Weekly Shonen Jump has been around for more than 50 years, and dozens of iconic manga franchises have called it home. What’s your favorite Shonen Jump series? Here are our selections.

This is a very hard question! I like so many different series from Jump for so many reasons. For example, Haikyu!! is a series I recommend to literally anybody because it's just full of charming characters and it has such an engaging plot. But if I had to choose one that's my favorite, I'd probably pick Gin Tama.

I don't think it's an overstatement to say that Gin Tama had a huge influence on my sense of humor, and so many of the jokes from Gin Tama are ones that I still use to this day. There are definitely a few that get lost in translation, but the visual gags are still enough to get the meaning across. It's the perfect mix of comedy, action, and sentimentality. Gin Tama truly is a show for the whole family... though the not-safe-for-work jokes might be a little awkward to watch with your parents. — Stephanie

Laugh at me if you like! But my fave was, and perhaps still is, Bleach. We didn't get Weekly Shonen Jump in my country until Viz implemented its worldwide subscription model in 2018. Before then, I got my weekly dose of what at the time seemed like the absolute coolest comic anyone could get by scrolling through shady, ad-choked pirate sites and illegal scanslation hubs. The experience stayed long after I grew up and became able to afford officially licensed volumes.

To this day, Tite Kubo's style is inimitable. Few things trigger a bout of nostalgia in someone who was still a teen in 2002 like seeing the Captains of the Gotei 13 lined up in assembly. All this makes the news about the Thousand-Year Blood War anime adaptation or the new chapters in recent Jump issues all the more welcome. — Josh

Jujutsu Kaisen is my favorite series by far. I came in fairly late, since I only started reading after the prequel movie came out. On the surface, it may seem like your run-of-the-mill shonen action series. But to me, Jujutsu Kaisen's strong suit comes from its commentary on Japanese social issues. It addresses things like misogyny, generational trauma, societal depression, and so much more. The characters are wonderfully complex! And even minor characters are given opportunities to grow and be part of the overarching narrative. It's no wonder that Akutami cites Bleach and creators like Junji Ito as major influences.

I was also initially worried that watching the anime beforehand would have taken some of the impact away from the manga, but I was dead wrong. If anything, Akutami's art style is enjoyable on an entirely different level. At times it borders on almost a rough draft-like quality, but I think it adds to the flavor. With the anime's second season coming in 2023, it's the perfect time to get into the series. — Andrew

I like reading sports-themed manga titles like Captain Tsubasa during my childhood. But I have especially fond memories about Eyeshield 21. It did well in introducing American football to not only Japan but also worldwide manga fans. It also delivered the story and game rules in a comical and entertaining way.

I also like how Eyeshield 21 converted a character's strength in other fields to fit their role positions in a football team. For example, Monta was a baseball player who was only good at catching balls before the football team recruited him as a wide receiver. It also had several console games released in Japan in the early 2000s. But a part inside me feels hollow since I haven't seen another game based on the title ever since. — Kite

I'm going to go with Chainsaw Man. Yes, this is a more recent release. However, it can be incredible. It's visceral. It's silly. And it's versatile. You can go into it with expectations of how the story should go, and then foreshadowing and twists you wouldn't expect.

What also makes it so exciting is the way its story is developing. It is looking like the second part could feel different from the first, and I can't wait to see what happens next. — Jenni

What is your favorite Shonen Jump series? Let us know in the comments or on Twitter! And read our other handy roundtables for more thoughts from the Siliconera team.

The post Our Favorite Shonen Jump Series appeared first on Siliconera.

With the release of Pokemon Brilliant Diamond and Pokemon Shining Pearl, our minds are on our favorite pocketable pals. Over the years, there have been some truly off-the-wall, disturbing and just plain cool descriptions in the in-game Pokedex. But which are the best Pokedex entries? We like these. Share your favorites, too!

There are some truly wild descriptions in the Pokedex sometimes, but my favorites are the more mundane curiosities.

For example: Snorlax! The entries vary a bit on the specifics, but they're always in a similar ballpark: it eats at least 880 pounds of food every day, immediately falls asleep and is too lazy to move after that. But also it's only 1,014 pounds? What is this metabolism? Average humans eat well below five percent of their body weight a day, and this thing's eating 90.

Somehow, the wildest thing about Snorlax is how small it is. — Graham

The Pokedex entries for Ghost-type Pokemon are often cited for how creepy they are, and so let's avoid that. Spoink also deserves a special mention for the sheer ridiculousness of imagining life as a Spoink. If it can't stop moving lest it risk death, then how does it sleep...?

No, actually, my favorite Pokedex entry is Hatterene's. I love Hatterene and all of the other pastel Psychic-type Pokemon on its evolutionary chain. But the mental image of moping around, only to suddenly see a 2-meter tall Pokemon slowly floating its way over to you with the express intent of beating you up? Absolutely horrifying. — Stephanie

Ever read about Kadabra? That Pokemon has some The Metamorphosis shenanigans going on in some of its best Pokedex entries. Supposedly, in some situations there are rumors about people turning into Kadabra. Granted, the entries talking about it sound like something that could have happened to your third grade classmate’s cousin’s father-in-law’s stepson.

Long story short, apparently some kids who may or may not take part in extrasensory research could wake from uneasy dreams transformed into a spoon-wielding Pokemon. — Jenni

I'm a fan of more relatable Pokedex entries. Take Sunkern, a Pokemon who attempts to move as little as it can, or Morpeko, one that is constantly hungry. Sure, there are a ton of more bizarre entries to write home about, but I like Pokemon that I'd immediately vibe with.

My favorite Pokemon of all time is Golduck, and in Sapphire, the Pokedex entry pointed out that because it is such a strong swimmer, it often saves people from shipwrecks. That one made me love that big blue duck even more. — Carley

What do you think is the best Pokedex entry? Let us know in the comments or on Twitter! And read our other handy roundtables for more thoughts from the Siliconera team.

The post The Best Pokedex Entries appeared first on Siliconera.

Part of what helps people connect to Final Fantasy XIV and its story is its cast of voice actors. Over the years, players walked and fought side-by-side with these characters. Now more than ever, perhaps, with Shadowbringers' Trust system letting you run dungeons with them. To help better understand what goes into playing these FFXIV characters, Siliconera spoke with the voice actors for Alisaie, Alphinaud, Estinien, Thancred, Urianger, and Y’shtola in the MMORPG.

Jenni Lada, Siliconera: Given Alisaie and Alphinaud’s relationship, backstory, and personalities, how do each others’ performances and storylines shape your own roles and performances throughout FFXIV?

Bethan Walker: Colin is a phenomenal actor. I have learned so much listening to him over the years, in Final Fantasy and many other works. What he brings to Alphinaud is so unique and so very impressive. He works with such sensitivity, humour and heart. I often get to listen to a few of his lines if I am about to record a scene and it's like he is there in the room with me. I feel as if what he brings colours my performance so much, it enriches it. One day, we will meet and that will be a very special moment for us both I am sure.

Colin Ryan: Voice acting is a funny thing. The reality of it is that you’re in a booth on your own. Some may be surprised to hear that Bethan and I haven’t actually met! Saying that, throughout the recording process, if Bethan has been in the studio before me I’m able to use the lines she’s recorded to cue me in and to bounce off, which is a godsend for a voice actor, otherwise you’re having to create the other person’s performance in your head to anticipate how you’ll respond. So over the years I’ve certainly got to know Alisaie through Bethan’s wonderful voice work and it has certainly helped in forging this pivotal relationship.

Kazuma Hashimoto, Siliconera: Alphinaud and Alisaie are two of the most pivotal characters within FFXIV, and their relationship has become something of a highlight for fans in Shadowbringers. Was there any moment in Shadowbringers that you felt significantly impacted the development of either character and their relationship with one another?

Walker: I think probably the scene with Fourchenault. It was such a uniting moment for the twins as painful as it was. They really are flesh and blood and need each other so badly, though they may not always admit it. It was such a raw painful moment that only they could understand.

Lada: Urianger’s and the Scions’ story in FFXIV has been getting to something of a critical point since 5.2. When were you first made aware of the direction and how did you use that to influence your performance?

Timothy Watson: Such is the nature of recording these days, that I’ve learnt about each and every twist and turn of the story when the script arrives–usually on, or just before, the day of recording. My job is to meet the demands of every session and to play what’s written.

Hashimoto: Urianger was previously a fairly mysterious character, with little known about him. In Shadowbringers, however, we get to spend more time with him as a player. What was one of your favorite moments when acting as a voice actor for the character in Shadowbringers?

Watson: Occasionally Urianger has an extended passage of prose where he describes events he’s experienced (or prophesied) “off-camera.” I remember one such from Shadowbringers, perhaps to Thancred. His detailed and poetic style of delivery really comes into its own in these moments, and are particularly rewarding from a voice-actor’s perspective.

Lada: In FFXIV, Y’shtola’s always been known for her determination and passion even if it puts herself at risk. How have you tried to incorporate that into your performances over the years and how have you noticed her change?

Robyn Addison: The writers have always given me such brilliant material to work with when voicing Y’shtola and along the way I’ve tried to bring as much warmth and affection that I have for the character into my performance. I think she has grown slightly more vulnerable over the years and I enjoy seeing the lighter or less certain side of her.

Hashimoto: A favorite moment among FFXIV fans involves a scene between Y'shtola and Magnai at the Azim Steppe where she says one of her most memorable quips. Did you have any input regarding some of Y'shtola's dialogue or were any lines ad-libbed?

Addison: I would love to say that I was a queen of improv, but everything Y’shtola says has been carefully considered and wonderfully written by the writers. When the material is that good, who needs to ad-lib!

Lada: One of the highlights in Thancred’s story is getting to see his relationship develop with Ryne in each expansion and patch. What kind of challenges come when building that up over years?

Peter Bramhill: What’s been great about this relationship development is that I had no idea what was coming next, so the process of how it’s grown has felt totally organic. I will normally receive a script a day or two before a recording session which will be the first time I’ll know what’s in store for Thancred. Getting to voice him as he goes through a more emotionally complex journey has been a great addition to the character. It has allowed me to use a more introspective and vulnerable side to him that he has kept well hidden behind his bravado in the past. A more paternal and mentoring side has given him much more of an A-Z style. I.E. all quips and bluster one moment and then melancholy the next, which is great fun to voice.

Another aspect of the relationship depends on the voice of Ryne, and which of us has recorded their part first. If Ryne’s voice is already recorded, I can hear her take before I respond and so match the energy or tone of her delivery and vice versa for Ryne, so hopefully between us we have created an enjoyable and believable relationship to follow, it’s crazy to think that we’ve never actually met in the real world but have been through so much together in the FFXIV world!

Hashimoto: Thancred's character has been something of a mixed bag since his re-introduction in A Realm Reborn, and then his shift in character in Heavensward to something of a "loveable rogue." What was your approach to portraying a more hardened version of this character?

Bramhill: It's fascinating to think about how Thancred has altered over the past few years, it’s slowly crept in as he has been put into more and more challenging situations both emotionally and physically. I guess bit by bit the burden of what he is carrying starts to bleed through into the voice, as his interior thoughts start being outwardly voiced. I’ve tried to find a more damaged and world-weary flavour, whilst also retaining that ability to snap back into the Thancred of old with his dry razor wit and coolness in the face of adversity. I sometimes feel like he’s a warrior style James Bond mash up of both Roger Moore and Daniel Craig in certain moments, but way cooler obviously!

Lada: Estinien is a character who, because of his popularity, grew in prominence from his role in the original FFXIV to an increasingly important role as of Shadowbringers. How did you feel about this rise as it happened, and how has your approach changed as he gets more and more to do each expansion?

Robert Vernon: He disappeared for a while, and I started to get worried… maybe we should see his solo adventures in a spin off. Hint hint. ...But seriously to have been so prominent in Heavensward and to come back around in Shadowbringers was a blessing. The lore and universe is so rich and vast that now, if you are involved or adjacent to any of the main storylines, the stakes are so high. And that is always exciting. Characters under pressure, trying to overcome the odds. I feel lucky to be associated with such a popular character in such a runaway success of a game. When you hear people say that FFXIV's story compares to the best of traditional, offline Final Fantasies, there is no better compliment.

Hashimoto: Did you expect Estinien to become such a fan favorite among FFXIV players? Were you familiar with the iconic imagery of the Dragoon in the franchise before you accepted the role?

Vernon: I'm not sure what I expected, to be honest. Obviously the fan base is huge... but you can never predict these things. I certainly thought he had some interesting attributes, and a healthy slice of conflict. I have played every Final Fantasy, I had all the S/NES ones for PS1 when they finally released in the UK. FFVII was my first, and Cid was always in my party. Admittedly, he doesn't dress like a Dragoon, but he behaves like one. But FFIV's Kain certainly left an impression!

Final Fantasy XIV is available on the PS4, PS5, and PC. FFXIV Endwalker will appear on November 23, 2021. Those who pre-order the expansion will have access on November 19, 2021.

The post Interview: FFXIV Voice Actors Talk About Their Roles appeared first on Siliconera.

Armature Studios' Where the Heart Leads is heading to discs. Perp Games is preparing retail copies. Each one gives people the game, a digital art book, and a digital soundtrack. And now, people have a chance to win a copy, rather than spend $29.99 for one. Siliconera received two copies of the game to give away. People in the continental United States can enter between September 17-23, 2021 for a chance to win.

Where the Heart Leads follows Whit. While he normally lives on a farm with his wife and kids, an odd sinkhole opening up offers new possibilities. After he goes inside to save a dog that fell in, he happens upon an opportunity to completely change the course of his life. He will be able to make entirely new decisions. Each one could affect himself and his loved ones.

Here's a trailer, to help give you an idea of what to expect from the game.

Siliconera’s Where the Heart Leads PS4 physical copy contest will be held between September 17-23, 2021. Winners will be picked on September 24, 2021. It is open to residents of the continental United States. Due to shipping delays, it make take longer than usual for winners to receive their prizes.

Siliconera Where the Heart Leads PS4 Giveaway

The post Contest: Win a PS4 Copy of Where the Heart Leads appeared first on Siliconera.

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TikTok and Enthusiast Gaming are partnering for a TikTok Gamers Got Talent competition. Until May 2, 2021, people in Canada and North America can submit videos to the service with #TikTokGGT. Then, between May 16, 2021 and June 20, 2021 there will be weekly shows leading up to a winner being crowned by judges. The contest, which is also sponsored by e.l.f. Cosmetics, will award one person a $25,000 grand prize.

The official website is now open. At the moment, it focuses on the audition phase and offers a schedule for upcoming episodes. Submissions will be judged on three criteria: entertainment value, level of skill demonstrated, and quality of submission. The 20 finalists will appear during the series, with new weekly judges made up of TikTok creators, esports personalities, performers, and people known for their skill playing games. Musician bbno$, influencers like Tori Pareno and Chica, and professional gamers like Loserfruit will be among the featured judges. Episodes of the show will air May 9th, May 16th, May 23rd, May 30th, June 6th, June 13th, and June 20th.

TikTok Gamers Got Talent audition submissions are open until May 2, 2021 for people in Canada and the United States. The first episode will air at 4pm PT/7pm ET on May 9, 2021.

Disclosure: Siliconera is owned by Enthusiast Gaming.

The post TikTok Gamers Got Talent Submissions Open appeared first on Siliconera.

Persona 5 Strikers manages to be something unique, while still maintaining many of the Persona elements people know and love. To help better understand how Atlus and Koei Tecmo achieved that, Siliconera touched base with the people behind it. We spoke with Atlus Producer Daisuke Kanada and Koei Tecmo Director Kazutoshi Sekiguchi about how the game came together and the development of all of its different parts.

Jenni Lada, Siliconera: To start, could you tell our readers about your history in games and your role in making Persona 5 Strikers?

Daisuke Kanada, Atlus: The first game I was involved in at Atlus was Soul Hackers for the Sega Saturn. Since then, I have been involved with Persona 2: Innocent Sin, Maken X, Persona 2: Eternal Punishment, Maken Shao: Demon Sword, Shin Megami Tensei III, DDS1, DDS2, and Persona 3 as a planner and Trauma Center Second Opinion, Trauma Center: New Blood, Trauma Team, Etrian Odyssey IV, and Persona Q as a director. I was the producer of Persona Q2, and I’m the producer and director of Persona 5 Strikers.

Kazutoshi Sekiguchi, Koei Tecmo: After joining Koei Tecmo Games (formerly Koei), I was assigned to Omega-Force and was involved in Dynasty Warriors 4 and 5. After Blade Storm: The Hundred Years’ War, I became more and more involved in Omega-Force’s challenging titles, and was involved in the launch of Toukiden: The Age of Demons and became its director. For this game, I am the director on the Koei Tecmo Games side.

Graham Russell, Siliconera: Persona 5 Strikers melds Omega Force’s action-heavy development sensibilities with the Persona look and feel. Which elements of each side of the collaboration were your focus? In what ways did you feel it was important to diverge from what Persona normally does?

Kanada: In terms of Persona, the emphasis was on three elements: the story, the characters, and the world-building. All of these elements have been highly praised in the Persona series, and it was important to create each of these with the Persona style in mind. In terms of action, I think Omega-Force did a great job realizing the vision for the game.

Sekiguchi: In terms of action, we focused on combining the “easy controls” and “exhilarating” action that Omega-Force is known for with Persona 5’s stylish movements of the Phantom Thieves. The result of that combination was the Phantom Dash. With this as the core, we built up the other elements around it.

On the other hand, in order to realize the RPG aspect of Persona—things like progression elements, such as combining Personas, or battling using elemental strengths and weaknesses—we needed to move away from the conventional idea of Musou games. These were the areas where we asked for Atlus’ know-how, and worked to create something that was more Persona-like. As a result, I think we managed to arrive at the best solution for Persona 5’s core in an action RPG form.

Kanada: One of the things that sets Persona 5 Strikers apart from previous Persona games is that you leave Tokyo and travel around Japan. Persona games are typically based in a single city, and looking at Atlus titles as a whole, it’s probably unusual for the setting to be outside of Tokyo.

This was partly to differentiate the game from its predecessor, but also because we wanted to let the Phantom Thieves reunite six months after the battles in Persona 5 and give them a chance to have fun as friends and colleagues.

In this respect, I think the road-movie-like arc based on their “travels” turned out well. The level of detail and reproduction of each city, as well as the many road trip-themed events, are the result of our pursuit to bring forth that “travel” feel.

Russell: Persona 5 Strikers is an opportunity to revisit the cast of characters, appending to their stories. How did you approach this? Was it difficult to tell new tales with the Phantom Thieves while not disturbing their original arcs?

Kanada: It took us a very long time to build the story. However, the one thing we had in mind as a clear objective was showing the growth of the cast. These characters have grown since the events of Persona 5, and we wanted to show how they deal with their struggles now. When we thought about this, we repeatedly considered and pondered what the theme would be, what they would fight against, and what answers they would come up with.

People don’t completely change who they are just because they’ve grown. A person’s strengths and weaknesses remain unchanged. However, I believe that growth represents a change in the way we use our own strengths and weaknesses. And that kind of change is apparent in each member of the Phantom Thieves of Hearts. I hope that in playing Persona 5 Strikers, players will be able to better see the situation the Phantom Thieves were in before, understand what they accomplish in P5S, and what that means for how far they've come.

Sekiguchi: While we were involved in the process, our focus was on keeping the relationships and image of the Phantom Thieves intact from the previous title. This is true not only for the story and cutscenes, but also for every single detail of action and animation. A lot of people in the development staff love Persona 5, and I think this is where they were able to express their love for it to the fullest.

Lada: What did the character creation process look like for new characters like Sophia and Zenkichi?

Kanada: The two new characters differ greatly from the members of the Phantom Thieves of Hearts, in that the latter have already gone through their growth. They're essentially fully-realized versions of themselves.

On the other hand, you could say that Sophia and Zenkichi are characters who still have significant growth ahead of them. Both Sophia and Zenkichi roles in the story were decided relatively early on, but it took a long time to figure out what kind of people they would be, how they would grow through the story, and how they should be portrayed.

Sekiguchi: For the new characters, we were given many opportunities to make suggestions. What we had to keep in mind was making them blend in with the existing members of the Phantom Thieves without disrupting them. We also took a lot of care when creating the actual dialogue for each scene.

My impression is that Sophia's appearance, setting, and role were decided relatively smoothly, but our staff took great care in adjusting her to blend in with the Phantom Thieves, as mentioned above. For Zenkichi, on the other hand, it was more difficult to decide on his appearance and tone of voice. At the beginning, we'd even considered his concept as a female character.

Lada: Given the wider range of locations, how did you determine which places to visit and how they could contribute to the story?

Kanada: When we decided to make this a story about visiting different areas of Japan, we had a vague idea of focusing on the "tour of Japan" as a theme. We also considered the distance that could realistically be traveled by camping car during a one-month summer vacation, the scenery, regional characteristics, features of each location, and their relevance to the story.

These factors ultimately decided the Phantom Thieves' path through the locations featured in-game. However, there are many wonderful prefectures in Japan each with its own merits. If possible, I'd like to feature other prefectures in another story sometime.

Annette Polis: What prompted the more limited shopping experiences in Persona 5 Strikers, compared to the wider array of shops in Persona 5?

Kanada: The main reason was because this story is about traveling around Japan. Every time the Phantom Thieves of Hearts solve a case, they move on to the next city. With the exception of the Jails in the Metaverse, players can't return to a city once they move on. Therefore, it was necessary to create a situation where, within reason, players could solve a case and then confidently travel on without feeling like they'd left anything significant behind. In this sense, we aimed to create a game where there weren't too many shops and extraneous functions, but they would still serve their respective purposes by the time players solved a case.

Sekiguchi: When we proposed the concept of Sophia's character, and the setting detail of the personal assistant app EMMA being popular, we decided that the main shop would be via online shopping through Sophia. Considering how often players would be using the shop function, we wanted to layer it with a setting detail that would reinforce the narrative theme of "technology solving everything."

Lada: How did Joker's Kitchen become a part of the game? How did you determine which recipes to add to his repertoire?

Sekiguchi: Traveling in a camping car means cooking for yourself, doesn't it? (laughs) We believe the idea of a road trip full of cooking your own meals is fun, and part of the charm of traveling. The idea for the recipes came from the thought that since players would be traveling around the country, it would be interesting to learn of and then make local specialties. That also adds to the feeling of traveling and discovery. Some of the development team members are from the featured cities, too, so they were very excited about providing ideas. Ultimately, wherever the Phantom Thieves go, they're always going around and eating. (laughs)

Russell: While many traditional JRPG and strategy series have tried to convert to action in recent years (and most of them have stumbled as a result), Persona has retained its traditional battle style. Was a game like Strikers a way to explore this space while keeping the core series the way the fans like it? Are there plans to incorporate action elements in future Persona games?

Kanada: This being our first collaboration with Koei Tecmo Games and our first action RPG, it may indeed have been the culmination of our intent to explore the space while continuing to define the core series the way fans like it. However, the inclusion of the action aspect was the result of aiming for P5S to stand as its own experience, and there is no current intention to chase that direction for the future of the Persona series at large. My hope is that this will be considered a standalone action RPG, unique and defined by its own experience.

Russell: What was the last major change to the game during development? What prompted it?

Kanada: One of the most memorable things for me personally is the addition of the English version of the ending theme. Like many other titles, P5S contains a core theme or message. The ending theme directly addresses that message in its lyrics. That's why, in the Japanese version of Persona 5 Strikers, all the lyrics are in Japanese. We wanted this message to reach everyone who reaches the ending. Then, someone suggested that it may be a good idea to use English lyrics for the overseas version. We agreed, so we swiftly recorded an English version of the ending song and had it implemented into the game. You can see this in the Behind the Scenes within the bonus app. We hope players will reach the ending and have the chance to listen to it.

By the way, if you set the voice setting to Japanese, you can also listen to the ending with the Japanese lyrics.

Persona 5 Strikers is available for the Nintendo Switch, PlayStation 4, and PC via Steam.

The post Interview: Preparing Persona 5 Strikers and Maintaining Its Atmosphere appeared first on Siliconera.

2020 has been something of a transformative year for everyone at Siliconera. We joined the Enthusiast Gaming family and merged with Japanator. Our content expanded, bringing scored reviews to the site for the first time. Forums were brought online as another outlet for the community to come together and expand on discussions from our news posts and other featured content.

It's no secret that Disqus has been experiencing a lot of issues lately. There have been plenty of days where it just doesn't seem to be working. Sometimes the timecode is out of sync and trying to reply to comments is impossible. Other days, it flat out goes down for hours. Going forward, we have made the decision to close Open Thread in hopes that we see fewer Disqus errors.

What does this mean for our Open Thread users? On January 1, 2021 we will be permanently closing Open Thread. This is a difficult decision, as we know there are quite a few members of our community who visit OT. We ask that you utilize the forums and our Discord server instead. Please use this month to explore and settle in with our community platforms. Start a thread, share your art, tell us about your 2020 Game of the Year picks. We can't wait to see you there.

The post So Long and Thanks For All the Posts, Open Thread appeared first on Siliconera.

Dante, Niero, Vergil, and V are about to return. Devil May Cry 5 Special Edition is poised to welcome people to the PlayStation 5 and Xbox Series X this month. Ahead of the debut, Siliconera got in touch with Producer Matt Walker once again to discuss this entry in the series, what’s going on with Vergil, and if we’ll ever see a localization of extra materials like Before the Nightmare.

Kazuma Hashimoto, Siliconera: Both Devil May Cry 3 Special Edition and Devil May Cry 4 Special Edition had a short introductory cut scene, giving the player a vague idea of what Vergil has been up to usually before the events of the main scenario. Will we get something similar or even a few more cutscenes/story segments for Vergil in Devil May Cry 5 Special Edition?

Matt Walker, Capcom: Your intuition is right on the money! Making that comparison to DMC3SE and DMC4SE should give players a good understanding of exactly what to expect for DMC5SE.

Benjamin Maltbie, Siliconera: Devil May Cry 4 Special Edition added a concentration style which had a focus meter that charged by dodging and attacking, whereas running and taking hits depleted the meter. This helped set Vergil apart, and imbued his play style with a personality fitting of the character. Will it be making a return? Or will we see new meters and styles of play?

Walker: The Concentration gauge, and all of the gameplay nuances surrounding it are indeed back for DMC5SE. We’ve also tuned it so that it’s a bit easier to gain concentration this time around--including a new Trick Dodge. Vergil experts will have even more depth to explore with Vergil’s Judgment Cut End, Hell on Earth and his Deep Stinger. We’ve even added something that will help out beginners as well…

Hashimoto: In the trailer for Devil May Cry 5 Special Edition, we saw a brief segment where Vergil used the Yamato to separate himself from V--will V function as a summon in this scenario? Or will that activate a set period of time players will be able to control V?

Walker: That is precisely what I was just alluding to! Vergil now has a move called “World of V” that can be activated when he has enough concentration. When this is executed, Vergil separates himself from V with the Yamato, and V appears to summon Shadow, Griffon and Nightmare for a massively damaging area of effect attack--and when enemies are defeated by this attack they’re more likely to drop green orbs. So specifically to your question--it’s more of a summon.

Hashimoto: Will any of Vergil’s extra weapons (Beowulf, Force Edge, etc.) from Devil May Cry 3 Special Edition be making a return in Devil May Cry 5 Special Edition?

Walker: In addition to Yamato, Vergil does indeed still have Beowulf. In DMC canon, Force Edge eventually awakens to become the Devil Sword Sparda. Since Vergil doesn’t have this in his possession, he uses his demon power similar to the way he summons his Mirage Blades to summon a “Mirage Edge” that he can use for melee combat. You’ll also find with all 3 melee weapons that Vergil has some amazing added combo finishers when he’s transformed into his Sin Majin form.

Maltbie: Will it be possible to fight Dante and Nero as Vergil?

Walker: I don’t want to spoil anything, but similar to DMC3SE and DMC4SE, you are indeed playing the game from Vergil’s point of view!

Maltbie: Data miners found files hidden in the game months after the original’s release and pieced together a mod where they could play as Vergil. The character’s inclusion in past Special Editions had set up a bit of an expectation that he’d be available this time around, too. How long has the team been planning Vergil’s mode and moveset, and how do you keep the character feeling fresh from game to game?

Walker: We started planning Vergil’s moves and how Vergil Mode would play in earnest when we started looking into making DMC5SE, which was after DMC5 was released. To be completely honest, what modders found was remnants of a system used during development to test out Vergil’s moves as a boss in the game. More so than even the other bosses, we were very particular about Vergil, given his importance to the series.

In terms of keeping the character fresh, [Hideaki] Itsuno-san had this to say, “Both in terms of the game and in terms of the character, we like to make sure that the player’s image of Vergil stays intact--so we add elements that will ideally emphasize his uniqueness. While building on his uniqueness, we also take care to ensure that the ‘fun’ of Vergil doesn’t overlap with that of the other characters.”

You can see this in Vergil’s Concentration mechanic, how his Sin Majin form offers differing gameplay from Dante, and in the new elements we’ve built in such as his Devil Trigger summoning his doppleganger or the new “World of V” move.

Maltbie: Since Vergil is a direct part of the story in V, is this more of a non-canon feature or has any work been done to weave him in?

Walker: You can consider the new V move a way of us saying that V has not disappeared into the ether--that he’s a part of Vergil.

Maltbie: A lot of longtime fans had issues with Lady and Trish’s roles in the story--i.e., the heroines not being playable—what happened there and what’s the response to that criticism?

Walker:As a fan of Lady and Trish (especially Lady), my response would be that I understand the disappointment from folks wishing they were more in the forefront of DMC5. Since our focus was on exorcising the Sparda family’s demons for DMC5, they took a backseat in order for us to concentrate our time and effort on creating unique and compelling gameplay for Nero, Dante and V. As the female characters are still a vital part of DMC though, we did go through the effort of casting, creating costumes and scanning models to create them in the realistic graphical style  of DMC5. We really do hope fans enjoyed the scenes we were able to make, and we appreciate the ongoing discussions within the community about the series’ female characters.

Maltbie: Will any trans-media materials, such as the Before the Nightmare novel, have a chance at being localized? Especially now that light novels are more popular in English-speaking regions?

Walker: Personally I’d love to see localizations of media like Before the Nightmare! Those are all licensing items that we cooperate on, but are not directly responsible for, so it’s not my call, but we’re always curious to hear what our fans want from the DMC universe.

Devil May Cry 5 Special Edition will come to the Xbox Series X on November 10, 2020, the PlayStation 5 on November 12, 2020 in Australia, Japan, North America, and South Korea, and the PlayStation 5 in the rest of the world on November 19, 2020. The Vergil DLC will come to the PlayStation 4, Xbox One, and PC versions of the games on December 15, 2020.

The post Capcom’s Matt Walker Talks About Devil May Cry 5’s Vergil, Lady, and Trish appeared first on Siliconera.

Hi, everyone!

Today, we’re introducing a new, optional feature for our readers that will hopefully make browsing our articles easier for you and help support (i.e., pay) our writers and staff. Siliconera+ is a way to read and visit without having to deal with any sorts of ads.

We’re kicking things off with one tier and option. For $1.99 per month (or $19.99 per year), you’ll have an ad-free experience on the site.

However, we are working to offer additional options for visitors. We’ve taken input from surveys into consideration. Based on your feedback, we’ll offer two additional tiers with things like an email newsletter which goes over important stories and includes original articles, discounts at some stores, and opportunities to help choose which games we’ll stream and playtest. (To be clear, this would not influence which news stories we cover. People at higher tiers would only be able to help vote on which games we would stream for you or if we go out of our way to playtest certain games.)

We thank you in advance for your support and want to keep trying our best to provide the most up-to-date gaming news from Japan. We have great things planned, like more streams and our newly launched forums.

Thank you for reading!

The post Introducing Siliconera+ appeared first on Siliconera.

Last week, the much rumored Super Mario remaster collection for the Switch was confirmed during the September Super Mario 35th Anniversary Direct. While Super Mario 3D All-Stars is exciting, it might not exactly involve the Super Mario remasters, or even remakes, people might want. So we decided to think about which games we’d ideally like to see again.

I know it isn’t going to happen. I would like it to happen, but it won’t. But maybe, just maybe, we could get a Paper Mario as one of the next Super Mario remasters or remakes? Honestly, a remaster would probably be fine. The game looked great on the Nintendo 64, thanks to the artistic direction. But a remake that keeps the characterizations, combat system, and charm, but maybe touches things up a tad, would be wonderful. Please? - Jenni

I'm fully on the record about loving Paper Mario: The Thousand-Year-Door and want more people to play it, but if I'm wishing something into existence, I'm going to pick something that would truly benefit from the technical aspects of a remake or remaster and that game's great as-is. Also I think a lot of you would get mad at me for trying to pick the GameCube version of NBA Street V3, even though it totally deserves it. So instead, I'll go with Dance Dance Revolution: Mario Mix! It's a whimsical and highly accessible entry in the rhythm franchise that could very much benefit from better audio quality, fresh pads and all the lag settings needed to play music games on modern displays. - Graham

I'll be honest with you all here... the only time I truly enjoyed Mario games much was in the SNES era. Barring Super Mario Kart--which effectively received a game with every new console--I also played Super Mario World, Super Mario All-Stars, and Mario Paint... But I dared myself to put up Mario Is Missing here. I remember how my parents loved it so much for teaching me about the world's famous landmarks. I think it would be interesting to see a remake where the cities are made to be more accurate with the same level of detail as Odyssey's New Donk City. - Kite

I have to confess... I've never been a huge Super Mario fan. I'm terrible at platformers, and I have little patience to boot. I always enjoyed watching people play them, but I was never a huge player until I discovered Paper Mario: Sticker Star. (I never had an N64, so I missed out on all the classic Paper Mario titles.) That said, though, I have a major nostalgic cling to Super Mario Bros. 2. I loved the idea of throwing vegetables, I loved picking whichever character I wanted, and I especially loved that it wasn't about saving a princess from a monster. I'm not sure how a remake would look, but I'd love to see Nintendo try. - Keri

I need more proper Wario Land games in my life. Why not start with an update to his debut game, Wario Land: Super Mario Land 3. Yes, I know this isn't a Mario game to nominate as a Super Mario remaster or remake, but it is a "Mario" game. Hear me out. Wario games were fun before they turned into collections of mini-games. I loved the familiarity of Mario platformers with an anti-Mario. Captain Syrup was a real goal of mine back in the 90s when I devoured this game on my Game Boy. I need a new Wario (not Ware!) game for the Switch just as badly as we need the OG Paper Mario and Thousand Year Door on the Switch. Which was yesterday. - Annette

Super Mario 64 is an absolute classic, for sure. But considering all the extra content that the DS version added in, I can’t believe a remake or remaster hasn’t been considered. There are fun twists to the game, such as being able to play as Yoshi in a 3D free-roaming title for once, and there are extra bosses to fight to unlock the extra characters. While it’s true that there were some compromises made for the game, such as needing a run button or the touch screen, a remake could solve these problems and possibly give those who missed out during the DS days a new way to play the eternal classic. - Alistair

I know that chances of this one happening are really low, but there aren't many things I wouldn't do to get a remake or even a proper remaster of Super Mario RPG: Legend o the Seven Stars. Purists might say that it was perfect the way it was and a part of me feels that way too because it kind of had a charm of its own. However, I always appreciated all the small details about the game which I think would shine much better in an updated release. I always enjoyed the animated expressions from the characters in Super Mario RPG, and that's something we've seen carry over to the Paper Mario series, but I think we could still have something special from it with a modern touch. - Sato

The next Super Mario remasters will be Super Mario 3D All-Stars' Super Mario 64, Super Mario Sunshine, and Super Mario Galaxy.

The post Siliconera Speaks Up: Mario Game Remasters and Remakes We Should Get appeared first on Siliconera.

There are certain things Final Fantasy Crystal Chronicles is remembered for. The unique gameplay elements and ability to play with Game Boy Advances back in the day is one. The incredible music is the other. Some consider it among the finest Final Fantasy music ever written. Siliconera was fortunate enough to ask composers Kumi Tanioka and Hidenori Iwasaki and Donna Burke, the narrator and singer behind "Morning Sky" and "Moonless Starry Night" some questions about the Final Fantasy Crystal Chronicles soundtrack and what it was like to come back to it so many years later.

Jenni Lada, Siliconera: What was it like to return to the world of Final Fantasy Crystal Chronicles so many years later? How did you get back into the right mindset for the remaster?

Kumi Tanioka: Final Fantasy Crystal Chronicles is a game that I have continued to truly cherish, so I really had a wonderful time revisiting the world and its music. There was a sense of nostalgia, but there were also instances where I’d realize something I hadn’t before, even though I’m the one who composed the music. It made me notice certain things that I had done back then, so the undertaking was also fun in that sense.

When working on the remaster, I didn’t really switch my mindset; I simply listened to the original soundtrack numerous times to recall my memories, so it almost feels like I was preparing the new songs and remake tracks so that they’re in line with the feelings and thoughts I had back then.

Hidenori Iwasaki: The experience was filled with nostalgia. I was, once again, working through the files I created 17 years ago after all. Fortunately, all data, including music and materials, were stored in my Mac in almost perfect condition. Therefore, it allowed me to jump straight into the project as though I was working with the files I had just opened yesterday.

Lada: Part of what makes the soundtrack so special is how it builds on itself and maintains connections between tracks and areas. How did you determine what musical threads to piece together?

Tanioka: It’ll be a long answer if I delve into which tracks and in what way, but at the beginning, I start by understanding the flow of the game, and consider which tracks will play after one another and which tracks will be heard most often before diving into production. But there isn’t much I do aside from that. During production, I think there were hardly any instances where I checked the flow of the songs using the game’s debug. Perhaps it’s closer to say we’d been fortunate to see them tie into one another naturally.

Iwasaki: If that’s how people feel, that would make me very happy. I think the biggest reason comes down to Ms. Tanioka’s music simply being wonderful, but specifically speaking from my standpoint as the synth operator and arranger, I think it was good that the tones were decided based on a concept that was clearly defined upfront, including: only using period instruments to perform all tracks, using medieval rather than modern percussion instruments, using instruments that generate an air of simplicity for anything else, and only using the synthesizer for choirs or spaces like dungeons.

Kazuma Hashimoto, Siliconera: The Final Fantasy Crystal Chronicles soundtrack is, without a doubt, one of the more memorable ones in the series due to how it has implemented use of medieval instruments, like the crumhorn. What inspired you to use these instruments in your compositions?

Tanioka: I’d have to say the presence of the Roba Music Theatre was huge. While the game carries a harsh theme encompassing a journey to survive, the overarching atmosphere from the characters, scenery, and scenario have a gentle aura, so in order to instill that in the music, from the very beginning I had envisioned using various folk instruments to create songs that felt genre-less. Meanwhile, Mr. Iwasaki, who handled the arrangements, found the Roba Music Theatre and I was drawn to them immediately thinking, “This is the world we’re striving the achieve!” The music for Final Fantasy Crystal Chronicles was born, thanks to Mr. Iwasaki.

Iwasaki: I’ve always liked folk and early music, and I took Irish fiddle lessons from a Canadian person once a week with Mr. Uematsu and others. Amidst that, it was around the year 2000 that I came across the Roba Music Theatre, a music group that specializes in playing period instruments. Their albums only used instruments like the crumhorn, gemshorn, hurdy-gurdy, and recorder, but it didn’t sound tiresome as it is often the case for early music; these were sounds that children would even perceive as cute and fun. I wanted to incorporate this type of music into a game someday.

And, when we were preparing to create the music for Final Fantasy Crystal Chronicles around 2002, I invited the composer, Kumi Tanioka, to see the Roba Music Theatre perform and we went to see their concert together. Reason being, I felt that the memorable melodies she creates, and the Roba Music Theatre’s performances would resonate well with one another. She also ended up enjoying the Roba Music Theatre’s performance very much.

Thereafter, we were fortunate to hear that the Roba Music Theatre would take on the performance for this project, and that’s how the Final Fantasy Crystal Chronicles’ music was born.

Hashimoto: Did the scenario and world of Final Fantasy Crystal Chronicles Remastered Edition influence your instrumental decisions? What part of the world or character made you go,"Of course, the crumhorn!" for a track?

Tanioka: The overall soft color scheme and character details, their comical actions, their gentle presence, or seeing them tremble with unspeakable anger… I feel that those types of things matched the nostalgic and gentle tone of period instruments. Also, the characters’ faces were cute, but more than that, they gave off a strong “gentle” impression and I think that was another big point of inspiration.

Iwasaki: Although this overlaps with my earlier response, at the beginning, we decided to limit instruments to period instruments, so they were selected within those boundaries. The Roba Music Theatre, the group that performed the music, also provided many suggestions based on their take on interesting instruments.

And, there were also many instances where they added further arrangements and instruments on their end. The saz, a guitar-type instrument from the Middle East, in such tracks like the one used at River Belle Path is an example of something that didn’t exist in the original version. There is nothing more useful than receiving advice from the experts themselves, and the majority of their suggestions were incorporated.

Lada: Which songs would you especially consider your favorites? What do you love most about them? Were there any special stories behind their creation?

Tanioka: It’s quite difficult to choose since my feelings towards them are so strong, but “Maggie is Everything” and “If It’s Three People…?” are pieces that I wrote relatively smoothly. It’s quite fun, creating tracks like these where they’re comical and funny, but kind at the root.

In contrast, I remember struggling to come up with an idea for “Monster’s Dance”, and after contemplating for a few days, the motif suddenly came down and I was able to compose it in one fell swoop after that.

Iwasaki: I like the music for the River Belle Path. It’s so soothing, just listening to the melody that plays out on the alto recorder, and the rhythm kept on the saz. Ms. Tanioka created the original version in G-sharp minor, but the key was changed to A minor in the final version so that the music could be performed on period instruments.

The music for Tida is the first piece I created after joining Square, so it’s quite memorable. I played the melody on a flute for the guide track, but when the Roba Music Theatre listened to it, they mentioned the faint/raspy sounds (the noise-like sound that’s generated as air leaks out when someone who doesn’t excel at playing blows into an instrument) are good, and suggested using it as-is, so it was directly used in the game. For the Remastered Edition, we switched the melody from the flute to Bulgarian Voices, a specific type of traditional Bulgarian vocal performance, so please try listening to the track as well.

Lada: The remaster presented an opportunity to return to potentially unused tracks. How much work went into preparing them for this more widespread release?

Tanioka: Unfortunately, there weren’t any unused tracks (laughs). Therefore, the new songs were newly written. That said, in order to regain the state of mind I had back then, I listened to the original soundtrack again and recalled the Final Fantasy Crystal Chronicles universe, characters, and story when composing the new songs; the process didn’t take too long, though.

Iwasaki: The original music files were stored in perfect condition, so not much time was needed for preparations. I think we were involved in development for over a year, but in terms of the actual work done, it probably netted out to three months or so.

Lada: Which track are you most excited for people to hear and why?

Tanioka: Honestly, my heart is pounding to see whether everyone will react favorably towards the two new songs as music for Final Fantasy Crystal Chronicles.

You can also compare the remade and remixed tracks to their original versions and see how they’ve changed; I’d be happy to see people enjoying the music in this way.

Iwasaki: Perhaps the new boss battle track. This is the only track that had been arranged with a slightly more current rhythm and flashier sounds, but it still properly retains the original universe, so I’m looking forward to seeing how players respond to this piece.

Joel Couture, Siliconera: How does it feel to know fans are still looking forward to listening to music you recorded over fifteen years ago?

Tanioka: I am very happy and honored. All the tracks are so special to me as well, but just thinking the music may have remained in the hearts of everyone who has played Final Fantasy Crystal Chronicles makes me overflow with joy.

Iwasaki: It’s something to be truly grateful about. We’ve been lucky (laughs). Normally, we compose music without knowing whether the game will sell or not. Regardless of the game, we always strive to put our all into creating the music so that it can be enjoyed by our players.

That said, in actuality, if the game doesn’t sell, the music could disappear without it being known by anyone, even if the composer feels certain pieces turned out very well. And, it’s probably safe to say that those instances are more common.

Therefore, I have been very lucky and am very grateful to have taken part in the creation of music that players look forward to this day, even after more than 15 years have passed.

Couture: What was it like returning to Final Fantasy Crystal Chronicles after so many years?

Donna Burke: What a gift! I love how the important elements of the game have been retained and then expanded on to become even more beautiful to look at and play. It’s always been sad for me that not many people got to play it when it first came out. It was a cult classic but not universally known. Fast forward to 2020 and now it’s going to be a mainstream classic!

Writing new lyrics for “Morning Sky” was an unexpected treat too which I hope fans will get a kick out of. I think the new version is more anthemic and even more inspiring than the original. I like that it acknowledges the diehard fans that played it seventeen years ago and asks them “Fifteen memories, do you still recall those stories?”

I’m also delighted that I got the chance to sing new versions because now I have more experience and depth to put into my performances. I still like listening to the original versions but it’s nice to get another crack and try a different take!

I noticed that I am more confident and commanding in this new version... or is it that now I’m older, I’m more bossy… or more loud? I dunno, maybe both!

Lada: How did acting as a narrator here compare to other game roles where you acted as a narrator or announcer?

Burke: I think the narration here has a lot of motherly tones and humour. I think it is closer to the announcements on the Shinkansen than a fighting game or robot voice!

Lada: What kinds of challenges do you face when recording English versions of Japanese theme songs? How do you approach them?

Burke: That’s a great question. If you look at the original Japanese lyrics, they need more melody to say less. So, when you go to adapt them into English, you have to pad them out about 30-40%. I’m fortunate that Japanese lyricists understand this and allow me some license. So you’re never cutting to fit a melody, you’re having to pad things out.

My adaptation is not a direct translation of the Japanese lyrics but a faithful attempt to create the same feeling in the listener.

I also have a useful trick where I submit the first draft as a “rough, very rough, no worries if you hate it” version, so that they can get their knives out with gusto without worrying they’ll upset me!

Part of my success and longevity as an artist is that I aspire to be “easy to work with”. That’s why I keep getting more work. It’s that I pretend to be nice on the job and then I go home and if needed, shout into a pillow. But working in Japan is really fun--just look at the photos of Ms. Tanioka and I at the recording! Proof!

This interview was lightly edited for clarity.

Final Fantasy Crystal Chronicles Remastered Edition is available for the Nintendo Switch, PlayStation 4, and both Android and Apple iOS devices. The soundtrack is available through Square Enix's online storefront for $34.99.

The post Talking Final Fantasy Crystal Chronicles Remastered Music with Tanioka, Iwasaki, and Burke appeared first on Siliconera.

It isn’t often we see new Vanillaware games. That’s because of the time that goes into the art direction and their design. 13 Sentinels: Aegis Rim, for example, was announced back in 2015, launched in Japan in November 2019, and is finally appearing worldwide in September 2020. It’s a detailed affair, and Siliconera staff members were able to ask Atlus Producer Akiyasu Yamamoto about what went into creating the game, its characters, and the technology and kaiju they face.

Josh Tolentino, Siliconera: Which works most inspired you when coming up with 13 Sentinels: Aegis Rim's concept, and how did your past games influence it?

Akiyasu Yamamoto, Atlus: Back in 2013, when the idea of the game was originally pitched, [George] Kamitani-san mentioned that he really wanted to take the battle portion of GrimGrimoire on the PS2 (from NIS) and update it to his liking, so he took this title as a creative challenge of sorts to elevate that foundation, rather than building something entirely new from scratch. He’s also always said he absolutely loves StarCraft, so we agreed to move forward with an RTS system with relatively easy playability and simple tower defense structure.

But yes, this title really, truly includes a lot of homages. While I’m constantly amazed by Kamitani-san’s breadth of knowledge, as shown by the various motifs he woven into Odin Sphere and Dragons Crown, as well his humility (not to mention hunger and drive) that he puts towards the creative process, this game in particular was made almost as a mosaic that includes all the things Kamitani-san loves. Some of those referenced stories aren’t things readily accessible in our region, even with digital archives and streaming.

In a way, I think rather than using them as a way to appeal to a broader audience, the homages in the game are cemented in Kamitani-san’s strong proclamation to the world: “I just love this stuff!” But I personally would love to see players enjoy the game in all kinds of ways, even including the speculating and debating whether twist A was inspired by classical sci-fi story B, etc.

Jenni Lada, Siliconera: What sorts of challenges did you face when creating such a large cast of characters and how did you ensure they would all fit together in 13 Sentinels: Aegis Rim’s story?

Yamamoto: This game utilizes a system that hasn’t been implemented in our previous titles, so it’s hard to draw comparisons to other ATLUS x Vanillaware games and explain it concisely. This game was actually built not on the traditional notions of a “game,” but rather the feelings of excitement and suspense that American thrillers and dramas thrive on. Where you don’t fully understand what’s happening, but that keeps you excited to find out what’s about to happen next and uncover the truth.

That being said, even the most well-known and ambitious TV shows still have their stories sectioned off into seasons, with around 10 episodes packed into each one. This allows creators to really hone in on how to tell a compelling story, and keep their audience invested in the plot over a prolonged period. In a fully packaged game experience, the audience expectation is that the story will reach a full, satisfying conclusion by the end of it all.

So with an ambitious narrative like this one, which involves numerous elements foreshadowing mystery after mystery, the fact that we were able to tell one complete story and fulfill that promise within this constraint-- spanning 13 playable characters, as promised in the title of the game-- is an extraordinary accomplishment that we are all very proud of. This is a game we’re confident in bringing to you all, so we very much hope you enjoy playing it as much as we did making it.

Annette Polis, Siliconera: How did you handle kaiju and tech in all three time periods and show their evolution and growth in each era?

Yamamoto: Considering what a tonal departure this game is from previous ATLUS x Vanillware titles, it may come as a bit of a surprise, but this game has actually been nominated for the Media category for the Seiun Awards, the Japanese equivalent of the Hugo/Nebula Awards. Kamitani-san himself has always said that this game includes everything he’s always loved about the sci-fi genre ever since he was a young student, including kaiju and robots. It’s structured so players can make their own connections and speculations about where a certain idea might have emerged from, only to be blindsided by twist after twist as they continue to solve the various mysteries presented within the game. I personally think that the biggest appeal of the game is precisely how you can’t ever predict where the story is heading, even as you gain a clearer understanding of how the various aspects of the story interlock with each other as you progress. Regardless of how well-versed you are with the sci-fi genre, it’s also designed to make you experience a sort of déjà vu, where certain parts of the game will surely trigger a sense of familiarity and comfort within you, reminiscent of the grand sagas you already like. To those who love North American TV shows like we do, those who love games, and those who love sci-fi, we hope you can try 13 Sentinels: Aegis Rim, and make it a global sensation that truly transcends borders. Thank you so much for all your love and support!

Thanks to Akiyasu Yamamoto for answering our 13 Sentinels: Aegis Rim questions! Responses have been lightly edited, i.e. paragraph breaks were added, for clarity.

13 Sentinels: Aegis Rim will come to the PlayStation 4 worldwide on September 22, 2020. It is immediately available in Japan. Its manga anthology will appear in Japan in September 2020, and a Iori Fuyusaka figure and Nendoroid are on the way.

The post Interview: Understanding 13 Sentinels: Aegis Rim With Atlus’ Akiyasu Yamamoto appeared first on Siliconera.

It is a big year for games. I mean, both the Xbox Series X and PlayStation 5 are about to make their debut in 2020. Which means the 2020 holiday season will be packed with Xbox Series X and PS5 launch games. Difficult decisions will have to be made. However, we already know some of the titles we can’t wait to play.

Listen, if you told me a Yakuza game would end up being a launch title for a console in the west, I’d have called you crazy. Hell, if people had told me years ago that we’d consistently see localizations of Yakuza games and have people like George Takei would be involved, my eyes would roll back so far into my head that they’d get stuck. (Just like my mom claimed they would!) But here we are in 2020, with Yakuza: Like a Dragon as an Xbox Series X launch game. It’s pretty cool, and I would love to meet Ichiban while using a whole new system. - Jenni

Launch games tend to fall into three categories. The first: rushed AAA-style games and ports meant to show off the tech of the system that may or not have forgotten to include the fun part. The second: tech demos for new system features that are slightly expanded to justify selling them. The third, though? I like the third: quirky games that do nothing special with the new hardware but use the opportunity to find an audience. Like Snipperclips! There are some very nice toasters out there that can probably run Bugsnax, but that doesn't mean I won't enjoy playing it. - Graham

It has to be Bugsnax. The theme is catchy, the wildlife quirky, and I'll get to live my dream of having curly fries for arms. But I'm also into that Control Ultimate Edition with all the bells and whistles. Seems like a good time to finally pick it up. I've been dying for more Alan Wake related gaming experiences so why not break in my PS5 with this one? - Annette

Of all the next-gen titles that have been announced so far, Gran Turismo 7 is the one I'm the most excited to play right now. The simulation mode with a city map brought me back to my childhood when I used to play the same mode in Gran Turismo 2 and 4 a lot. I can't wait to experience that life of virtual racing once again! But if Gran Turismo 7 doesn't show up around the launch window (and neither does Scarlet Nexus), I'd rather wait to see if there will be more new Japanese games for PS5 revealed by next month's Tokyo Game Show Online. - Kite

I’ve been intrigued by Ghostwire: Tokyo ever since developer Ikumi Nakamura revealed it back at E3 2019, and I only grew more interested when we got a better look at gameplay during the PlayStation 5 event. I’m pretty interested in seeing how they adapt yokai and other Japanese mythical horrors into the FPS genre, especially it seems to be taking on a more pop-like aesthetic rather than a spooky one. Hopefully it pans out to be as good as it seems! - Alistair

It's unsurprisingly on-brand for me that the game I'm most excited for on next gen consoles is one from 2009. Demon's Souls is promising to take me back to the land of delightful punishments, allowing me to experience its cruel depths and ruined castles with some pals for the first time in a verrrry long time. I am beyond pumped to die horribly a few thousand times from stupid mistakes while my online allies just shake their heads at me. - Joel

Anyone who knows me at all will know my pick for PS5 launch games without batting an eye. I'm an unapologetic fan of the Assassin's Creed series. I like the older games, and I love how the games have shifted to the RPG-format. We've tackled both the Egyptian and Greek mythologies, and I'm beyond excited to delve into the Norse mythology with Assassin's Creed Valhalla. I'm not sure how a Viking is going to be Sneaky Sneakerson, but I can't wait to find out. - Keri

I gotta say that this is a pretty strange generation to be excited specifically about games appearing in the launch window, especially when so many of the titles we know about so far are either confirmed for the other platform or even for the previous generation. When it comes to the PS5 and Xbox Series X, it feels less like making a generational leap than timing a hardware upgrade, which, to an extent, is what both of the competitors are intending. In any case, aside from what my fellow editors have mentioned, I am looking forward to seeing more of JETT: The Far Shore. I didn't even think that Superbrothers were still making games, making it especially exciting to see that they planned one for this year, and that it had spaceships to boot. Better yet, it looks to be a stylish saga of space exploration, as players control what look to be a group of fantasy astronauts on a quest to "carve out a future for a people haunted by oblivion and propelled by dreams".  - Josh Tolentino

The post Siliconera Speaks Up: The Xbox Series X and PS5 Launch Games We Most Want to Play appeared first on Siliconera.

Hi, everyone! Siliconera is adding a new type of article. Every once in a while, for major releases relevant to the site, we’ll be conducting scored reviews.

So, what does this mean?

How often will we see Siliconera reviews?

Siliconera will remain 90-95% news, with about one feature each day. That feature could be an interview, a playtest or a review.

Reviews will not appear at the same frequency as interviews or playtests. There will never be more than one review per week.

A game could get a review, then also get more focused playtests in the form of guides or closer looks at more specific parts of a game. However, a playtested game might not get reviews.

How will Siliconera get review copies?

Review copies, unless noted, are provided by the game's publisher or developer. However, there will be no undue influence on reviews. In addition, we will not conduct any playtests or reviews on games for which there is a conflict of interest.

At the end of every review, we will also fully disclose whether we received a review copy.

What will Siliconera’s review scale look like?

Siliconera will have a ten-point review scale with no halves or decimal points.

1. A score of 1 means that a game is completely broken, to the point that it is unplayable.
2. A score of 2 means that a game may work and not be broken, but there are points where it is irredeemable and not worth playing.
3. A score of 3 means that a game probably has one interesting aspect. Maybe the soundtrack has some real bangers. There could be one character with an interesting arc.
4. A score of 4 means we are looking at a game that, if the price is cheap enough, could be worth it. It probably isn’t great. It is very likely tedious. There could be an okay story or maybe there’s an interesting skill tree system. It is worth acknowledging, but maybe not owning.
5. A score of 5 means we’re looking at an average game. It won’t be earth-shattering, but it works and can sometimes be fun. Especially if you like its genre or someone involved with its development.
6. A score of 6 means that the game might be really appealing to someone who likes that developer, genre, composer or artist. But it won’t be perfect, and people who don’t have some sort of connection going in might not be feeling it.
7. A score of 7 is considered good. It might not be on entirely solid footing, but it’s a game that will be of interest to fans of the genre and maybe have something that catches the eye of people interested in similar genres.
8. A score of 8 means we absolutely recommend it. Even if you don’t like the genre, you might really like it! Things really come together, and there’s not just one element that’s special. The whole game is great.
9. A score of 9 is a fantastic game. If you own the system it is on, you should own the game. It might even do something special for the genre as a whole. If you get it, even if you normally don’t like that kind of game, you will very likely have a good time.
10. A score of 10 is a game everyone should play. If you don’t have a system it is on, you should consider getting that system. It does something important and notable for the genre. It might need a patch or two, as games don't need to be totally perfect to achieve this core, but it is otherwise remarkable.

What happens if a major patch or update is released that significantly changes a game?

Should there be a major change, Siliconera will have a follow-up playtest going over the alterations. If it is enough to merit a review score change, we will add a paragraph to the review explaining the updates, assign a new score and offer a link to the playtest update going over the changes.

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