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Following the breakout success of Metaphor Refantazio, Atlus’ only action-RPG gets a second lease of life on Switch 2 (and it’s pretty good, too)
Game Reviews

Following the breakout success of Metaphor Refantazio, Atlus’ only action-RPG gets a second lease of life on Switch 2 (and it’s pretty good, too)

by admin May 22, 2025


By now, you should know what to expect from an Atlus game. Whether you’re wading into the Boschian fever dream of Metaphor Refantazio or winding your way down the seven circles of hell in Shin Megami Tensei, Atlus likes it dark. Dark and weird. Unconstrained by the trappings of normalcy. A bit edgy and a bit juvenile, but all provocative and goth.

Raidou Kuzonha vs. The Soulless Army is no exception. The curious PS2 game (which enjoyed a 2006 release in Japan and North America, and 2007 in PAL regions) carries on Atlus’ fascination with the occult and the Satanic, but with one major variation from all the developer’s other titles: this one is an action-RPG.


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Now, you need to immediately get your brain away from the idea it’s a Soulslike, or anything similar. It’s more of a hack-and-slash, peppered with the need for strategic flourish. Unlike previous MegaTen games (and their use of the phenomenal Press Turn system), your protagonist, Raidou Kuzunoha, can attack with either his close range sword or his long range gun. But this wouldn’t be a MegaTen game without demons, so of course Kuzunoha can also summon two demons at a time to help in battle.

At launch, this game was fine. I’m a MegaTen sicko, so of course I played this as soon as it hit the PAL market (I also played the sequel, later, which is better in almost every way). It wasn’t anything to write home about, really, and the combat was grating more than it was inventive. But, oh my, how all that has changed now – nearly two decades later.

Coming to the Switch 2 at launch, Devil Summoner: Raidou Kuzunoha vs. the Soulless Army Remastered is a bit of a misnomer. What we’re getting here is more of an enhanced version, and one that actually feels like a natural and intentional growth of the original game. And do you know why that is? Because, somehow, many of the same developers that worked on Raidou and its sequel during the PS2 era are still at the studio.

This is Tsuchigumo, and I don’t think he likes you very much. | Image credit: Atlus

Yeah, I know, right? What’s effectively happened here is that Atlus has been able to say to its staff: “hey, remember that game you very nearly got right at launch in 2006? Have another swing at it. Load it with all those cool combat ideas you wanted, improve the systems, take what we’ve learned in the last 19 years and go wild”. And the result is an enhanced piece of niche role-playing history that plays better than ever.

First up, Atlus has remade the game’s pre-rendered backgrounds into actual 3D. Everything looked fine before, but now there’s more interactivity, more impetus to get off the beaten path (and, potentially, more to actually do – negating some criticism of the game’s short length from its release). Atlus has crammed more demons into the roster, too, meaning you’ve got more freedom in how you approach battles, as well as more options for summoning and fusing. Again, this feels like a direct reply to criticisms of the game’s small offering at launch in 2006. If you’re a MegaTen sicko, you’ll appreciate the additions of demons like Idun, Hayataro, and more from SMT:5.

The combat upgrades themselves – more status effects, a more streamlined menu, more movement for Raidou in battle, more control over your demons – all seem to have been retroactively added into the game from the second in the series. No complaints, here; Devil Summoner 2: Raidou Kuzunoha vs. King Abaddon improved upon the first game in nearly every way. It makes for a far better experience than the original game, and one that actually stands up pretty well in 2025. It’s not exactly going to blow newcomers away, but it’s novel – and a perfect ‘on the go’ kinda game to show off on the Switch 2’s fancy hardware.

I’ll defeat you with the power of friendship and this gun I found. | Image credit: Atlus

Another small quality-of-life thing that’s worth mentioning is the encounter rate. It’s been fixed. No more random encounters. Instead, demons are visible on-screen and you (sort of) get to choose when to engage. To make things even more engaging, we’ve got English voice acting, too… And you know what? It’s pretty good!

And that may be what makes this re-release so appealing to me, actually. The original Raidou games contain some of the most enjoyable, and memorable, narrative moments from any title Atlus has ever made. Yes, that includes Persona. There is a humour to these games that really works – and the interactions between Raidou himself and his familiar cat Gouto is a great example of good games writing: tutorializing whilst delivering story.

Your demons have all those powers outside battle (so you can reveal the hidden thoughts of NPCs – often vulgar, always funny – or roleplay as a detective to see more in a given scene). The weird, occult-leaning setting of 1920s Japan is fairly unique, and Atlus does well to dive into how curious it is, understanding that it’s a time of change, a time of anxiety, but also of excitement and growth. Having this coloured in with competent and fun voice-acting is something I didn’t know I needed.

Batles are a bit complicated, but once you nail the rhythm, they work well. | Image credit: Atlus

This is a far better product than I was expecting, honestly. The Shin Megami Tensei 3 remaster was fairly basic and barebones, but this… this is a shining example of how you can re-release a game some 19 years later and have it actually offer something new, and fix things that the original version lacked. After a brief preview, this has gone from ‘hm, that’s interesting’ to ‘oh, well I’m going to buy that, then.’ Your mileage may vary, of course, but I think this is a fascinating example of what Atlus can cook up with its legacy titles.

Now, where’s my Digital Devil Saga 1 + 2 HD Remaster, ey?



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May 22, 2025 0 comments
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Yakuza 0 Director’s Cut Red Light Raid Mode is baffling, totally on-brand, and a weirdly good fit as part of a Nintendo Switch 2 launch game
Game Updates

Yakuza 0 Director’s Cut Red Light Raid Mode is baffling, totally on-brand, and a weirdly good fit as part of a Nintendo Switch 2 launch game

by admin May 22, 2025


In Sega’s offices, seated in front of a Nintendo Switch 2 console running Yakuza 0 Director’s Cut, I was told: “Right, now it’s time to make a lobby.” Jesus. I don’t know these people here at the event with me (I’m pretty sure I’m the only member of the UK press, actually). This is going to be awful. S**t. S**t. S**t.

The PR comes over, loads me into one of the most rudimentary lobbies I’ve seen in a game in the last 20 years, and we get going. I’m presented with a screen that looks like something from a 00s fighting game (no shame there, Tekken is great) where I’m asked to select one character from the entire Yakuza 0 roster. I choose Goro Majima, obviously.


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The lead player boots us into a game, and we’re off: four ragtag Yakuza 0 models – antagonists, people you’ll see in side missions, and major characters all together – start fending off waves of hired goons. It’s stupid: four men yelling, powering up, and battering wave after wave of leather jacket-wearing thugs in the middle of a Japanese street in the 80s. Someone gets pile-drivered into a bin. Someone spins around whilst brandishing a knife until they fall over. This is Yakuza, alright, and it works weirdly well in multiplayer.

And there’s the thing, then. This version of Yakuza 0 is a Switch 2 exclusive (for now, at least). So if you want to try out this baffling rumpus of a mode, you’re going to need to shell out the £45 asking price. Is it worth it? Probably not on its own, but it is a fascinating insight into how Sega, and probably Nintendo, sees what the Switch 2 is putting down for consumers.

This mode, Red Light Raid, is silly fun. It’s an arcade-inspired, wave-based curio that focuses solely on the game’s esoteric combat and pushes the brawling mechanics of the game to breaking point in makeshift arenas that can barely contain the game’s burgeoning chaos. I imagine that with a fully-working GameChat function, you and your mates can have a blast in this mode; shouting about taking down bosses, squabbling over who gets to keep which item as they fall on the floor, jostling over weapons dropped by thugs. It’ll be fun.

It’s also a fascinating way for the RGG Studio folks to reuse assets in a fun way; the character select screen is huge. It’s got 60 playable characters! And you can level up each of the fighters, too. Completionists, watch out. I imagine it’ll take forever. Notably, if you’re playing as either Kiryu or Majima, you’ll have to choose just one style. Otherwise you’d have an unfair advantage via style switching, especially over characters like those found in the fight club that are limited to quite a small selection of moves. Then again, Ginger Chapman has a knife, and Vengeful Otake has a gun. So.

Get ready for a new challenger. | Image credit: Sega

I really can imagine whole nights of sitting in this mode and working through the various courses RGG has set you as a gauntlet. It was all a bit braindead in the early levels I played with my erstwhile colleagues at the event, but I should hope that the later levels ramp up the challenge to some degree, at least.

Chatting with mates, thumping waifs and strays over and over again, and being able to see their little low-res faces as they get their asses handed to them by shirtless men with back tattoos… is that Nintendo’s vision for the Switch 2? To have us all collected in a little lobby like the Uno/Xbox 360 days, gawping at cartoonish hyperviolence on our tiny little 4K monitors? If that’s what Ninty is putting down, I guess that’s what I’m picking up. It sounds great.

But it’s weird that it’s on Sega and RGG to release a game like this – as a launch exclusive – on Switch 2. There are other draws, sure: 26 minutes of never-before-scene cutscenes (though that’s not much in the scheme of things), and a French, Italian, German and Spanish text option now, too (this was missing before). As well as an English voiceover. So there are small temptations for you to double-dip on this, but as a locked exclusive it feels peculiar.

Watch your back. | Image credit: Sega

But isn’t it that exact sort-of off-beat weirdness that we all love Nintendo for? In a way, it reminds me of the bizarre bonus content that Tekken Tag Tournament 2 got for the Nintendo Wii U that never made it to other platforms: Mushroom Battle mode and Tekken Ball, which were sorely missed elsewhere. But it wanted to play into the Wii U’s ‘social’ side more, similar to what RGG and Sega is doing here with Red Light Raid mode… I just don’t really know who it’s for.

It’s not bad. It’s fun! And it plays really well. But you have to assume it’s going to come to other platforms, too, hopefully alongside a cheaper upgrade option so that you don’t have to buy the full product just to get the ‘definitive’ version of the game (Sega’s words, not mine). As a product on Switch 2, it looks, plays, and feels great… but let’s just hope it’s not locked onto the platform forever.

Yakuza 0 Director’s Cut launches alongside Nintendo Switch 2 on June 5. Yakuza 0 originally released in 2015 on PS3 and PS4, later coming to Xbox One.



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May 22, 2025 0 comments
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Only 473 Million XRP in 24 Hours: This Is Not Good
GameFi Guides

Only 473 Million XRP in 24 Hours: This Is Not Good

by admin May 21, 2025


XRP’s price action and on-chain activity are sending conflicting signals, and none of them are particularly bullish. Over the last 24 hours, only 473 million XRP were moved between accounts, according to payment volume metrics, a notable drop from the recent high of 640 million just days ago. This decline in transactional volume could indicate waning momentum and growing market hesitation around Ripple’s native asset.

From a technical perspective, XRP is currently flirting with the 26 EMA, a key support level that often acts as the final threshold before momentum reversals become more serious. A decisive close below this EMA would likely trigger further downside toward the 50 EMA and possibly even the 100 EMA, currently around the $2.20 and $2.05 levels, respectively.

XRP/USDT Chart by TradingView

Volume on the price chart is also tapering off, which means that the recent moves upward are not supported by a strong market base. This makes the asset particularly vulnerable to sharp corrections or a prolonged sideways drift. The daily RSI has dropped from overbought territory and now hovers near the midline, showing indecision among traders.

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While XRP had broken out of a descending wedge earlier in May, that breakout now appears to be weakening. The recent failed attempts to reclaim the $2.70-$2.80 range further confirm that bulls are running out of steam.

From an on-chain perspective, the decline in daily payment volume — especially below the 500 million threshold — is a red flag. It signals reduced utility activity or large-holder apathy, both of which typically precede a downturn in price performance.

In summary, the technical and fundamental signals are aligning on the bearish side. Unless XRP sees a strong resurgence in volume or a bounce off of current EMA levels, the outlook for the asset looks weak in the short term. A retest of lower support levels may be unavoidable if market conditions do not improve swiftly.



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May 21, 2025 0 comments
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Marathon art
Gaming Gear

Haunted looking art director livestreams apology for Marathon theft scandal, but chat is merciless: ‘Would write an original comment, but I don’t see any good ones to plagarize’

by admin May 19, 2025



Last week Bungie was accused of using the designs of an independent artist, Antireal, without her knowledge or permission. It’s a pretty cut-and-dry case: elements of Marathon’s environment art unquestionably copy iconography from posters designed by Antireal in 2017. It didn’t help that several of the game’s art team also follow her accounts on social media.

Bungie issued a statement acknowledging the “unauthorised use” and blamed the situation on a former employee:

“We immediately investigated a concern regarding unauthorized use of artist decals in Marathon and confirmed that a former Bungie artist included these in a texture sheet that was ultimately used in-game.


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“This issue was unknown by our existing art team, and we are still reviewing how this oversight occurred. We take matters like this very seriously. We have reached out to [Antireal] to discuss this issue and are committed to do right by the artist.”

That mea culpa was followed last Friday by a livestream in which game director Joe Ziegler and art director Joseph Cross directly addressed the controversy, beginning with another prepared apology from Cross before the pair fielded questions. I will say upfront that this is in places uncomfortable viewing: Cross is clearly exhausted and looks miserable throughout. Regardless of how this plagiarism accusation plays out, and how Antireal is compensated, it is obvious these events have taken a considerable personal toll on Bungie’s staff.

The chat is largely oblivious to this and some viewers go straight for the jugular. Marathon’s tagline is “ESCAPE WILL MAKE ME GOD” which was co-opted during the stream and turned into the meme “PLAGIARISM WILL MAKE ME GOD”, which was spammed on repeat throughout, with minor variants.

Cross somehow manages to get through an hour of this, and gamely answers some of the most prominent audience questions. One of these is about how exactly Bungie will compensate Antireal and why it was scrubbing all the assets in question rather than employing the artist who made them.

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“For what it’s worth we’re confident the majority of the assets in that capacity are original, created internally by our internal artists,” says Cross. “We would love to work with Antireal if that’s an opportunity that presents itself: that’s part of what we sort of reached out to communicate.”

This is one of the elements of the plagiarism scandal that has gotten out of hand. Bungie has definitely incorporated some of Antireal’s iconography, and its feet should be held to the fire for that. But this has now ballooned into a baseless accusation from some that Marathon’s entire art style is plagiarised from this artist.

“At this point it’s a very small set of assets,” says Cross. “The decals themselves are the kind of details that are placed on the sides of buildings or crates or something like that so we absolutely do need to replace them and we would rule in any sort of way of doing that including contracting, collaborating or working with the artist for sure.”

“Something slipped through our net,” adds Ziegler. “So we have to go back and look at everything just to make sure that nothing else slipped through our net if that makes sense. Because it caught us by surprise and we want to make sure that we’re doing the right diligence to ensure it doesn’t happen again: so either way we’re going to scrub all the assets just because we want to make sure that we didn’t miss something else.”

Whatever else can be said about Bungie, and how these assets found their way into Marathon, it is at the very least holding up its hands. But there’s not much sympathy out there for the studio: probably because this is the fourth time this has happened in four years: last year fan art was used while designing a Destiny 2 Nerf gun; in 2023, an in-game Destiny 2 cutscene featured artwork copied from another artist; in 2021, Bungie admitted that fanart of Xivu Arath was “accidentally used” in a trailer for the Witch Queen.

(Image credit: Bungie)

The YouTube comments under the livestream are unforgiving. “You know, it’s telling that you used Percy Shelley’s Ozymandias in your cinematic, a poem that spoke of the fall of once great empires, lost to the sands of time,” says SunCityRebel. Other examples include: “I would write an original comment, but I don’t see any good ones to plagarize” and “art extraction shooter genre.”

Inevitably, there’s plenty more of that on the game’s subreddit, but also a little more empathy for the situation:

“I think it’s a good apology,” says Marikal. “You guys make it seem like this guy is an evil mastermind stealing stuff on purpose. What happened was some contractor working under him stole stuff back in 2020 and it slipped past him. Yes it is his responsibility, and so he is trying to make it right and fix it, but it’s not like he wanted this.”

This incident has taken place at a time where it feels like, for whatever reason, community sentiment has soured badly around Marathon. Despite a fantastic launch trailer and broadly positive responses from those who’ve played it, you don’t have to go far to find folk talking about how “cooked” the game / studio is, confidently predicting it’s going to fail, and making comparison to another Sony-published live service shooter: the catastrophe that was Concord.

Bungie was up against it with Marathon anyway: a plagiarism scandal in the runup to release was the last thing it needed. A new report claims morale at the studio is in “free fall.” Senior individuals like Cross have to carry the can, and that’s their job. But for the studio and the game’s sake, this situation needs an amicable resolution and a line drawn under it yesterday.



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May 19, 2025 0 comments
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