The history of video games has been plagued with numerous mediocre titles featuring popular characters, doing things outside their comfort zone. Well okay, they haven’t ALL been mediocre; generally the ones with Mario in the title are worth taking a look at. I can’t say the same for Dr. Robotonik’s Mean Bean Machine or Link’s Crossbow training, though.

Mega Man, a character held near & dear to the hearts of most of the Wing Damage crew, has starred in several lackluster spin-off titles. In this month’s “I Am Error,” we take a look at three of ‘em – Mega Man Soccer, Mega Man Battle & Chase and Super Adventure Rockman.

If you have played any of these titles in the past or have access to play them now, please do and email us or comment with your thoughts. We’ll read your missives on the next edition of the “I Am Error” podcast, which will be available for consumption in just a few weeks.

Mega Man Soccer

Mega Man Soccer (SNES, 1994) has one advantage over other sports-based spinoff – it has A STORY. Should you elect to play the “Capcom Championship Mode,” you’ll find our hero watching a soccer match with Roll and Dr. Light. Before the game’s conclusion, robots take over the field heralding Dr. Wily’s latest evil plan; he plans on taking over the world by controlling the game of soccer. Wowza!

If you’re not one for meaty narratives, you may play in Exhibition, Tournament or League mode.

Mega Man Battle & Chase

There’s no denying Capcom was heavily influenced by Nintendo’s Mario Kart when creating Mega Man Battle & Chase (PS1, 1997), a kart racer featuring Mega Man & Co. No new ground is broken here; it’s just a colorful racing game where each participant has an attack move they may use against their opponents.

There are three basic game modes – Grand Prix (1 player), Time Trial (1 player; 12 tracks) and a multiplayer Versus Mode. So, it’s basically Mega Man Kart, which some might consider a good thing.

NOTE: Looking for an easy way to play this one? If so, we suggest picking up a copy of the Mega Man X Collection for Gamecube & Playstation 2. It features several Mega Man titles, including Battle & Chase. This anthology may be purchased from Amazon.com for around $10.

Super Adventure Rockman

Super Adventure Rockman, a Full Motion Video game released in Japan for the Sega Saturn & Playstation in 1998, never made its way to American shores, thus the use of “Rock” and not “Mega” in the title. Luckily for us, Youtube users with too much time on their hands have completed the game and uploaded video clips of the entire game.

It should be no surprise that Super Adventure Rockman is more focused on narrative than our previous two titles. The plot of the game revolves around Dr. Wily using an alien computer to reboot several of his robot creations destroyed by Mega Man in previous games. The events of the story play out through a series of fully animated cut scenes brought about by decisions made by the player. Oh, and you occasionally are allowed to fight in a First-person Shooter styled battle. Exciting, right?

So dear readers, you now know what Jonah, Dan and I have to endure this month. Again, I ask that if you’ve suffered through any of these yourself, please let us know with an email. Your experiences, along with ours, will be detailed in the next episode of the I Am Error podcast.

“Tales From the Backlog” is a series of articles in which WingDamage Editor-in-Chief, Jonah Gregory, finally gets around to playing through the many games he has collected throughout the years.

Well folks, it looks like I already blew it. This series of articles was started as nothing more than an excuse for me to play through old video games, specifically ones that I either completely missed or never finished back when they were new. But with Mega Man Legends, it turns out I actually did complete it way back when.

Still, it was a great excuse to play through what is a more enjoyable experience than I was expecting.

That may have come out sounding more like a backhanded compliment than intended. The truth of the matter is, our memories are dirty liars. There are so many games from the PS1 era that don’t hold up (I’m not singling it out, N64 is at least as guilty of this, if not more so), that I was very worried Mega Man Legends was going to fall into that category.

Booting up Mega Man Legends for the first time since the late 90′s ended up being a huge nostalgia trip for me. Once I was re-immersed in the game’s flooded world, I couldn’t help but fall for it’s quirky charm. This is due in large part to some very expressive character models, a fairly well realized world, and even the voice acting. I’m not saying the voice acting is great. It’s actually kind of awful, but it’s the kind of awful that endears rather than repulses. The writing has some anime tropes for sure, but none of them were over the top enough to be offensive. There is an innocence about the characters that seemed to really fit in the story they were trying to tell.

I was also impressed with how well the world is structured. Legends mixes elements from open map structure games, like the Metroid series, with the dungeon crawling of Zelda. Let me put it this way, what if the dungeons in a Legend of Zelda title were all interconnected, and new items let you bridge the gaps between each section? That’s what MML was able to pull off.

"Who stole my helmet?"

Character progression is a staple of a good 3rd person adventure like this. In Legends, not only do you find new weapons that help you progress, but you can also customize them via an upgrade system. The only downside is, unlike in your typical Zelda or equivalent, you can only have one of your special weapons equipped at a time. It’s good for game balance, but bad for exploration, the second major draw in MML.

There are only a few instances where a specific weapon is needed to get to a new area, but it does suck when you have to trek all the way back to the surface just to change out your grenades for your drill-arm. Still, once a wall is broken down or a hidden path opened, it is a permanent change.

Mega Man Legends holds up as a fun and quirky experience that action/adventure fans should go back to. Admittedly, the lack of analog support (it came out before the Dual Shock) does give character movement a bit of a stiff feel. But, if you immediately change the strafing options, it is manageable. It’s also a pretty easy game, and circle strafing is the answer 90% of the time.

My final takeaway is that I’m now much more excited for Mega Man Legends 3 than I was before. Capcom has had a lot of time to contemplate how to expand and improve on this kind of gaming experience over the years. I just hope they successfully pull it off.

More “Tales From the Backlog”:

#1 – Assassin’s Creed (Xbox 360, PS3, PC)

#2 – Retro Game Challenge (Nintendo DS)

#3 – Mega Man Legends (PS1)

“Friday Old Games” is a series of articles in which we review a game from the older generations of consoles, share why we picked it, and whether or not it holds up with time.

After being framed for a crime he didn’t commit, Spider-Man has to fight to clear his name and save the city. To do this he’ll have to take on super villains that any Spidey fan will immediately recognize and appreciate, like Venom, the Rhino, Scorpion, and Carnage.

This is the premise of the original Playstation Spider-Man. No movie tie-in, just a super hero game for the sake of having a super hero game.

There are a number of secrets to find, costumes to unlock (some of which upgrade his abilities) and comics littered throughout the game.

The voice acting is surprisingly good with most of the actors from Spider-Man The Animated Series reprising their roles. However, like many games on the original Playstation, the graphics look terrible now. I can’t think of anything scarier than the Black Cat’s character model in this game.

The combat is very simple. Square is your punch and circle is your kick. Spider-Man also has several special moves he can pull off with his webbing. You can create web gloves which do double punching damage, trap enemies in a web, or even create a web dome which protects you for a brief time. I found that webbing up my fists and mashing on the square button got me through 99% of the fights.

Fans of old Spider-Man cartoons will recognize the web swinging. Instead of attaching his webs to buildings like in the recent movies, Spidey seems to have the ability to attach his webs to thin air. There were a couple of times where I plummeted to my death because the game decided that the air I was trying to swing on didn’t work for some reason.

Why did I pick this game?

It might seem strange these days, but there was a time when super heroes like Spider-Man weren’t starring in blockbuster movies every summer. There were super hero games, but they mostly involved walking to the right and punching people in the head or jumping on platforms and then punching people in the head.

Spider-Man was really the first video game that actually made you feel like a super hero, like you were Spider-Man. All of his spider powers were there; swinging on webs, climbing up walls… it is even narrated by the one and only Stan Lee.

How does it hold up with time?

When it was released, Spider-Man was a revelation. It proved that video games could actually capture the feel of being a super hero. Unfortunately, the game has not aged well at all. Even if you can get past the laughable PS1 graphics and the simplistic combat, there are two glaring problems that will have you yanking out your hair in frustration. First off, the game’s camera feels as though it is actively trying to cause your death. The other problem was annoying 10 years ago when the game first came out and time has only exacerbated it. Spider-Man can go wherever a spider can right? So if you walk up to a wall Spidey will attempt to climb it even if you were just trying to get out of the way of a charging Rhino and you didn’t mean to try to walk up the wall.

There are some games that I play for Friday Old Games just to make fun of. But there are others that I genuinely remember as being awesome. Playing through Spider-Man left me a little sad. As much as I enjoyed it 10 years ago, Spider-Man is one of those games that just feels painful to play now. There isn’t much to it that isn’t done better by a shinier, prettier newer game.

“Friday Old Games” is a series of articles in which we review a game from the older generations of consoles, share why we picked it, and whether or not it holds up with time.

Gundam Battle Assault 2 is a one-on-one 2-D fighting game where giant mechs punch and shoot each other in the face. The game lets you experience several Gundam universes. The story loosely follows the events of the One Year War, the 13th Gundam Fight, and the Endless Waltz OVA.

Which I take to mean, “giant mechs punching and shooting each other in the face”.

The sprites are large, bright, and colorful and would have blown my mind back in 1994.

But Gundam Battle Assault 2 was released in 2002, which puts it squarely in the post Dreamcast, PS2 world. Sadly, the graphics were already starting to look dated on the day of its release. They are not bad by any means, but are a little underwhelming.

I could get past the dated sprites if the gameplay was good enough, but unfortunately the game is just too slow. I understand that these are supposed to be giant walking tanks. The slower pace could have worked if the game required more strategy or the mechs packed a bigger punch. But as it is, we are left with a shallow and slow fighting game with an amazing cover.

Why did I pick this game?

The cover of the game excited me.

Stan Bush would be proud.

Seriously, that was all it took. When I look at that cover, I hear an awesome 80′s hair metal power ballad in my head.

Having never watched the anime the game is based on, I could only assume that it has something to do with giant mechs punching each other in the head. As a fan of giant mechs and punching I knew I had to take her for a whirl.

At the very least I figured I would have an excuse to throw some Stan Bush on the stereo.

How does it hold up with time?

The game lacks the finesse and strategy of the top tier fighters. Mashing on the triangle button and blocking occasionally will lead you to victory a good 90% of the time. It is not the worst fighting game on the PS1, but is not nearly as good as its contemporaries.

Unless your room is covered with Gundam posters and your bookshelves are full of Gundam manga and your DVD collection consists entirely of Gundam DVD’s, you can probably skip this one.

I do have to say that I would love to see this game updated for the new consoles. The weapons, the mechs and the specials would look amazing with today’s technology. So see what you can do about that for me, internet.

“Friday Old Games” is a series of articles in which we review a game from the older generations of consoles, share why we picked it, and whether or not it holds up with time.

I was looking through the rack of PS1 games and saw a title I had never seen before, Skeleton Warriors. There was no booklet and no back. All I had to go on was the CD itself, which featured a Skeleton Warrior. Assuming it was some sort of terrible fighting game, I grabbed it in the hopes of making fun of it in a FOG Review. I popped it into my PS3 and watched the barely comprehensible CG cutscene at the beginning and felt more confident than ever that I had grabbed a mediocre fighting game.

Instead, I had apparently left with a mediocre, side-scrolling beat-em-up.

If you played video games at the arcade in the early 90′s, then you know the drill. Walk to the right mashing on the attack button until everything is dead, then walk to the right some more. Every once in a while, fight a boss and then walk to the right some more. Repeat until end credits.

My exhaustive research (wikipedia) uncovered that not only was there a Skeleton Warriors game, there was a Marvel comic, a cartoon, and a line of toys. The toy company, Playmates, thought Skeleton Warriors was going to be the next He-Man or Ninja Turtles. They were wrong.

The main problem with the game is the way you defeat enemies. Sure, mashing on the circle button until they’ve been chopped into bits works fine, but if you don’t collect the power-up they drop, they will simply regenerate. On paper it sounds like an interesting mechanic, but in the actual game it is simply infuriating. “Awesome that guy I just killed managed to regenerate right as I was grabbing the power-up that makes him explode. Great! I get to start the whole level over, since there are no checkpoints.”

Why did I pick this game?

To be honest I picked this game because it looked like a terrible fighting game. I have made a career out of making fun of terrible fighting games, so I assumed this one would be right in my wheelhouse.

The fact that the game wasn’t as terrible as I was hoping was kind of a downer. It is way easier to make fun of a terrible game rather than a mediocre one.

How does it hold up with time?

The graphics still hold up fairly well. Characters sport a bit of detail and the backgrounds look nice. If anyone played this game back in 1996, they would have been impressed by all the fancy CG, but the main characters walk would have still looked lame. Time isn’t excusing that one. The main character looks as though he just got pec implants and wants everyone to know it.

Everything else about the game feels really dated. This whole style of gameplay was already wearing thinner than Ally Mcbeal (oh yeah, I went to the well for some mid 90′s humor) when this game came out. By today’s standards there just isn’t enough there to really hold your interest. You can only mash on the circle button so many times before it loses meaning.

In the end, the game serves as a harsh reminder that corporate synergy is useless with a dumb product. Some kid got the Skeleton Warriors Marvel comic, some Skeleton Warriors toys, and the Skeleton Warriors video game for Christmas. That kid then went on to design the blowout valves for BP.

“2 Player Reviews” is a series of articles in which two members of the Wing Damage staff separately review a game, so as to give our readers multiple perspectives on the subject matter.

Player 1 – Jonah “spambot” Gregory

Have you ever played a game that is actually playing you?

That is the claim that Silent Hill: Shattered Memories makes when you first boot it up. It starts with a “Psychological Warning” that the game will be profiling you as you play it. It is an interesting way to open a game, and is the developers way of letting you know you are in for a unique experience.

Shattered Memories is a re-imagining of the original Silent Hill for the PlayStation. Much more than just a graphical update, the developers have completely re-worked the entire concept of the series. Many of the characters are the same, and you still play as Harry Mason who is searching for his missing daughter, Cheryl. Beyond that, it is a totally new experience.

The game’s dark and spooky world is incredibly immersive. Not only does it feature some great looking visuals and believable characters, but the Wii remote lends itself perfectly to the interactions. Wherever you point, Harry points his flashlight. His cell phone is controlled with the d-pad, and all the calls come over the built-in speaker on the controller. You can even partially open doors so that you can use your flashlight to preemptively check out a room before fully entering it.

The most interesting part of Shattered Memories is the way that the world changes depending on your choices. At several points throughout the game, the story takes you to the psychiatrists office, where he will ask you a variety of different types of questions. How you answer them, in addition to the ways in which you interact with the world, will start to change things around you. Some characters will look completely different. Cans that with one choice may have been soft drinks are now beer. Conversations and messages you find will be completely different.

Being a Silent Hill game, you know you are in for scenes where the world changes from the normal level of creepiness to a monster filled nightmare world. In these segments, the world is frozen solid and you must run from the strange, faceless inhabitants to find the door to freedom. Here the game’s tension changes to terror. The best you can do is push them away or occasionally find a flare that keeps them at bay.

While I was not a fan of these running segments, the transition between worlds were some of the coolest parts of the game. I can’t really say more than that without giving away some very cool story elements that are best seen with a fresh perspective. Oddly enough, I found the normal world segments much scarier, even though there is nothing that can actually hurt you in them.

Shattered Memories has a very different feel than most games. There isn’t a lot of interaction with the world, and even with the changes it leads you down a fairly linear path. This did not detract from my enjoyment, however, as it made it feel like a visual novel more than a game. The story is intriguing as it unfolds and kept me interested all the way through.

Jesse and I have found that this is a game you must play by yourself the first time, then have a friend play through so you can compare notes. Anyone looking for an experience you won’t find in a million other cookie cutter games need look no further.

Player 2 – Jesse “Main Finger” Gregory

Silent Hill is a series I never got into. I’m not much of a “horror” guy and the subject matter of cults and the like I had no interest in pursuing. When I heard that Shattered Memories disassociated itself from the series’ original plot in favor of a psychological thriller, my interest was piqued. While the basic plot of novelist, Harry Mason, searching for his seven-year-old daughter, Cheryl, after a car crash is in tact, the rest is radically different.

The gameplay in Silent Hill: Shattered Memories is divided into three distinct varieties. You will start the game in a therapy session. In these sections of the game, you will be asked personal questions and perform simple tasks with no correct answer. This is one of the game’s many ways of building your psychological profile that will affect your playthrough.

A majority of the game is spent wandering around the seemingly abandoned town of Silent Hill. Unlike the therapy sessions which are in first person, these are controlled in third person with the Wii remote aiming Harry’s flashlight. The atmosphere throughout these sections is very unsettling. You’ll come across significant objects as you explore that will send voicemails and text messages to your cell phone. You’ll also get messages from taking photographs of nearly invisible things. The voicemails come out of the Wii remote’s speaker by default which adds an extra layer of immersion.

The third gameplay style is the “nightmare” sections. The town will become encased in ice and you’ll have to run away from invincible monsters. If they latch on to you, you must fling the Wii remote and nunchuck to the side they’re grabbing on. This works well most of the time. You’ll also be able to knock over obstacles as you run by swinging the nunchuck to slow the monsters down.

These sections are mazes. Since the ice makes landmarks almost non-existent and there are often many directions to choose from, you’ll have to find a safe spot to check your map. Checking your map means actually pulling out your cell phone and taking a look at the screen. Unfortunately, Harry can be a little slow at putting his cell phone away which can result in some unwanted monster attacks if your spot wasn’t as safe as you thought.

Strangely enough, wandering around the “normal” version of the town is much creepier, despite its lack of monsters. The chase sections in the nightmare world focus more on a frantic adrenaline rush that, while intense, is less scary than the superbly designed atmosphere of the town. These chase sections are easily the least interesting part of the game, though they admittedly take some interesting twists in the end portion.

Inversely, the transitions into the nightmare world are great. When I first started, I figured the balance between when each gameplay style would appear would become formulaic. I was completely wrong. The nightmare world can come while you’re wandering around or while talking to somebody in a cutscene. On top of that, the frequency in which they appear is also very unpredictable. On my first playthrough, I felt like I could enter the nightmare world at any point in the game.

Both versions of the world have some puzzle solving elements. There are some cool puzzles, but unfortunately they’re very few and far between. More often than naught, you will need to find a key to unlock a door. The keys are always very close to the doors you need to unlock. Occasionally, I’d have trouble finding one, but only because of my utterly terrible observation skills.

One of the game’s most interesting features is the psychological profile built as you progress. Your responses in the therapy sections, your eye movement during conversations that take place in first person view, which areas of a building you visit first, objects you zoom in on while wandering the city, and the phone calls you do or don’t make are only some of the many things that will contribute to how the game profiles you. These actions will not only determine your ending, but also the physical appearance of characters and monsters, the cutscene dialogue, which phone messages you receive, and even which locations in branching paths you can enter.

Many of the therapy sections are more than a simple “yes” or “no” question. One situation had me ranking four people in order of blood guilt. Another had me place pictures of people I thought were dead on one side and pictures of people I thought were asleep on the other. It’s these non-binary decisions combined with the sheer number of other variables that make it great for multiple playthroughs.

Even with these variations, the core story will be the same. The story is one of the game’s biggest strengths. I always wanted to play more to try and find out what was happening. Though I had my own theories, the ending completely took me by surprise (in a good way). It’s not a particularly long story, but it is one you will want to visit multiple times (even if the psychology profiles didn’t exist) because the ending will make you realize how significant every tiny detail in the game is within the context of what you now know.

Everything in this game works toward immersion. The different features of Harry’s phone and the camcorder-style pause menu make for one the coolest UIs around. The graphics, while not HD, are very detailed. Everything from signs to individual books on shelves to scraps of paper lying around can be seen in unique detail. The environments are extremely varied and feel very “lived in”. Thanks to avoiding reusing assets and filling the locations with more stuff to look at then you even have time for, this is one of the most believable cities I’ve ever seen in a videogame.

The characters’ faces are very well modeled and animated, and look more relatable than many I’ve seen on HD systems (*cough* Assassin’s Creed II *cough*). They’re also very naturally voiced. You won’t find awkward pauses or poorly delivered lines here. The soundtrack, composed by Akira Yamaoka, is as great as his past works. That along with impeccably executed sound effects, make the audio one of creepiest aspects of the game. I was very impressed by the subtle changes in the music that were triggered by going to different areas of the map.

Silent Hill: Shattered Memories is more of an interactive story than a game. More clever puzzles and enemy variety could have really pushed the game to outstanding heights. Fortunately, the story is fantastic with lots of layers and dynamic aspects that wouldn’t work in any other medium. Unless you can’t handle the spookies, Shattered Memories is a story worth checking out.

This review is based on the Wii version of Silent Hill: Shattered Memories purchased by the WingDamage Staff.

"An OverClocked ReMix Album"

The folks at OverClocked ReMix are at it again. Fans from the OCR community have once again banded together, this time bringing us Humans + Gears: Xenogears ReMixed, an album that pays tribute to one of Yasunori Mitsuda’s less appreciated soundtracks, Xenogears.

Interestingly, the album is broken up into two distinctly themed discs. Songs on the “Humans” disc contain a variety of acoustic instruments (and patches emulating them) including guitars and string ensembles. By stark contrast, the “Gears” disc is mostly made up of electronica.

Dividing the music in this way makes each disc feel like its own coherent, self-contained album. The idea is well executed for the most part and allows each half to have its own respective flow that wouldn’t otherwise be possible.

Like all OverClocked ReMix albums, Humans + Gears: Xenogears ReMixed can be downloaded for free on the album’s homepage. What are you waiting for? Go download it!

Over a decade ago, Revelations: Persona was released for the original Playstation and, although it was never a huge success, it achieved a large cult following. Gamers who tried it were enthralled by the unique setting, characters, and story. The game quickly became a sought after collector’s item. E-bay prices quickly soared up into triple digits.

Atlus apparently got tired of seeing other people making hundreds of dollars selling their game on E-bay and made the wise choice of remaking it. Read on to see if this cult classic stands the test of time.

The first thing that stands out about Shin Megami Tensei: Persona is the unique setting. Even today, most RPG’s take place in mythical, Tolkien style fantasy realms or steam-punk style towns. Persona breaks away from all that by starting you off in a Japanese high school. Your characters are hanging out in a classroom when one of them poses the idea of playing the Persona game. As the story progresses, demons are unleashed and the city is sealed off from the outside world. To defeat these demons, your party learns to unlock the hidden potential of the “personas” that dwell within them. These “personas” are based on a concept from psychology where people put on different masks in different situations that change the way they behave. In SMT: Persona, this concept is expanded upon to the point that your party members are literally able to use these “personas” to defeat demons.

After some initial fumbling around on my part (trying to figure things out), I came to really like the battle system. The battles are quick enough that they don’t drag out, but complex enough that you have to pay attention. With a lot of RPG’s, I can zone out and get into “grind mode” where I am just holding down on the “X” button to continuously attack. SMT Persona would have none of that. Every time I thought about zoning out, an enemy would take me by surprise and I would have to actually strategize or face defeat. This meant I was constantly engaged in what was going on because I was afraid that, if I wasn’t paying attention, I would die.

If you get tired of beating up on the demons, you can actually pause the action to negotiate with them. Each of your characters have four different ways of talking with the demons and each demon reacts differently to the conversations. For example, one demon might respond positively to being bribed while another might want you to flatter them. Figuring out the best way to talk to each demon rewards you with items or spell cards. You can then fuse together two demons’ spell cards and an item to create entirely new personas. Discovering the best combination is fun and will have you conversing it up with each demon to get their spell card.

As if all the demon collecting wasn’t enough, there is a casino full of various games where you can trade your winnings for new equipment. I spent a little more time playing video poker than I care to admit.

The remake seems to have improved upon the original North American release in just about every way. This is a better game than the one selling for $100 on E-bay. In the original release, Atlus tried to make the game more palatable to the U.S. market by making the game easier. Certain characters names were changed, Mark transformed from a Caucasian to an African-American, yen became dollars, and Nanjo became Nate. Why anyone would want to be Nate when you could be Nanjo is beyond me (sorry Nate). With this release, it seems Atlus got everything right.

There are really only two drawbacks to the game. First off, the graphics, while serviceable, are nothing special. Dungeons are navigated through a first person perspective with old school four point turning. These sections have very little textures and the walls and floors look like an early PS1 game. Once you enter a room, the camera switches to an overhead, isometric perspective. These sections have a little more detail, but are still nothing special.

The second drawback is the J-pop music. It is fine and catchy, but I think the game would have been better served by an orchestral score. It is weird to be fighting demons and listening to J-pop. I know this type of music is a staple of the series and there are definitely those who will love it, but a more serious score would just push the game to even greater heights.

These are really small concerns when compared to the opportunity to play the best version of an all time classic. I can’t stress enough how addictive the game can get. For the past few days, my PSP has been constantly within arms reach. I was playing the game so much that my wife had to literally peel the PSP from my hands. SMT: Persona is easily one of the best RPG’s on the PSP. If you like RPG’s, you owe it to yourself to pick it up. Don’t let it pass you by a second time.

The game is available as a download in the Playstation Store or as a physical copy. So, which version to get? They both cost $40, but the physical copy comes with a 2 disc 67 song soundtrack and a nifty cardboard box that looks pretty sweet on your shelf. The download won’t ever crack when your sister steps on it. I would suggest getting the physical disc, unless you have a mean sister or a PSP Go, and I think Captain America would agree with me.

This review is based on a copy of Shin Megami Tensei: Persona provided to us by Atlus.