"Wherever you are, we'll meet again," artist Yumi Kawamura sings at the closing of the theme song "Our Moment." It's a track that beautifully captures both the joy of seeing old friends again and bittersweet memories left by Persona 3. It's a sentiment that rings throughout Persona 3: Dancing In Moonlight, a wonderful rhythm game that celebrates the great RPG by reuniting its charming cast of characters and putting its incredible, unique soundtrack in the spotlight.
The rhythm gameplay system first established in Persona 4: Dancing All Night returns; six button inputs border the screen and notes flow from the center out to the corresponding input. Double notes, holds, and DJ scratches (with the flick of the analog stick or with L1/R1) keep note patterns varied, and makes things delightfully hectic on the highest difficulty. There are plenty of beginner-friendly options as well with four difficulty settings and several modifiers for assistance. It's a fun rhythm system that's supported by note patterns that flow seamlessly with the fantastic tracklist--there's an undeniable satisfaction to nailing perfect combos as the audible claps, tambourines, and scratches sync with the beat of the song.
Yukari's on her way to a perfect combo and dance routine in front of the Paulownia Mall fountain.
I'll be the first to admit that there's a thematic dissonance between dancing in flashy outfits and Persona 3's darker tone, which might be off-putting for some die-hard fans of that game. Still, it's an absolute delight to be with the SEES crew again, reincarnated in 3D models in the same vein as Persona 5's art style. It's a reimagining of Yukari's cheerful demeanor, Mitsuru's stern attitude, and Junpei's goofiness. Everyone goes all out and dances with impressive fluidity, especially with how partner/group dances are choreographed with natural imperfections. I do wish we had the fearless squad member Shinji from the start, but he's available in a DLC track. And sadly, the ferocious, adorable Shiba Inu Koromaru and the Persona 3 Portable female protagonist are missing. Regardless, there's an overwhelming sense of joy in seeing these characters together again. And the fact that old locations are renovated with modern visuals makes them feel new--the Iwatodai Dorms, Port Island Station, Paulownia Mall, Gekkoukan High School, Tartarus, it's all here.
The remixes and remasters evoke not just a sense of nostalgia, but have a striking quality that breathes new life into the series.
Most of all, Dancing In Moonlight stands out with a tracklist that spans the course of Persona 3's history, which includes songs from Persona 3 FES, Persona Q: Shadow of the Labyrinth, and Persona 3 Portable. It gives a musical variety that's attached to so many great memories but that's also exciting to play. The remixes and remasters evoke not just a sense of nostalgia, but have a striking quality that breathes new life into the series. "Heartful Cry" has an unrelenting melodic-punk twist, and "Memories Of You" gets an electro-pop remix that remains heartfelt. "When The Moon Reaches For The Stars" and "Light the Fire Up In the Night" are have their full-length versions that slap harder than ever. The ending montage for "Brand New Days" and video for "Burn My Dread: Last Battle"--two songs on opposite ends of the emotional spectrum--capture their vibes perfectly. Even the Persona Super Live 2017 performance of the Persona Q boss theme "Laser Beam" made it into the tracklist. It may not be playable, but the song that fills the background during conversations, which samples the melody of "Our Moment" and the backing vocals of "Want To Be Close", is a soothing track that beautifully blends the old and new. Dancing In Moonlight carries the lasting impact of Persona 3's soundtrack.
Unlike Persona 4: Dancing All Night, there is no traditional story mode; outside of dancing, there are Social Events. The overarching premise is that SEES gets stuck in a dream state where Elizabeth from the Velvet Room asks the crew to dance their hearts out. It's silly, but it's enough to provide the context necessary for Social Events; a series of jovial scenes where characters simply banter. There isn't much in terms of new character development, though they do have a newfound determination to dance. Social Events play off of what you already know about the cast; Akihiko is still obsessed with getting stronger and counting calories, Aigis is still working her way around typical human mannerisms, and Fuuka continues to embrace her supportive role. It's wonderful to hang out with them again and watch conversations play out, especially since most of the original voice cast has returned--you also have the option for the original Japanese voice acting.
Still, it's an absolute delight to be with the SEES crew again, reincarnated in 3D models in the same vein as Persona 5's art style. It's a reimagining of Yukari's cheerful demeanor, Mitsuru's stern attitude, and Junpei's goofiness.
Unlocking outfits and accessories for your squad is also tied to viewing Social Events, so if you're into customizing their getups, it's further incentive to hang out. Outfits range from modest to utterly ridiculous; the Gekkoukan tracksuit and casual winter clothes look great, but putting Junpei into a snowman costume and Ken in a reindeer suit is hilarious. Social Events also provide motivation for playing in different ways since each character has specific conditions for unlocking their scenes, like passing songs using certain modifiers or wearing several outfits or accessories. It's well worth it, especially for the room visits. Even if it's just the team's dorm rooms, visiting these places in first-person brings to life characters you've known for years.
Compliments from Mitsuru are hard to come by, great work Fuuka.
Persona 3: Dancing In Moonlight puts the spotlight on one of the strongest parts of the entire series: the music. Its fusion of pop, rock, hip-hop, electronica showcases some of the incredible work of series composer Shoji Meguro and company. Dancing In Moonlight is particularly special because of the strong remixes and remasters of familiar songs, recreations of places we've been, and reimagination of characters we've long known. You may find the overall premise a little strange, but if you let loose--just as the SEES crew has done--you'll find a brilliant rhythm game weaved into an amazing, evocative soundtrack.
One of the most important pieces of the Persona series, and a major reason why we remember each game so fondly, is the music. Each mainline game and spin-off has its own memorable songs that encapsulate its defining moments. And with Persona 5: Dancing In Starlight, the evocative soundtrack that wonderfully captured the journey of Persona 5 is brought to the forefront for a fun, exhilarating rhythm game with its charming personalities taking center stage.
Here, the rhythm gameplay system used in Persona 4: Dancing All Night makes a comeback. As songs play, you're tasked with hitting the corresponding notes that align with the six button inputs that border the screen. Notes come from the center and move outward to the corresponding input, with unison notes, double notes, holds, and DJ scratches (using the analog stick or L1/R1) keeping you on your toes. It's a system that's beginner friendly with lower difficulties and assist modifiers, but wildly challenging on the highest difficulty. There's an incredible satisfaction to nailing perfect combos as note patterns flow seamlessly with the tracklist. The audible claps, tambourine shakes, and scratches that come from these notes mesh impeccably with beat of the song. It's not far off to say that you feel the rhythm when note patterns start to come naturally as you grow familiar with each track.
A perfect combo and dance routine in the song "Price" for Makoto Niijima.
The style and swagger of the Phantom Thieves bursts at the seams in Dancing In Starlight; it's seen in a wink, nod, or smile as they move in ways that fit their personalities. They'll be getting down in familiar locations like Mementos, Shibuya Crossing, and Shujin Academy. Even deep within hostile palaces, they express themselves by going all out on the dance floor with an impressive fluidity. Tandem dances in Fever Time and group dances are choreographed with a natural imperfection, supported by the eclectic soundtrack.
The style and swagger of the Phantom Thieves bursts at the seams in Dancing In Starlight; it's seen in a wink, nod, or smile as they move in ways that fit their personalities.
The theme song "Groovy" is so beautifully drawn and animated that the unapologetic confidence of the Phantom Thieves comes through vividly--it's an inspiring microcosm of the original game's attitude. A number of hard-hitting songs like "Rivers In The Desert", "Blooming Villain", and "Yaldabaoth" are featured here alongside the more calming tones of "Life Goes On" and "Tokyo Daylight". And, of course, the best palace theme "Price" features Makoto throwing it down in front of Kaneshiro's bank in the Metaverse sky. The masterful fusion of jazz, pop, metal, and rock make for a great playlist that feels like a trip through the struggles and triumphs of Persona 5 all over again. There some decent remixes, like the house-style version of "Whims Of Fate", but many are a little underwhelming, such as the "Beneath The Mask" remix that doesn't quite make the same impact for a rhythm game. That's not to say they're bad songs, but with the bar set so high, you wish they had a bit more punch for the gameplay to thrive on.
There are also a few shortcomings in Dancing In Starlight when it comes to presentation. "Life Will Change", an empowering song with infectious conviction is paired to a fairly cheesy music video. But what's much worse is that the female cast members (who are also high school students) get oversexualized in the Last Surprise music video, which is some sort of bizarre burlesque show that's out of touch and wholly unnecessary.
Dancing In Starlight doesn't feature a traditional story mode, unlike its predecessor Persona 4: Dancing All Night. However, there are Social Events, which are scenes of dialogue where characters banter--these play out similar to a visual novel-style of Confidants in the original game. The overarching premise is that you and your crew are stuck in a dream state dictated by Caroline and Justine of the Velvet Room, and they're enforcing the one rule of Club Velvet: dance. Admittedly, it sounds silly, but it works to pave the way for some joyous moments in Social Events. You shouldn't expect much when it comes to further character development, although they embrace their newfound passion for dance. Conversations and references play off of what you already know about the cast; Ann's striving to be the next top model, Yusuke's enraptured by his artistic side, and Ryuji's as brash as ever. While these don't play into the high stakes and striking themes of the RPG, it's great to be with these characters again and watch the silly banter unfold, especially since the original English and Japanese voice casts return.
You're also incentivized to play in different ways since each character has specific conditions for unlocking their Social Events, like passing several songs using modifiers or customizing characters during your time playing. Viewing scenes grants you these cosmetics, too, so the game naturally guides you to seeing most of its features. And the conclusion to Social Events rewards you with room visits; even if its just the attic of the Leblanc coffee shop or a crew member's room, working towards them is worthwhile as you get to see familiar places in first-person and take a closer look at a world you thought you already knew.
The masterful fusion of jazz, pop, metal, and rock make for a great playlist that feels like a trip through the struggles and triumphs of Persona 5 all over again.
It might take some adjusting to the overall premise, but it's fitting to see this cast getting footloose across Tokyo and the Metaverse. Dancing In Starlight shines the spotlight on the original RPG's rich, wide-ranging soundtrack and highlights some of the best work from series composer Shoji Meguro. Although many of Persona 5's tracks struck a chord because of their evocative attachments to the events of that game, these songs come back around to remind you just how special that journey was. And the fact that these amazing tracks are tied to a great rhythm gameplay system make this game a fantastic new way to enjoy Persona 5's tremendous music and revisit the Phantom Thieves.
A good rhythm game knows how to get you moving to the beat, but very rarely does it require your full physical exertion in the way that Beat Saber does. On one hand, Beat Saber is a delicately designed rhythm game that uses simple mechanics in increasingly complex combinations. On the other, it's a full-body workout--one that demands you get up and move to the many beats of its drum- and bass-heavy songs. It's a wonderful use of both virtual reality and motion control, with only a few campaign issues and a slightly disappointing lack of content holding it back.
Beat Saber is easy to pick up and understand immediately. You're equipped with two sabers (lightsabers in all but name), color-coded in red and blue. Each song plays out as a track of similarly color-coded blocks, each of which have arrow indicators signifying in which direction they need to be cut. You slice and dice your way through multiple songs, many of which mix up both speedy repetitive patterns with long avenues of tricky swiping angles that test your reflexes; there are also small hazards like explosive bombs and glowing red walls that you'll need to physically avoid. With difficulties ranging from the slow and simple Easy to the frankly ridiculous Expert, there's a gentle curve that lets you engage with Beat Saber on your own terms--from a light, manageable workout to a true test of your mobility and reaction times.
PSVR support and the mandatory use of the Move controllers are what give Beat Saber its sense of motion. Beat Saber's blocks fly at you from the same starting point but can have wildly different trajectories that force you to stretch out to cut them. These can come whizzing past exclusively on your left-hand side before quickly transferring over to the right and flipping the pattern or alternate between low diagonal positions to a flurry of blocks flying overhead. The way Beat Saber continually uses rotations and last-minute position swaps gives its simple two-color system a lot of depth, which often requires deft motion tracking. The limitations of the PS4 camera have made this facet of PSVR tricky in the past, but Beat Saber features precise tracking, allowing for a high level of breadth to movement without impacting the feel of playing.
Beat Saber's songs do a good job of differentiating themselves from each other. "$100 Bills"" for example, is a satisfying exercise in pattern recognition that rides along a punchy bass track, while "Be There for You" shifts between slow and melodic verses into an adrenaline pumping chorus that uses devious pattern swaps to keep you on your toes. There's a lot of standard electro and alluring drum and bass, but Beat Saber does dabble in genres that you wouldn't immediately expect from its neon-brushed presentation and effects-heavy levels that elicit the feeling of attending an intense music festival. Coming across a new type of melody is refreshing after hours of dealing with similarly intense beats per minute, even if there aren't that many songs in total.
The PS4 version has five exclusive songs, each of which have tracks that fit their corresponding songs well and highlight their unique rhythms with clever block positioning. But on console, you lose the ability to download custom songs. Users on PC have been able to create songs using unofficial tools, greatly expanding Beat Saber's limited song library. There's more officially supported songs coming as paid DLC, but the selection is a little slim currently.
Modifiers alleviate the repetitive nature of the limited library to an extent. You can play songs with altered tracks that only allow you to use one saber or have directional arrows disappear as they get close to you. Only a handful of modifiers are available for each song, with an entirely new subset used in the game's campaign mode (which is exclusive to PS4 for the time being). These include challenges that ask you to not only complete a song but also move your arms to hit a collective distance travelled or achieve a high combo. Each of these pushes you to get better at songs you've likely already played, helping you inch closer to a perfect run in a natural way.
Some challenges are frustratingly counterintuitive, though. Certain modifiers will inexplicably limit the amount of movement you're allowed to make, which detracts from the energy that makes Beat Saber so exhilarating. Other modifiers that force you to keep below a certain combo or make a certain number of mistakes before the end of a stage feel obtrusive to your progress. They require you to actively play worse, manually breaking out of great streaks or purposefully making wrong moves in order to progress.
The campaign gives you branching paths to follow on your way to its conclusion, so some of these frustrating challenges can be avoided. But you'll have to engage with each of them at least once, and they are disorientating speed bumps in an otherwise exciting journey. But Beat Saber's campaign is an otherwise well-paced training ground for your growing abilities. Its difficulty ramps up fairly--you can't change it like you can in other modes--consistently challenging you while also gently nudging you out of your comfort zone so that you can improve.
Beat Saber is an exhilarating rush and an exhausting game to play in the best way. It has great music that is more varied than you might expect, complemented by smartly designed levels that marry their complex patterns perfectly to the beat. It's difficult to get bored of Beat Saber, especially thanks to its extensive campaign that pushes you to get better with each step up in difficulty. But that same campaign is also uneven at times with confusingly counterintuitive challenges, which might frustrate you to the point of taking a break. And when you do, you'll realize that Beat Saber is also currently thin on content, with only a handful of songs and no means to upload customs ones. Yet despite those flaws it remains consistently satisfying to play, and is certainly one of the best PSVR games you can buy right now.
Editor's note: We've now tested Nidhogg 2's Nintendo Switch port, and we're pleased to report it runs as smoothly as it does on other platforms. Plus, local multiplayer with a single Joy-Con each is, well, a joy. Unfortunately, a lack of online players mean you're often left waiting to join an online match, and the matches you do get into are often subject to poor connectivity. Regardless, Nidhogg 2 remains an accomplished local multiplayer game that is thankfully now available on the best console for local multiplayer. -- Oscar Dayus, November 26 2018
The beauty of Nidhogg was in its simplicity. Its minimalist style and two-button gameplay fed into what was a wonderfully streamlined and focused experience. With Nidhogg 2, developer Messhof has attempted to expand the multiplayer fencing game with more maps, different weapon types, and a busier art style, with mixed results. Some of the changes--particularly the weapon selection and grotesque aesthetic--prove to be distractions from what is otherwise an excellent party game.
Nidhogg 2's concept, as with the first game, is to stab your opponent and race past their decaying corpse onto the next screen. Your enemy will respawn on the new screen within a couple of seconds to once again impede you from reaching your goal--a giant hungry worm. You can jab your sword at any of three heights--head, torso, or... below the torso--or throw it for a long-ranged attack. Of course, flinging your sword leaves you vulnerable, as does attacking at the wrong height, which creates openings for your opponent to counter.
This was the meta-game driving the original Nidhogg's competitive gameplay--except now there's more pieces to the puzzle. The sequel introduces three new weapons: a thicker broadsword, which can be swung from either top or bottom to bat your opponent's weapon away but leaves you vulnerable in the middle; a dagger, which has a much shorter reach but allows you to stab more quickly; and the long-range bow. Arrows can only be fired in the middle or bottom and can be hit back in your direction, but they're by far the longest ranged weapons in the game that don't leave you defenceless afterward.
The expanded arsenal is of course designed to add depth, and it does: wielding a dagger for a few seconds can be a refreshing change after three years spent playing Nidhogg with just the same old rapier. But the game's fast-paced nature and its lack of warning as to which weapon you'll spawn with next means that you're often left frustrated that your attempted swipe of a sword failed because you happened to reappear holding a bow instead. You can change the order of weapons you'll spawn with in Tournament Mode, but even there the speed at which matches unfold makes adapting in the split-second respawn window a struggle. In addition, those customization options are not included in Quick Play, Arcade, and online multiplayer--a minor but strange decision given some may wish to turn the new weapons off entirely.
The introduction of weapon variety also impacts balancing. The uniformity of map design and character types creates a level playing field, but this serves to further emphasize each weapon's weaknesses. The dagger in particular feels very underpowered--it's tricky to use its speedier stab when your opponent has a much longer sword keeping you at bay. Similarly, arrows take too long to fire, meaning a quick opponent can easily gain the upper hand. Even if they don't, arrows are pretty easy to dodge, and you'll be too busy hammering the Square / X button out of frustration to take advantage.
The pulsating electronic soundtrack helps each stage feel as enjoyable, as varied, and as weird as the last.
Messhof has taken a similar "bigger means better" approach when it comes to Nidhogg 2's art style. The minimalism seen in the original is gone in favour of a style that, while still retro, is noticeably noisier. At times, the lighting is lovely, and the greater color range allows for much more varied locales than the original's monochrome level design. But the style also makes it harder to immediately see what's happening on-screen, and this lack of clarity is representative of the sequel overall. Possibly the only area in which the increased amount of content has benefitted Nidhogg is in those added maps. The original arenas have been rebuilt, and they're accompanied by a number of all-new locations. They contain a number of environmental hazards such as pits, moving ice, and long grass--as well as a pulsating electronic soundtrack--helping each stage feel as enjoyable, as varied, and as weird as the last.
Despite all the distractions, however, Nidhogg 2 can be brilliant. The original's tense, frantic, hilarious nature has not been diminished, and local matches offer some of the best same-room multiplayer around. I think my ear is still ringing from a friend shouting so loudly (repeatedly) after he beat me (also repeatedly). Nidhogg 2 becomes a sport: even onlookers get swept up in the tug of war the game evolves into, and you'll cheer or cry more in each swing of momentum than most video games manage to muster in a whole campaign. It effortlessly creates moments of nail-biting tension and in the very next room uproarious hilarity: in the moment, simply batting an arrow back at an opponent can seem like the most daring maneuver ever attempted, while falling into a pit immediately after a momentus kill can paralyze a room with laughter.
You'll cheer or cry more in each swing of momentum than most video games manage to muster in a whole campaign.
Each strike is lethal, and every inch of ground gained over your opponent feels like a huge step toward victory. The controls have remained as natural as they were in the first game, allowing you to plan and execute strategies with ease, making it perfect for group sessions even if some haven't played before. And when you figure out your opponent's strategy, exploit it, and just before they respawn you reach the finish line to win a tournament, it's exhilarating. I just hope my ear stops ringing soon.
Nidhogg 2, then, adds a lot without really adding much at all. The new weapons and busy aesthetic can frustrate, making the overall package feel less refined, but the core gameplay still shines through. Despite its problems, Nidhogg 2 is spectacular, engrossing, funny, tragic, and dramatic in equal measure, and it will no doubt become another party game staple. Nidhogg 2 sacrifices simplicity for more options, and it doesn't prove to be a good trade. But when the underlying action is this good, I'll put up with the odd unwelcome dagger.
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