Category: Games

Editor’s note: Persona Q2: New Cinema Labyrinth is out now in Japan, but hasn’t been confirmed for the West yet.

There are few things I love more than the Persona franchise. Each of the separate stories from Persona 3, 4, 5, and the spin-offs in between have brought me boundless joy, lessons learned, and unbreakable bonds with their respective cast of characters. However, I often see each game as its own contained world, as they all portray their own captivating struggles and triumphs. And I just as often wonder what it would be like if these characters met somehow, which is why I hold Persona Q: Shadow of the Labyrinth so dear. It retained the unique aspects that made 3 and 4 special and proved that it’s far from a game simply thrown together for the sake of fan service.

Naturally, I wondered the possibilities with Persona 5’s flamboyant Phantom Thieves, and how they could fit into the already-endearing crossover mix. Well, Persona Q2: New Cinema Labyrinth makes that dream come true. Its premise revolves around each crew getting stuck in a supernatural movie theater, which lends itself so well to the idea of three separate worlds colliding in a light-hearted, yet consequential fight for liberation of friends, both new and old.

As with any entry in the Persona franchise, mainline or spin-off, music plays such an immense role in creating a specific vibe. It’s the most important part of creating lasting memories of these games, and from what I’ve heard already, Q2 hits just as hard as everything else in this series.

Persona Q2 uses the familiar tried-and-true dungeon crawling mechanics from the Etrian Odyssey series, incorporating its non-traditional turn-based combat and challenging fights into the eccentric JRPG. You have to think differently about the sequence of turns and who’s able to perform what in relation to enemy agility and movesets, since turns don’t play out until all actions have been decided. And of course, the intricate system of persona fusion and party composition were factored in seamlessly in the first Persona Q game, emphasizing the strategic aspect of the original RPGs. With Q2, I’m hoping for another deft execution of that formula featuring tough fights that encourage devising clever sequences of actions each turn whether it be endurance-testing boss battles or normal encounters during exploration.

Persona Q2’s biggest challenge is in how it balances this monstrous list of charming personalities and dedicating enough time and opportunity to let them have their moments. The Phantom Thieves are the focus in Q2, but if the first Q game is any indication, I’d trust Atlus to devise ways to let everyone shine and remind me of why I loved them in the first place. The fact that the cheery, yet sassy female protagonist from Persona 3 Portable is being brought into the same timeline tells me that they’re pulling out all the stops to celebrate the past three games.

It’s an ambitious crossover that unites my favorite games, characters, and soundtracks in one place. It’s as if I had different groups of dearly beloved friends somehow meet each other, get along, and band together in a stylish fight for what’s right.

As with any entry in the Persona franchise, mainline or spin-off, music plays such an immense role in creating a specific vibe. It’s the most important part of creating lasting memories of these games, and from what I’ve heard already, Q2 hits just as hard as everything else in this series. It’s evident in the groovy new opening track “Road Less Taken” and the Persona 3 Portable-themed battle song “Pull The Trigger” that already has me hooked. There are plenty of remixes of familiar tunes, but when they’re paired with interactions between characters from other games, it brings a sense of cohesion that emphasizes the idea that they’re all in it together. I’m always quick to attribute these wonderful soundtracks to series composer Shoji Meguro, but hearing the voices from the lead artists from each original game (Yumi Kawamura, Shihoko Hirata, Lyn Inaizumi, Lotus Juice, and Mayumi Fujita) belting out their unique styles in brand new swing-inspired jazz-rock tracks hits me right in my feelings.

Persona Q2 is already out in Japan and it’s been tough not to peruse through the footage that’s already out there. Everyone is here. It’s an ambitious crossover that unites my favorite games, characters, and soundtracks in one place. It’s as if I had different groups of dearly beloved friends somehow meet each other, get along, and band together in a stylish fight for what’s right. This might be the 3DS’s swan song, and it’d be a hell of way for the storied handheld to end its tenure.

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I know Pokemon: Let’s Go Pikachu and Let’s Go Eevee have only just been released, and I’ve enjoyed diving back into Kanto all over again, but more than anything else that journey has just made me crave a brand-new adventure. Seeing old creatures brought to life in ways we’ve not seen before with the Switch‘s superior graphical capabilities was thrilling, and while the nostalgia Kanto carries with it is welcome, I feel a new region with all-new monsters would help use the Switch’s hardware in a more interesting way. It’s for that reason I can’t wait for the “core” Pokemon game for Nintendo Switch.

I’d also welcome the return of the traditional catching and battling mechanics, as well as the slightly more strategic elements omitted by Let’s Go, such as abilities. Forgoing random encounters in favor of physical Pokemon in the overworld was a masterstroke though, so I hope that remains in the “core RPG” Game Freak is working on for Switch.

Plus, how great will it be to play a proper Pokemon adventure on your TV? Being able to take a Pokemon game on the go has always been great–and of course, that will be no different on Switch–but I’d always dreamed of exploring Johto or Hoenn on a bigger screen with more powerful hardware.

Right now, we don’t know a huge deal about the upcoming Pokemon game for Switch. The Pokemon Company has confirmed the title will launch during the latter half of 2019, and that it’s working on a method of transferring old monsters to the new games.

“We’re definitely always thinking of that kind of forward-moving functionality, especially since we’ve introduced [Pokemon transfer service] Pokemon Bank,” Pokemon director Junichi Masuda told GameSpot in October. “Now, up to Ultra Sun and Ultra Moon, you’re able to store your Pokemon, and we know they’re very important to everyone. I mean, obviously, people would be very sad if they couldn’t use their Pokemon in a future game. So, it does get complicated when you talk about the details and we’re still figuring it out, but we do have plans to find ways to let players use their Pokemon in the next game.”

Neither The Pokemon Company nor Game Freak have actually stated whether the new Pokemon game will be a brand-new entry–or entries–in the series, signaling the start of generation eight, or if it will simply be a remake or “upper version” of a previous game. However, since Let’s Go Eevee and Let’s Go Pikachu are Pokemon Yellow remakes of sorts, and the previous games, Ultra Sun and Ultra Moon are upper versions of old games as well, it would be a surprise if the upcoming RPG was not a totally new game. With any luck, that means we’ll get to explore a new region with all-new creatures in just a few months! Roll on 2019.

Campo Santo’s Firewatch is one of my favorite games in recent memory. It tells a memorable, heartfelt story, exploring solitude and human relationships through a unique premise–You’re a fire lookout in 1989, and the only emotional connection you have is restricted to a single person on the other end of a walkie-talkie. Its art direction is superb, its music is evocative, and the way it comes together to tell its story is unforgettable. We heralded it as one of our top games of 2016, and perhaps unsurprisingly, a film adaptation is currently in the works.

Naturally, my love for Firewatch makes me incredibly eager to see the kinds of interesting things the Campo Santo team are going to attempt with their next title, In The Valley Of Gods. Revealed at The Game Awards in 2017, its sole trailer depicts another fascinating premise–Set in 1920’s Egypt, you play disgraced explorer and filmmaker Rashida, who is taking one last grand adventure to try and document the discovery of the tomb of Queen Nefertiti (which still remains undiscovered to this day). Rashida is joined by her former partner Zora, whom she has troubled history with.

On its face, the setup already reveals a relationship that I’m eager to see unfold–there’s a dynamic of codependence and trust required by two people who presumably have some serious issues with one another. I’m also curious to see how Campo Santo uses physical space and body language to explore this relationship. Creating compelling physical performances is going to be a new challenge for the team, for one, and the fact that you’ll presumably be in close proximity to Zora the majority of the time has me keen to see how the tension and dialogue ebbs and flows.

I’m also curious to see how the backstory is revealed and dealt with–if at all. Company founders Sean Vanaman and Jake Rodkin were directors on Telltale’s The Walking Dead, and the way that seminal first season handled the mysterious past of its protagonist Lee in the first few episodes made for an interesting dynamic–you had to embody and converse as him, despite not knowing anything about his past. Needing to paint your own a picture of him in your head with your own assumptions was a neat way to get invested.

Then there’s the overarching plot–I’m eager to see how the more grounded, historical mystery unfolds. Firewatch’s chronology was fragmented and told over a long period of time, and I’m presuming that the expedition of In The Valley Of Gods will be more concentrated and uninterrupted. Campo Santo have said in interviews that they’re aiming to take into account the real-world happenings in history, archeology, and technology of 1920, which I also look forward to learning more about.

The trailer revealed some kind of cinematography aspect to the game–Rashida and Zora are filmmakers, of course, and they’re documenting events with a 35mm camera. I’m curious to see how that mechanic ends up being implemented, and I’m eager to see what kinds of new dimensions that might add to what you might typically expect from a daring archeological adventure. Will players be able to frame the events of the adventure differently, and how might that impact the narrative and relationships between the characters?

Though the slated release window for In The Valley Of Gods changed from 2019 to “TBD” at some point, I’m still hoping to learn more about it next year. Campo Santo has been busy in the meantime, however. The studio was acquired by Valve Corporation (you know, the company behind Dota 2, Half-Life, and Steam) in April of 2018 and relocated to Seattle. This means that In The Valley Of Gods will be released as a Valve game. The team also worked on bringing Firewatch to Nintendo Switch, which released in December 2018.

Exploring ancient civilizations isn’t a unique premise in games, the Tomb Raiders and Uncharteds of the world have reveled in making the concept exciting and action-packed for a number of years. But In The Valley Of Gods looks like its take will be more grounded, where the major conflicts are more interpersonal and less… fatal, I hope. I know the team is capable of creating fantastic narrative adventures, and I can’t wait to spend time with Rashida and Zora.

We’re giving away free PS4 and Xbox One codes for Subnautica to twenty (20) lucky fans! (Scroll down to enter below.)

Subnautica is an underwater adventure game set on an alien ocean planet. A massive, open world full of wonder and peril awaits you!

This is not an instant win. No purchase necessary. Competition ends at 12:00 PM PT on January 7, 2019, in which 20 winners will be chosen at random and emailed a code for the full game (MSRP: $30).

Enter below:

More about the game:

Subnautica lets PlayStation®4 and Xbox One players discover a breathtaking, but perilous underwater world. An unexpected crash on a mysterious planet tasks explorers with scouring an alien ocean to locate vital resources, while escaping terrifying creatures who dwell in the deepest, darkest crevices of the sea. Each player’s journey through this immersive underwater world also allows them to catalog alien wildlife, craft equipment needed for survival and build a customized underwater base of operations