Professor Layton vs. Phoenix Wright: Ace Attorney Review

It can safely be said that two of biggest titles to make a name for themselves on the Nintendo DS are Professor Layton and Phoenix Wright. Their respective gameplay styles were tailor-made for the dual-screen, touch screen format and could not have possibly worked as well on anything else. Both also feature logic and thinking over flashy gameplay and already have more than a handful of titles under their belts with no signs of slowing down. Their similarities are plentiful and it has led to this singular moment, Professor Layton vs. Phoenix Wright: Ace Attorney — A crossover of epic proportions. Expectations are high and this mash-up certainly has a lot to live up to for fans of both series.

Witches are the theme in Layton vs Wright and it’s up to the two to get to the bottom of what is happening in the medieval world of Labyrinthia. The characters from both franchises get transported to this alternate world and the story develops from there. The game starts off quite slow and alternates between the two respective games a few times before the two main characters actually meet. The game eases new players into the different play styles and gives a good recap for seasoned fans. The game also gives you the option to skip some of the tutorials, which is much appreciated. Noticeable is the lack of challenge from the game overall. The puzzles and challenge in previous Layton and Wright titles have proven to stump me good, but not so much this time. On top of the lack of challenge, characters established from both worlds are also lackluster with only one more mainstay character from each title. Layton brings along with him his trusty sidekick Luke and Wright is followed by close friend Maya.

What plagues Layton vs Wright are some of the issues prevalent in each series. Layton games are a series of puzzles tied together with a point-and-click story; they can be a bit too hand-holdy and there is never a shortage dialogue. Every time the brilliant voice-over work is used, I breathe a sigh of fresh air from the constant reading, but it only happens so often. Also, I can’t imagine how hard it would be for my old man eyes to play a text-heavy title like this on a regular sized 3DS/2DS. It may be because Layton games are targeted to a younger audience, but the impatience I have with the title is the same I have with watching kids cartoons now — it takes forever to get to the point.

Phoenix Wright games are riddled with court sessions that you will have to read and decipher where a contradiction lies or where evidence will disprove a claim. It’s a fun system that works wonderfully when your brain is actually in sync with the direction the game is going. Unfortunately, my brain (and I’m guessing other people’s, too) often goes in another direction and whilst my reason for contradiction is 100% plausible, it’s written off as wrong. And even if you are right in guessing where the game is going, you have to figure out how to present it the way the game wants. For example, I knew that one of the contradictions was that a person could not hold two things at once and had to highlight this in a piece of photographic evidence — Turns out I picked the wrong hand and then had to choose the other. It is moments like this that make the game incredibly rigid and frustrating and what I wind up doing is picking every line of text for contradictions until I get it, because there’s no way of accurately knowing otherwise.

The two varying game styles never quite come together in a brand new way that I would have imagined, but there are elements that find their way into each other’s styles. Layton series staple, hint coins are usually used to help solve puzzles, but can now be used in the courtroom to highlight which lines to press or evidence to use, which turned out to be extremely helpful. Layton also finds himself alongside Phoenix in the courtroom to lend a hand in deducing evidence and putting pressure on the eye-witnesses. It’s a bit odd to see the two stand next to each other with their very different art styles, but it is goofy enough to work.

The sounds for this game is absolutely the shining star. Both series had iconic and memorable tunes and this mash-up brought the two minds behind the music together for some brilliant stuff. When the two styles of music is actually woven together, you can hear how much they actually complement each other in a magnificent way. Players who have never played either game will appreciate the stuff here, but there’s something extra special when you’ve played both games for so long — If only the game itself came together as magically.

Professor Layton vs. Phoenix Wright: Ace Attorney serves its purpose well as a game where two iconic characters finally come together. Disappointment comes in the fact that so much more could have been done. The two games never stray too far away from their comfort zone and each take a significant hit in challenge and series lore. There are so many characters and stories from each franchise that could have been used, but sadly none of it comes through. There are some big missed opportunities here and here’s hoping the next game (if any) gets the job done right.

Professor Layton vs. Phoenix Wright: Ace Attorney
Genre: Adventure, Puzzle
Platform: Reviewed on Nintendo 3DS
Developer: Level-5, Capcom
Publisher: Nintendo
Release Date: Aug 29, 2014

Rating: 7 / 10

‘Super Ultra Dead Rising 3 Arcade Remix Hyper Edition EX Plus a’ is the best DLC name ever

Poking fun at itself with its ridiculous name, Capcom is releasing DLC for Xbox One exclusive title, Dead Rising 3. A trailer for Super Ultra Dead Rising 3 Arcade Remix Hyper Edition EX Plus a was shown during the Microsoft 2014 press conference and it allows up to 4-players to team up and cosplay as Capcom characters such as Haggar, Akuma, Ryu and even Tofu from Resident Evil.

The newly announced DLC is available now and priced at a reasonable $7.99 here in the U.S.

NYCC 2013: Strider HD Impressions: Admirable difficulty meets Ninja coolness

Aside from multiple appearances in the Marvel vs. Capcom universe, Strider Hiryu has not starred in a videogame in over a dozen years. It should come as no surprise, however, that Strider is making a comeback and it was announced back at San Diego Comic Con 2013. With Capcom’s latest wave of remakes and reboots, it’s only fitting that a character as cool as Strider is making a return. After this, we can only hope that a Hayato comeback is in order.

Strider HD is due out on multiple consoles in early 2014 and a playable build was at New York Comic Con 2013. The moment you hop into the game, you’re greeted by high energy, heart-pumping beats that fit the appeal of a ninja battling laser-wielding robots. From there, you are met by the game’s no mercy gameplay. My first two tries as I was feeling out the game ended in mere seconds — and I like that. Strider HD is challenging and it’s going to take skill to battle enemies and dodge projectiles at the same time.

Facing the boss of this demo also proves to be difficult as the 3-part battle ensued. Nothing but a classic 2D boss battle that requires learning an enemy’s pattern and discovering more and more as you’re wondering “is this not over yet?” For all you side-scrolling rookies, patience and good execution is key.

Slashing enemies with the Cypher never felt better as the metal cutting sound effects and subsequent spillage of spoils feels damn good. Strider also has multiple non-combative tricks up his sleeve, such as grabbing on to ceilings, sliding long distances across a room, double jumping and, of course, gliding — it’s a fun arsenal to experiment and progress through the game with.

Strider HD not only plays well, it also looks very good. The PlayStation 3 and Xbox 360 version of the game was as smooth as can be and I was assured the PlayStation 4 and Xbox One versions would look even better. With all the action and fast-paced movement demanded by a Strider title, Double Helix did this game right. Strider looks simply wonderful as he strikes cool poses and his scarf/cape billows in the wind.

Can’t wait for this game to release in early 2014 on Xbox 360, Xbox One, PlayStation 3, PlayStation 4 and PC.

Ultra Street Fighter IV and new characters announced for 2014

After a long weekend of fighting game competition at EVO 2013, Ultra Street Fighter IV was announced. Similar to the transition from Street Fighter IV to Super Street Fighter IV, Ultra will be a huge update that will include new modes, rebalanced moves and new characters.

A total of 5 new characters were announced for Ultra Street Fighter IV as future content, including: Hugo, Elena, Poison and Rolento. All of these characters recently appeared in Street Fighter X Tekken. The fifth character and details on the new modes have yet to be revealed, but look out for updates in the very near future.

Ultra Street Fighter IV will retail for $39.99 and is expected to be released in early 2014.

PAX East 2013: DuckTales is arriving for a new generation

For me and many others my age, there was a time when ducks ruled the world. Darkwing Duck, The Mighty Ducks (cartoon and movie) and, of course, DuckTales played key roles in my entertainment as a youth. And not only was DuckTales a great television show, it also had a great NES game to boot. Known for its solid use of the platforming formula and catchy music, Capcom delivered what you can call a great game. However, since then, DuckTales has become a distant memory — but that all changed at PAX East.

Capcom announced that they are bringing the classic game back into this generation and it has lots of old school gamers (and cartoon watchers) very excited about this revival. DuckTales: Remastered is set to release on PS3 and Xbox 360 as a $15 download this Summer.

http://www.youtube.com/watch?v=6N0PzqF9gWY

DmC: Devil May Cry – an overwhelming success of hellishly good story, art design & combat

Reboots, prequels and sequels are always hit or miss – just look at Star Wars (fingers crossed for JJ Abrams). Often times, new creative teams take over and either rehash an original concept to minimal success or bastardize everything you loved about the core material. It happens in video games all the time. Then, there are those rare cases when a reboot actually takes a series to new heights, paying homage to its predecessor, while pushing the franchise in a bold new direction.

DmC: Devil May Cry falls in the latter category. Dante’s rebirth is an epic new beginning, filled with seemingly infinite combos, vivid level design and some of the best damn story telling to date for the son of Sparda – not to mention excellent voice acting.

Admittedly, I was apprehensive going into this reboot. Dante was given a new look that seemed more emo-goth. The ear-length white hair was gone, remixed with shorter black hair – and what looked like a hint of guy-liner around the eyes in the concept art. Who wants a melodramatic Dante with soppy mommy and daddy issues? Not I.

Thankfully, any emo moments that Dante may have experienced in his childhood are glossed over in less than thirty seconds. Outside of a quick, artistic montage of his childhood, the Dante we meet is one hundred percent badass. This is a guy who doesn’t care about much – outside of sex and self – until a very poignant story forces him to mature.

The game begins with Mundus, the demon king, reveling in the fact that he has just taken control of the world’s debt. By doing so, he now owns the world’s economy. Right away, the setup becomes socially relevant, especially coming off of an election year, where the fiscal cliff was a hot topic. Perhaps, Mundus is behind all of our economic woes? As Verbal said, in The Usual Suspects, “The greatest trick the Devil ever pulled was convincing the world he didn’t exist.”

There is one person who stands in the demon king’s way – Dante. Mundus orders his demons to drag Dante into limbo so that they can fight him at full strength. Once Dante’s in limbo, he arms himself with his coveted Rebellion sword and his Ebony and Ivory guns. Dante can dynamically switch between the two weapons to start chaining wild combos together. Later on, players will have three different guns to choose from as well as multiple demonic and angelic weapons. Demon weapons tend to be strong and cover short distances; they can also be used to break shields. Angelic weapons are generally weaker and used for distance; they can also juggle enemies. With each attack, you’ll see your combo meter rise, with ranks going from D all the way up to SSS.

The deep combat system is truly impressive so chaining combos together doesn’t simply boil down to button mashing. The combo score keeps you actively motivated to switch up your attacks mid-battle. Players will start off with their Rebellion blade and immediately switch to a bullet storm from above with the Ebony and Ivory guns, then spin a few demons in mid-air with the angelic Osiris scythe, before ultimately laying the smackdown with the demonic Arbiter axe. It’s a fight against your own ego as you strive to achieve an A-rank or higher every time. The combos are as intricate as your imagination and get more complex as you unlock new abilities for each weapon. Just don’t forget to dodge that attack from an ice demon creeping up behind you. Players will also be scored with an overall rank at the end of a mission, based on various factors such as completion time, style, deaths and number of items used.

The wickedly good story is backed up by the game’s hellishly vibrant, level design. Traveling back-and-forth between the real world and limbo is a visual treat of smart artistic choices. A simple soda factory in the real world will look like a mad-demon scientist laboratory in limbo. Mundane city streets and nightclubs all take on oversaturated colors and demonic landscapes in limbo. You’ll never look at the real world quite the same way (especially soda) as you cut between reality and limbo to see what’s really going on behind-the-scenes of everyday life.

When you’re twenty percent into the game, DmC becomes part platformer. Your demon arm lets you pull platforms closer, while your angel arm lets you grapple onto distant platforms. These same nuances can be used in combat. You can pull enemies closer to you or pull yourself closer to the enemy.

During your first big-boss battle with these angel-demon hooks, the combination of platforming and weapons is an utter delight. However, after the third or forth of these boss battles, things start to get repetitive. You’re always targeting the glowing blue or red weak point. The bosses vary in look and style, but the strategy always feels the same. Dante can later activate a Devil Trigger, which is his overdrive mode. It takes away the difficulty from these boss encounters because you can do a lot of damage in this mode. However, three additional levels of difficulty open up once you beat the game; there are also plenty of secret doors to revisit after unlocking all of the weapons.

Probably one of my favorite artistic choices in the game is the use of documentary camera angles in several of the shots. One of Mundus’ operations is the Raptor News Network. So there are a lot of different dirty camera angles, snap zooms and security cam footage. It’s a nice touch to keep the story moving along at a brisk pace.

Dante is excellently voiced without the need for any over acting. Unlike what you’d see in Grand Theft Auto games where the characters are caricatures, everyone in DmC (save Mundus and his concubine) tend to be very underplayed. It creates a great banter between Dante and his brother Vergil as well as Kat, a psychic who helps you travel to-and-from limbo. The solid character voicing allows for several introspective moments as well as humor.

As 2013’s first big action-adventure game, DmC: Devil May Cry is an overwhelming success. This game succeeds in revitalizing a beloved franchise for a new generation of gamers, while keeping all the intrinsic strengths of the original series. The art design, direction, and character voicing do a superb job in complimenting the multi-layered story. While there are moments when the beat ‘em up action becomes a game of arena survival, the complex combat chains keep each battle fresh and challenging. If you’ve never played Devil May Cry before (and shame on you for admitting that), then let DmC be your must-jump-on point.

DmC: Devil May Cry
DmC: Devil May Cry
Genre: Action-Adventure
Platform: Xbox 360 also available on PS3
Publisher: Capcom
Release Date: January 15, 2013

Rating:

9 / 10

Resident Evil 6: Part Franchise Evolution, But Mostly Confusion

Game development has an unwritten rule. If you “Over Deliver,” players will be satisfied with your product, knowing that they got their money’s worth. However, over delivering can sometimes come at a cost as proven in Resident Evil 6. Three separate character arcs, plus a fourth unlockable story, may sound like a robust gaming experience. Sadly, theory and practicality lead to a muddle of gameplay snafus in the latest Resident Evil.

For purists who grew up with the franchise, Resident Evil has never been the same since the days when a dog jumping through a window could scare the crap out of you. Over the years, the gameplay was shifted from a slow-paced horror thriller to that of a standard shooter. Capcom went so far as to turn the franchise into a multiplayer adventure in Resident Evil: Operation Raccoon City. You can call it evolution or you can call it confusion.

When you play Resident Evil 6, it’s hard not to think of the franchise as one big state of confusion. The core three missions all come with different gameplay mechanics. The Chris and Piers mission feels like a bland run-of-the-mill shooter. Both the voice acting and character animation are great. Piers finds Chris drowning his sorrows away in a bar and motivates him to get back to work. The legendary Chris Redfield does just that, but everything that comes after is a litany of self-deprecation. The only points where the story is remotely interesting is when it overlaps with both Leon and Jake’s mission.

Leon and Helena give you the traditional Resident Evil experience. It’s slow paced and the characters have a chance to talk and develop. However, your biggest obstacles aren’t the mutated zombies, but rather quicktime events, which don’t even make sense. While you’re locked in a hand-to-hand combat with a zombie, a train will come out of nowhere and run you over. You’re giving a small time frame to press two buttons so that you press your body flat against the subway wall. Unfortunately, if you’re already in mid-kick, you’ll get run over every time. The biggest problem with the trains is that there is no real reason as to why these trains are coming at you. They’re just there like the obligatory ghost train in Ghostbusters 2, except this train will kill you.

The Jake and Sherry game is very similar to that of Leon and Helena, except Jake is a mercenary with some platforming skills. In one chapter, he shows up in Chris’ mission to help with a mini boss. Chris is there on screen with you helping out. However, in Chris’ mission, Jake is nowhere to be found during the combat. Once again, gameplay suffers when quicktime events become the biggest obstacles when you’re trying to reach for a parachute before falling off of a crashing plane.

Playing through all of these missions feels more like a venture of habit than enjoyment. You know the franchise will continue so you’ll fight your way through each of these stories. Leon and Chris are both old favorites so why not play as their characters. Jake is a mercenary whose blood may hold the key to saving the world. Great. That’s reason enough to play as Jake. Perhaps this will be the final chapter in the Resident Evil saga.

Unfortunately, these three separate stories feel more like filler episodes on Smallville. The design team just wanted to throw all the characters in a game so that they could have the chance to be on screen together for maximum billing. Even the HUD between characters is needlessly different.

Resident Evil 6 might have been more interesting if it were designed as one long story, where you have a chance to play as each of the characters. That way, there could be higher stakes and bigger cliffhangers between chapters. WE could have started the game as Leon and then slowly gravitated towards Chris when we needed to pull out the big guns. Later on, you’ll unlock Ada Wong, a Chinese agent, who fights a solo campaign. There’s just so much story potential here that it’s a shame it’s all wasted on the cheesy story intersections.

There will no doubt be a Resident Evil 7. It’s a great franchise with a long legacy. But, perhaps it’s time the story chose a singular direction and went with it, instead of trying for several stories and failing to do any well. Right now, it’s beginning to feel like season 2 of Lost. Where are we going? Perhaps if we knew the end goal, we’d know how to get there.

Resident Evil 6
Resident Evil 6
Genre: Shooter
Platform: Xbox 360, also available on PS3
Developer: Capcom
Release Date: Oct 2, 2012

Rating:

5 / 10

SDCC: ‘Resident Evil 6′ Shows off 3 New Levels of Gameplay at Comic Con

You have to commend a publisher when they’re confidant enough to give gamers a chance to play thirty minutes of gameplay several months in advance of a title’s release. It’s even more commendable, when you do it twice, across three distinct character campaigns – with new levels each time. Top it off with the knowledge that the development team actually listened to and acted on preview complaints about inversion controls, and I’ll be the first to raise a glass to toast the Resident Evil 6 development team. Now, if only the cover system can be upgraded, I’d be in bliss.

For those who don’t know, Resident Evil 6 features three distinct campaigns bundled into one game. Perhaps you’d expect for graphics or combat to be sacrificed, but from our initial previews, animations are fluid, textures are crisp and gameplay is as good as you would expect from the Resident Evil franchise. The Comic Con preview updated gameplay allowing players to invert the reticle, invert camera (looking), and player position on screen has been altered so that the character no longer obscures the camera. Gamers can also turn off the HUD and in-game hints as well as adjust the color of the laser sight.

The two best campaigns to play through are that of Leon S. Kennedy and Chris Redfield. Leon’s campaign holds to the classic ResEvil gameplay. The new level once again has your character scouring through a building’s interior with partner Helena Harper. It’s easily the most intriguing story arc in the game so far. The president has become infected, he’s you’re best friend and now you’ve got to deal with it. Now, that’s a high stakes story that I can dig into.

The first E3 demo, focused a lot on story. I easily spent ten to fifteen minutes shifting between searching, in-game cut scenes and a few sparse moments of combat. The latest build showed off at Comic Con focused more on combat. You’ve got your handgun at your side and the ability to ask partner Helena to come in for backup, however, most gamers will enjoy the kick-ass three-kick combos. After delivering a side and roundhouse kick, your third kick will knock a zombie’s head clean off. This is the traditional gameplay we love. However, the up-close-and-personal combat has more of a WWE feel to it. If you sneak up behind a zombie, you’ll grab him by his neck and do a wrestling move worthy of the Hardy Boys’ legendary “twist of fate”. There is also marked improvement to aim sensitivity as well as the player’s ability to do a quick turn.

Chris Redfield’s gameplay falls more in line with your traditional combat shooter. Redfield is partnered with Piers Nivans. The E3 build focused on night scenes. The latest demo shown at Comic Con features a daytime scene, which involves a giant boss battle. You’ll target the red puss on the enemy’s back, before going in for a cinematic action. Unfortunately, the cover system is still a little quirky and hard to control. While you can jump over objects at your leisure, you can’t really dive for cover or stick to a wall and shoot out from cover without much difficulty using the game’s automatic cover.

Chris’ frenetic combat is great and the lack of ammo everywhere keeps the game challenging. You’ll want to save your bullets for your handgun and semi-automatic rifles. Delivering the three-kick combo is even better in Chris’ missions. When you’re running up a staircase, you’ll kick twice, curb stomp, shoot a zombie in the head and curb stomp again. The action moves at a fast pace, distinctly different from Leon’s slow-paced missions. Yet, it still feels like a Resident Evil game, unlike Resident Evil: Operation Raccoon City. For Prototype fans, you’ll see a familiar kind of enemy. There is a zombie whose hand mutates like Alex Mercer; it usually happens after you shoot the zombie twice in the head. Then, the mutated arm will turn into a shield. If you find yourself on the floor, the zombie will stab the bottom of his shield into your body. It’s great to look at but sucks if you’re on the receiving end.

Resident Evil 6 hits PS3 and Xbox 360 on October 2, 2012.

Xbox 360 Review: Asura’s Wrath – A String of Boss Battles, Served Better by an Anime Movie

You hear the complaint all the time: gamers want better stories in their games. Richer, more realistic graphics and visuals can only take a title so far. So the next generation of improved gaming will come from pushing stories to a new high (not motion control). The theory worked in Mass Effect. It doesn’t work in Capcom’s Asura’s Wrath.

Asura's Wrath

Asura’s Wrath gives gamers a story that would have been amazing had it been solely released as an Anime movie. However, on Xbox 360 and PS3, this game strings lackluster gameplay around a story that didn’t need a control pad to be told. Asura’s Wrath relies on Quicktime Events (or cinematic actions if you want to be fancy) to drive gameplay. If you find yourself throwing a punch or kick, it’s just filler before the only actions that matter. Character voicing by Naruto Shippuden voice talent Liam O’Brien helps this game to stay interesting when you’re not dozing off between waiting to press B or to flick your thumbsticks up or to the side.

The game begins with the introduction of Asura as one of the eight guardian generals who lead the demigod legions against an evil power known as Gohma. Asura’s daughter is a priestess who has the power to help the guardians finally win in the battle against this mysterious evil. Unfortunately, treachery invades the guardian ranks. Asura is framed for killing emperor Strada.

It’s an interesting setup, however it will take you about a half hour to get there. Most of the time, you’re just pressing a button when prompted or flicking your thumbsticks – again when prompted. The opening sequence is especially laborious. Asura is flying through space, partially on rails, and getting angry like Vegita in Dragon Ball Z. He has no reason to be angry; he’s just that type of demigod.

Thousands of centuries later, you’ll find out why Asura is so angry. Oddly, this happens by flashing back to thousands of centuries prior. The game jumps back and forth through the centuries without warning. Often, it’s difficult to tell whether you’re in the present or the past. The game is presented in chapters, which always look like the start of an anime episode – complete with creative team credits. This constant pat on the back would be fine if it were an anime series and not a game. But, as it stands, players are simply waiting around to press a button to activate the next scene in this “should-have-been-an-anime-movie” game.

In the case of the original Alan Wake, gamers got a bold new IP, which put story ahead of gameplay. However, good gameplay with unique and strong third person action kept you constantly active in the unfolding story. In Asura’s Wrath, you’ll want to grab a tub of popcorn and watch. But just when you are reaching for your third kernel, you’ll have to tap a button or get penalized. It’s an annoying mechanic. Asura basically has the power to unleash quicktime events. You button mash for a few minutes, then he gets angry, then you unleash your cinematic triggers.

Truthfully, Asura’s Wrath is simply a string of several boss battles broken up by story. They would have been impressive in a different game, but breaking up one boss fight into three chapters is utterly painful. When “minions” and Gohma are introduced to add in some button mashing action, you’ll feel irritated because it takes you away from the purpose of this wannabe game – to watch a movie in peace without the need of a control pad.

O’Brien brings the fire and internal anger of Gaara to his role as Asura. He sells Asura’s rage. Unfortunately, the gameplay just drags out a story that didn’t need gameplay at all to muddle it up.

Asura’s Wrath should have been a downloadable game for PSN or Xbox Live Arcade. Or, it could have just been an anime movie. Calling this a game is a misnomer.

Asura’s Wrath
Asura's Wrath
Genre: Action
Platform: Xbox 360 (Also available on PS3)
Publisher: Capcom
Developer: CyberConnect2
Release Date: February 21, 2012

Rating:

6 / 10

Sony Plugs PS Vita in ‘Resident Evil: Retribution’ Trailer

resident evil

Sony may think it’s being slick with this new trailer for Resident Evil: Retribution, but it’s hard to miss the egregious product promotion used in the first 30 seconds of the 1:15 video.

You’ll see numerous Sony handheld devices, the second of which is Sony’s new PS Vita handheld gaming system. I couldn’t watch the trailer without being reminded of the first Michael Bay Transformers movie and all of the close-ups on the Ford logo.

Resident Evil: Retribution stars Milla Jovovich, Michelle Rodriguez, Sienna Guillory, Kevin Durand, Shawn Roberts, Colin Salmon, Johann Urb, Boris Kodjoe, and Li Bing Bing.

EDITOR’S PICK: ‘Resident Evil: Revelations’ – Handheld’s New ‘Mature’ Guilty Pleasure

Watch the trailer aka Sony Handheld commercial below:

Story:
The Umbrella Corporations deadly T-virus continues to ravage the Earth, transforming the global population into legions of the flesh eating Undead. The human races last and only hope, ALICE (Milla Jovovich), awakens in the heart of Umbrella’s most clandestine operations facility and unveils more of her mysterious past as she delves further into the complex. Without a safe haven, Alice continues to hunt those responsible for the outbreak; a chase that takes her from Tokyo to New York, Washington, D.C. and Moscow, culminating in a mind-blowing revelation that will force her to rethink everything that she once thought to be true. Aided by newfound allies and familiar friends, Alice must fight to survive long enough to escape a hostile world on the brink of oblivion. The countdown has begun.