! Human” was also previously conceived as a Joan of Arc record for the masses and I seemed to agree with this claim. I really enjoyed and still enjoy “Boo! Human.” Despite some shortcomings and seemingly unnecessary filler, it was a solid record. “Flowers” is good too, but it doesn’t seem to really change much. While it initially sounds much different from “Boo! Human,” it really is not that refreshing.

“Flowers” does succeed though with really interesting song writing and structure. One will notice right away from the first two tracks the shift from typically guitar driven pieces to a more bare and electronic/piano sound. It works well for the beginning as a nice way of opening up the album. “Fogbow” offers some interesting sounds and textures which lead into “The Garden of Cartoon Exclaimations” where Tim’s vocal delivery shines and develops a special mood in the listener. The track also has some introduces guitar into the mix that changes the mood temporarily. The track sounds like it could have easily been on “Boo! Human” though. The following title track “Flowers” is probably my favorite and introduces fantastic guitar and drum work. A transitional guitar riff is perfectly accompanied by tight drum fills giving the song a strong progression flowing into further expansion. I believe Mike Kinsella has manned the drums for most of this record and a lot of it is really good.

The use of violin in both “Boo! Human” and “Flowers” definitely has changed Joan of Arc’s sound as of late, giving the pieces more of a defining mood and feel. I think the violin is a good choice but sometimes it seems to get in the way of the guitar and electronic sound Joan of Arc has toyed with for so long. The track “Fasting” gives the listener sounds of metal clanking together which sounds like someone gardening with the accompany of some subtle electronic ambiance. It follows into “Explain Yourselves #2″ which has a jumpy drum beat with bongos and some quick sliding guitar lines. While I like this track and Tim’s lyrics try and make up for the sparseness of it, I still wanted an awesome guitar line to accompany the madness. There is a short organ section that does help though.

“Tsunshine” is another track that falls short for me. It is oozing with emotion and mood, but a lack of drums seems to make the track feel tired and lazy. It does end with some spastic and interesting guitar work and a section that sounds Radiohead-esque. The song finishes with a “montage” of various bands counting down “1, 2, 3, 4″ which was a pleasant surprise. It leads into probably the most upbeat and rocking track of the album entitled, “Delicious Herbal Laxative.” The guitar work on this track is reminiscent of the work on “Boo! Human” and I like it because it’s an unusual style.

The rest of the album seems to drop off after this optimistic jam. It’s not that the following tracks are bad, but they don’t seem to have any progression or go anywhere like the tracks that precede them. The tracks “Explain Yourselves,” “Table of the Laments,” and “Fable of the Elements” all just meander around a loose concept without ever developing. Listening to them is hard because of this lack of progression. The track “Life Sentence / Twisted Ladder” surprised me though and it is another stand out track that kind of reminds me of the integrity of Cap’n Jazz. The distorted guitars scream a simple but happy melody as Tim holds a steady vocal form singing, “You put the quotes around, your entire life.”

Verdict:
There is a lot of good in Joan of Arc’s “Flowers.” Unfortunately, there is also a lot to be desired. While Joan of Arc has always seemed to push the boundaries of the conventional and abstract, “Flowers” just doesn’t seem as cohesive as they’re making it out to be. The contrast between the electronic/piano driven work and the guitar driven work conflict too much throughout the album, leaving it unbalanced. Although, some tracks master the combination of the two such as the title track and “Delicious Herbal Laxative,” others fall short. The album does end surprisingly nicely with the track, “The Sun Rose.” It’s a simple acoustic track with rolling bass and simple drums, but it’s nice. If you’re a Joan of Arc fan you’ll definitely find satisfaction in this album, but it definitely isn’t an album to start with if you want to get into the whole Joan of Arc/Kinsella fascination. The album has its moments. The key is sticking with it and acknowledging that flowers bloom slowly but surely. Sadly, the album just needs more greenery to play with.

Score:
out of 5

-Eric Egavian
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