Town of Salem review

Hey guys! Sorry for the extended absence. Things got hectic in my life, in between FINALLY moving out (at 27 years old, yeesh!) and getting to set up a whole new writing space. My desk is awesome! It’s got a little L on the side so I can set up some organizational tools. All I need now is a bookcase to put research materials and I’ll be golden!

Since I haven’t done anything in a while, I decided to do another game review. People seem to like them and, hey, I like writing them. I haven’t played much besides Final Fantasy XIV recently, so here’s a free browser-based one. You can find it here – it’s called Town of Salem.

Town of Salem is an interesting game. It has a simplified presentation and minimal interactions. When you enter a game, you’re presented with a graphical representation of you and your up to 14 fellow players. These are real people, so of course, your interactions will be based on how well you get along with them. On the top-left of the screen you’re presented with two windows: the graveyard, where dead players and their roles appear, and the role list. The role list is important in most games, as it provides a hint as to which roles are left in the game once people start dying. On the top-right you have your role. In case you’re not familiar with your role, it gives you a summary of what your goals are and how to go about it. If you mouse over the bottom of the window, it will show you who you win with. For example, the Town must kill the mafia, witches, werewolves, serial killers, and arsonists. Executioners, Jesters, and Survivors can live through the game. On the bottom right of the screen is the player list. Players who are still alive will show up here, and this is where most roles will interact with other players.

The most important part of Town of Salem is the in-game chat. During the day, players will share information with each other. Information gained during this chat will provide clues to investigative roles – two players claiming survivor, for example, will tip the investigators on who to check out. If the role list says only one survivor can be in the game, then one claimed survivor is lying. The chat window can be expanded with a button at the top so players can look back through the log and see what was said. They can also see who died on what night and from what, if need be.

Now on to the actual gameplay and the roles. There are a variety of roles in the game, categorized as investigative, killing, protective, and support. The mafia can see who other mafia members are, so their investigators will focus on finding important town members to kill at night. Town investigators will check out anyone suspicious, but their investigators are split into three roles. Lookouts can camp outside houses and see who visits a given person. Spies can hear the mafia and see who the mafia visit at night. Sheriffs can detect every mafia member except the godfather. Investigators will get a general summary of a person’s goal – “Your target seeks justice.” Then they are given up to three possible roles for that player.

As you can see, it’s important for investigative roles to report their findings. Separate, they can be virtually useless. When combined, mafia members and neutral killing roles can be identified quickly. They are the most important roles in the game, second perhaps to only the Jailor. The Jailor, as implied, can jail one person at night. If the person is suspicious, they can be executed. However, if the Jailor refuses to execute, they can be killed by an imprisoned serial killer or werewolf.

The protective roles are exclusive to the town. They are the bodyguard and doctor. The bodyguard chooses a target at night and, if that target is attacked, they will kill the attacker while dying in the process. The doctor will heal one person at night. They will protect known town roles, with priority given to the jailor and mayor. If they work in tandem, they can render a player impossible to kill at night.

Support roles seem boring at first, but they can help! The mayor may not be strictly a support role, but his weight is not to be trifled with. When the mayor reveals, his votes towards lynching count for three. However, once revealed, the doctor can’t heal him. In most games, once the mayor reveals, he’ll ask for the town’s roles in whispers. This is called a mayor game, and I personally don’t like them. It’s an easy win for the town and is honestly kind of cheap, in my humble opinion.

However, the other support roles are much more exciting. Escorts and Consorts distract a player for the night, preventing them from using their night ability. The mafia has blackmailers, janitors, disguisers, and framers. Those roles muddle the waters for the town investigators and can make innocent people seem guilty. The town has the Transporters, which swap the places of two players. On the one hand, it can muddle up investigators who don’t realize they investigated the wrong person. On the other hand, Transporters can cause a mafia member to kill other mafia or run into a night killing role.

The Medium and Retributionist roles are special roles. The medium will chat with any dead players at night – useful for getting information from dead investigators. If they die, they can talk to one living person to pass on their information. Retributionists have only one purpose: revive a dead town member. They can’t revive people who leave the game, but they can bring back important roles, such as jailor or mayor. Once they’ve used that ability, they have no purpose save as a vote for the town.

The killing roles are, in my opinion, the most fun. The mafia has Godfather and Mafioso, town has Veterans and Vigilantes, and the neutrals have arsonists, serial killers, and werewolves. The mafia can kill every night – the mafioso does the killing for the godfather, however. Veterans can kill anyone who visits them when they decide to go on alert. Vigilantes can kill up to three people at night, at the cost of suicide the next night if they kill a town member. Arsonists don’t kill immediately. They douse one person at night, but ignite all doused targets at once when they choose to. Werewolves only kill on nights of the full moon, but they kill anyone at the house of their choice. Serial Killers can kill every night, but just one person at a time.

The last few roles are the last neutral ones – witch, jester, executioner, survivor, and amnesiac. The first three are categorized as evil, in that they just want to wreak havoc. The witch controls one person at night, while the jester kills one person who lynches him. The executioner wants to lynch an innocent town member, but becomes a jester if his target dies at night. The survivor and amnesiac are neutral benign roles. The survivor just wants to live and can win with anyone. The amnesiac can remember one role from the graveyard and assume its abilities.

Whew, that was a lot of explanation! Now on to how the game actually plays. When the game starts, you don’t know your role until you enter the town. There are two phases, day and night. During the day, everyone chats with each other and shares information. They can vote one person to be lynched. Only the jailor, medium, and mayor can use their abilities during the day – the jailor decides who to lock up, the dead medium decides who to talk to, and the mayor chooses to reveal. The real fun comes at night.

Most roles can use their abilities at night – this is when investigators snoop around and the killings happen. The medium chats with the dead while the escorts role block suspected mafia members. When you choose your target, you wait for the timer to run down to see if you succeeded. Most roles only get results during the transition between night and day. The jailor is the exception, as he jails his target at the beginning of the night. If he executes, however, it’s at the end of the night. This is also when most people find out that they’ve died.

It’s a simple game with many layers. If you like chaos and the idea of it, this game is for you. If you’re not happy with simple sprite graphics or players who might annoy you, steer clear. I happen to enjoy the game. I just recently got a cool achievement – 100 wins! Now, if only I can get that elusive executioner win.

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Minecraft (PS3) Review

Before we get started, let me set the record straight: I like games with a plot. Sandbox games leave me with a sense of despair because I don’t know what to do or where to go. Games that direct me to objectives are nice because I feel like I’m moving forward.

With that out of the way, let me talk about Minecraft. It’s a game that’s available for pretty much every single platform you can get your hands on right now. Its parent company was recently bought by Microsoft, but that’s another story that I really don’t care about. What I care about is what Minecraft is.

To the uneducated eye, it looks like an eye-searing mass of low-resolution pixels crudely slapped onto blocky 3D models. When I saw screencaps and videos of the game, I couldn’t ever picture myself playing it. What is it, I asked. Why is this popular? Sure, I saw things that people built. Skyscrapers, cities, vessels, whole worlds existed in those blocks. I never thought I could build any of those things. The most I could do, I thought, is crudely map out the layout of the Descent (from Trust) so readers would have a frame of reference for the action.

When Minecraft was released for the PS3, I rented it from the redbox. I figured I’d give it an honest try so I could say for sure that I didn’t like it. It’s one thing to talk badly about something, but I wanted to be able to say that I tried Minecraft. The very next day, I returned it to the redbox. I marched right to my workplace (walmart) and bought a copy for myself.

With that backstory out of the way, let me explain why I, a gamer who hates having no guide, bought Minecraft.

The tutorial world was a nice touch. I played through it so I could get the hang of the game, but after a while I decided to create my own custom world in survival mode, I plopped down into the middle of a clearing with some trees nearby. I followed the basic steps: create a shelter, build a workbench and tools, survey the area for resources. At a loss for what to do after that, I decided to take the name of the game to heart. I mined.

It was that sense of discovery that hooked me. In Minecraft, each world that you create is randomly generated. Even the same “seed” (a word or number put into one of the boxes at world creation) yields very different results every time. When I used yaoi at my fiancee’s house, it at first created a very stacked world with a ton of mountains that looked like pyramids. The same word at my house yielded the environment I described above.

I started digging into a nearby hill and discovered a cavern. I followed that cavern down and mined… and mined… and mined. When I had enough stone in my inventory to make a mortal man pass out, I decided what I wanted to build. My first building leaves much to be desired and also doubled as an Enderman trap. Endermen, in short, are scary as heck because they teleport and don’t like being looked at. If you look at them, they attack you. I had a good jump scare when I went to continue building and saw an Enderman inside walls I thought were safe.

Another thing that kept me playing was the ease of the controls. On PS3, your various menus are mapped to the buttons. Your inventory pops up with one button, your crafting menu with another. The trigger buttons on the controller make your character mine or place blocks. Despite opening the inventory plenty of times when I was after the crafting table, I had no issue with making whatever it is I wished.

Why is it addictive? I can’t really say. In creative mode, my fiancee built a ship and started to build a house while I decided to put jack-o-lanterns in the ocean. It was a completely random decision that nonetheless kept me occupied. It could be any number of elements. The graphics leave much to be desired, but at the same time their simplicity has a charm of its own. It could be that it lets you create your own story. I decided  that I wanted to build a tunnel from one end of the world to the other. I decided to build a pyramid that really didn’t turn out as a pyramid as well.

I suppose this wasn’t so much a review as a narrative of how I played. However, this game is deeper than it appears from observation. I highly recommend getting your hands on it and trying it for yourself.

Things are happening

Hello again! It’s taken a lot longer than the expected few days to get the ball rolling, but here things are. I have set the official release date for Trust at July 26th, 2014. When it’s officially available for release, I’ll post again to let my wonderful followers know.

After that, it’s back to the grind with normal stuff. More books to write, you know. More writing will be happening. More reviewing, too! My next review victims shall be:

Minecraft (PS3)

How To Train Your Dragon 2

The Lego Movie

Any others you can recommend!

Seriously, I’m kind of waiting for other stuff to come out. If you want me to watch a particular movie or play a particular game, just let me know in the comments. I’ll be happy to do everything I can. 

Until next time~

Tales of Legendia

I was browsing a group on facebook today when someone posted a pic of a game character I rather like. The character’s name is Senel Coolidge, and he’s from the game named in the title of this post. I like it when Tales games get mentioned, but I have a distinct opinion of this one. My comment sparked a comment war, and so, I figured, it’s game review time!

Tales of Legendia was originally released on February 7, 2006 in the United States. I can’t remember when I originally played it, but it was many years after that release date. As a Tales series game, I was excited to pick it up! I love the Tales series (see my Tales of Xillia review here: https://kurahikari.wordpress.com/2013/08/08/tales-of-xillia/). However, this game was markedly different from the others in many ways.

First, this game had a very peculiar art style. I had become accustomed by this time to games such as Tales of Symphonia (its direct predecessor) and Tales of the Abyss (released a few years later). Its characters exemplified the chibi art style – tiny bodies, oversized heads, and large hands and feet. Its battles were on a 2D plane, as opposed to Symphonia’s 2D on a 3D plane format. There are many more differences, but those are the few that stuck me as odd.

However, this is a game review, so let me address three main points: Story, Gameplay, and Art Design.

As far as stories go, this is a pretty standard game. Brother and sister are on a raft, they get shipwrecked, a future party member finds them. After a while messing around in the hub city of the game, your sister, Shirley, gets kidnapped. Okay, fine, you go rescue her. In true Tales fashion, your journey to save Shirley ends up revealing secrets about your continent and nearly killing everyone. Awesome – that is, if most of the character development wasn’t hidden after the game’s end.

In Symphonia, your characters were not simply present for the events of the game. As you explored the world, you learned that key members of your party weren’t as you seemed. There were betrayals, unexpected saves, and overall you came away learning something about your characters that let them feel real. Legendia has none of that in the main story. The only characters that get development in the main story are Senel, our lead, and Jay, the mysterious and genius knife-knut. Everyone else feels like part of the scenery for all the personality they have. By the end of the game, once I saved our quaint little island, I was quite fed up with this game overall. I didn’t play through the character stories – which, by the way, is the only part of the game that you get Shirley as your party member. This is justified for plot reasons (kidnapped?), but it was still odd. Even Symphonia gave you control of characters that you would eventually lose for plot reasons. Abyss handled this situation (with Ion) by making the eternally-kidnapped character an NPC party member. It worked much better – but, as Legendia came first, it can be forgiven for not having hindsight.

The gameplay in this title felt like a step backwards for the series. Coming after Symphonia, I expected something grand. I know that this series started off with combat on a 2D field, but evolution had already occurred. Rather than falling back on a gameplay style that was already outdated, the game should have pushed boundaries. We shouldn’t have had to wait until Abyss to get a truly 3D tales experience. Even for being a 2D game, Legendia felt stale. The attacks and spells in this game lacked the flash that other games had. Some of the weapons felt distinctly odd, if not inspired. In what other game would you find bubble straws, quills (pen quills, that is), and urns?

Outside of battle was just as stale. Again, Symphonia had come ahead of this title. There is no excuse for random encounters that had no warning. As you walked around the field, the comforting sight of monsters was absent. The empty game world would grab you out of your innocent wanderings and thrust you into combat. Instead of a whole world, you were left with only a continent – and it showed. Everything felt cramped and needlessly complicated. The quick-travel system was non-intuitive, as well, making travel even more of a nightmare.

The art style was as un-Tales-like as chocolate and white chocolate. As mentioned, the character designs were odd. In addition to the chibi-style, the colors were completely different. Tales games normally used a pale, near-pastel pallet. Legendia had colors that were dark, and bold. The lack of texturing on the models made everyone look like plastic dolls wandering about – again, with Symphonia as a predecessor, this was jarring. It looked like a project that someone did for their college course, not a professionally-made game.

Overall, Tales of Legendia is the red-headed stepchild of the Tales series. It lives on alongside Tales of Symphonia: Dawn of the New World in Tales series infamy. It had plenty of potential, but it was squandered. Its few high points are not enough to save it.

Lightning’s Return is grandiose

I’ve finally finished Lightning Returns after 86 hours of playing. My friends on facebook are likely tired of my constant screenshots, so they’ll get a break, at least. Now, it’s time to break it down and do a proper review. I will be discussing the whole game here, ending included, so beware of the spoilers.

Lightning Returns opens with a cutscene battle with an old friend, Snow. After that introductory sequence that also serves as the tutorial, we get our mission. The world of Nova Chrysalia is ending – there’s no way to stop it, and there’s no alternative. This is a fact of the world. Your task, as Lightning, is to buy the world 13 more days. If Lightning can do that, she can save as many souls as possible to reborn into the new world. It’s a simple enough plot.

In order to save these souls, Lightning must go around the four areas of Nova Chrysalia and grant wishes. It’s kind of cheesy, when put like this, but it’s what happens. Lightning takes on quests from denizens of the world and, when she completes these quests, she saves the person’s soul. Doing these quests is also the key to buying the world more time.

There are five “main” quests scattered across the world – one in Luxerion, one in Yusnaan, one in the Dead Dunes, and two in the Wildlands. Four of these quests must be completed to save the world – I have not yet tried to see if the fifth is required as well, but given that its giver is absent in much of the ending, I would assume not. You can get to the thirteenth day of the game by simply doing all five of these quests. It is to your advantage to do the rest of the quests, however, as this is also the only way in which Lightning can gain stats. There is no leveling up for Lightning, not anymore.

Now that I’ve gotten this out of the way, let’s discuss the ending a bit. Through the game, Lightning is told that if she saves enough souls and buys the world its full thirteen days, she’ll get Serah back. Since Serah died at the end of XIII-2, it’s kind of a big deal. The one who supposedly can revive Serah is the god Bhunivelze, and it is he that you work for through most of the game.

On the thirteenth day, though, you learn that much of Bhunivelze’s work is a lie. Hope, who is your Mission Control throughout the game, was controlled by Bhunivelze the whole time. He wants the whole of humanity to be nothing more than a vessel for him to inhabit. This doesn’t make much sense, but eh. We’ll go with that. Lightning defies him and finds a way to save every soul, so everyone will be reborn in the new world.

Still talking through Hope, Bhunivelze rants and rambles about how humanity is imperfect. This is where Hope’s VA shines, as the arrogance and ego he portrays through his words really shine. Then, in a boss battle that I had to restart the game on an easier difficulty to complete, you finally get to beat the idiocy out of this “god.” It was so satisfying to do it after not being able to defeat him before, and the ending blew me away. Lightning grows up and down simultaneously and discovers the true power of the goddess – not power, but friendship.

Hey, Light, I think you should go talk with Sora for a bit.

The world is reborn, and Lightning monologues as the lights of millions of souls meander through a familiar solar system. This light converges on a world where lights twinkle in the darkness, a world that anyone who has studied geography can guess the name of. Yay.

There’s only one plot hole that I don’t understand. I read about it on the Lightning Returns TV Tropes page, but I didn’t find it anywhere in the game – perhaps it was a sidequest that I missed. At the end of XIII-2, Hope has grown up into a very fine young man. Puberty really did him a lot of favors. Yet, in Lightning Returns, he’s returned to his child self from the first XIII game. It’s handwaved that Bhunivelze did this as some incomprehensible part of his plan, but the Trope page gave a very specific reason for this. I’m of the “I don’t count it as canon until it appears in a canon media” tribe, so I was disappointed that the explanation Tropes gave was absent in the ending of this game.

Overall, as far as the story goes, it’s a satisfying ending to every character’s arc – this includes Noel, Yuel, and Caius. A full five minutes of cutscene time (exaggeration, probably) was devoted to tying up this arc. It is a very satisfying end to a very tragic story, and I have no complaints about it. The guy gets the girl, and the girl won’t die again before her time. It’s awesome.

This is the end of the spoilers. The rest is just gameplay talk.

Lightning is capable of running around the open worlds with few restrictions. She can jump, and platforming is a much greater element in this game than in its predecessor. Unlike the platform hell that was Academia 500 AF, the jump mechanic feels more in-place in this game. There is one area where jumping between small platforms is required, and it feels nothing like a chore. It feels like a natural part of gameplay that lets you leap from the tops of stairs to the bottom. There is no fall damage, incidentally. Lightning can leap from the top of the tallest building and roll to her feet without issue.

The fact that the world has 13 days is a major element within the gameplay itself. The game runs on a clock that does not stop except for cutscenes and battle. Things happen on a schedule, and if you miss a trigger for a quest, you have to wait until the next day to do it. Areas of the world close off and open at different times of day. My first time through the game, I accidentally made a boss stronger by taking too long to get to him because I kept missing the timing for the next part of the quest. By the third time, though, the timing of things was second nature and I completed all five main story quests within five days. I literally skipped to the thirteenth day by just sleeping at an inn for the other days.

Now, for battle.

The game touts itself as a real-time combat and a departure from the ATB gauge. This is a half-truth. Actions happen in real-time, yes, but the ATB gauge is still very much present. In theory, Lightning should be free to act at any time. In practice, I found myself switching between schemata often. When the ATB gauge of all three of your schemeta are depleted, there’s nothing for you to do but stand there and get hit.

A schemata is an outfit that Lightning can equip. It is comprised of a garb (the costume), a weapon, any accessories, and the actions you assign to it. Lightning has three available to her at any time in battle, and you can choose which of the three she starts in. This, coincidentally, also determines which outfit she wears in the field. I spent much of the time in this game wearing first Cloud’s outfit, then the Miqo’te dress. There is a wide variety of clothes that Lightning can choose, and they all have different strengths and weaknesses. I preferred the clothes with a balanced mix of strength and defense bonuses, and these outfits ended up being the ones that were most conservative. There are outfits that are blatantly fanservice, but there are also outfits that let her walk around as a reverse trap.

As an overall overall review of this game, I would say that it is worth playing. Even if you don’t understand the story, the gameplay and combat are well worth experiencing. Nova Chrysalia lasted only thirteen days, but it will remain memorable for many years to come. Now go out and enjoy it!

Tales of Xillia

After fangirling about Loki for the past three weeks, the fires of his awesomeness have cooled. They have not faded, because Loki is awesome and he looked very cute as a catboy as well, but I can now move on to other things. Those other things are video games. I figure – I have a blog. Why not try my hand at reviewing?

So, Tales of Xillia was released yesterday (8/6/13) here in America. I posted a few impressions of it to my personal facebook page but I feel I should expand upon them now that I’ve played more. For disclaimer’s sake, I have played 11 hours (with perhaps three hours of that spent paused), recruited 5/6 party members, and did several sidequests. Additionally, I started with Jude.

The Tales name carries with it a set of expectations. My first Tales game was Symphonia back on the Gamecube and from there I have had an impression of this series. That impression boils down to three things: impressive real-time combat, gripping characters, and a fantastic story. Genis Sage, that bratty little half-elf mage, remains my favorite character to this day. Graces didn’t quite live up to those expectations (World map! Where are you?), so how does Xillia fare?

The combat is odd and takes some getting used to. I am admittedly a button masher and so I spend many fights alternating between mashing X and tapping O. With Xillia borrowing the CC system from Graces (now called AC), I find myself performing far longer combos than I am used to in the beginning stages of Tales games. The AC system in Xillia servers as a combo meter and dictates how many combat moves the character may use in a row. I can’t remember what I started at but I am now at 6 AC for Jude. I feel as if I am attacking for an insanely large amount of time before having to pause. The AC system also allows players to chain “artes” (special attacks) in with normal attacks. I attack, use Demon Fist, attack again, use Aqua Sweep, and can just go on like that until I run out of AC. In previous games it took special skills to be able to chain artes together and it feels a bit jarring. Graces managed to make chaining artes fluid, while in Xillia I find myself stalled.

Xillia’s combat trademark, however, is its link system. In battle you can choose another character to link to. Doing do yields bonuses, as some skills you equip are shared between the linked characters (Earth resistance, for example). In the midst of battle, when you approach an enemy, your linked party member will run around to flank the enemy. The only bonus to this is an increased chance for your party member to land a critical hit, though it does help when surrounded by enemies. Your partner will focus on the enemy you’re currently attacking until it’s dead or you switch targets. In some instances, your party member will attempt to defend you from an enemy that sneaks up on you, though I haven’t been able to pay enough attention to see how it works outside of the tutorial. Choosing your partner to link with is also important, since each party member has his or her own special skill.

As for characters, starting off with Jude was refreshing. He and Milla are co-protagonists and the player can choose which one to start as. He’s a medical student and hand-to-hand fighter, which makes him one of the very few non-swordsman Tales mains and the only male (to my knowledge) to start off with a healing skill. I was so used to not being able to heal at first that I forgot I could until after I joined with Milla in the game. I liked him immediately when I started, for his introductory scene has him barreling through a hallway of students. He’s in an obvious rush, but when he knocks over a student’s papers he stops to pick them up. He’s courteous and kind, but he doesn’t allow injustice to stand. It is this sense of justice that drags him into Milla’s path and into the plot.

Milla, on the other hand, is one of my favorite female characters to date. I tend to hate Tales females because I find them annoying (Looking at you, Cheria) but Milla immediately caught my heart. She’s a strong, no-nonsense character who (so far) hasn’t fallen back on any cliche female tropes. What made me like her the most was when she found out that, due to plot reasons, she could no longer use any of her high-level spells. Where most women in games would have pitched a fit (“How dare they?!”) or had an existential crisis (“How can I be of use without my powers?”), Milla accepted the situation calmly. She was like, “Okay, I can’t use my powers. Let’s change how we do things.” I only hope that as part of her “character development” she doesn’t lose this calmness and strength.

The story isn’t anything special, yet. Normal kid gets caught up in things, can’t go home, has to accompany girl instead. Sounds kind of familiar, right? There are hints of political intrigue but some of the tech speak is just kind of headscratching. What’s a mana lobe, again? Still, I’m at the point in the story where it seems like the over-reaching plot might finally be revealing itself so I shall be watching and waiting. It’s not a bad story, mind. It’s just not my favorite.

My last few notes are these. In a first for the Tales series, you cannot talk to everyone  you meet. Only the ones with little smiley face bubbles over their heads, or exclamation points, will allow you to interact with them. Another first is that once you’ve spoken to these people, the smiley bubble changes. This allows you to see who you have already spoken to and streamlines the process by which you explore towns.

The level design reminds me partly of Final Fantasy XII and an MMORPG, with a dash of the original .hack thrown in for flavor. The cities are packed and crowded like FFXII, but the feel of them reminds me a lot of .hack. The map levels would feel right at home in Eden Eternal or any other MMO. I do, however, like that the levels have a vertical component. Instead of just running around you must now climb ladders and ledges to get to every part of the area. In that respect it felt similar to Legend of Zelda: Skyward Sword.

Also, I like that the opening theme wasn’t changed. Kudos to Namco-Bandai for figuring out that we didn’t mind the Japanese.

I’m not going to do a number rating or a “You must play this!” I’m enjoying my time with the game. If you want to buy it, it’s available online or in stores like Gamestop. Until next time, see everyone later!