Every Zero Escape Game:

Protag: Ow, my ass hurts-

Character: That reminds me of this story where this scientist hit his ass on the edge of a table, but didn’t feel it. Then, months later, he died of ass pain. They call it Temporal Ass Pain or TAP

Protag: I’d TAP that-

Character: Say we took two asses, and we both slapped them really hard, there’d be a 56.000079% chance that one of them won’t feel it. That pain didn’t just get absorbed by the ass tissue, it’s being transported to the future. They call people who don’t feel Ass pain until later…TAPers…I wonder…if they could transport ass pain to someone else-

Zero: Ive injected Ass Poison into all of your left buttcheeks. You have exactly 2 hours to solve my Ass Slap puzzle.

Visual novels are often extremely long feeling. Reams and reams of text filling up dialogue boxes to seemingly justify their existence, after all, they are called visual novels. This isn't a complaint about reading however, I love reading. This is a compliment about understanding the need for such text at the expense of keeping your readers attention. Some games use 1000 words to convey 100 words worth of information. Less is sometimes more.

999 fully understands pacing in a way too many visual novels don't. The scenes are interesting, relevant and don't outstay their welcome before the escape room puzzles break up the change of pace. Honestly I think the game's fairly brief length and the way it's laid out in it's exposition to puzzle ratio is entirely to it's credit. The story was actually surprisingly engrossing as facts get revealed unraveling the mystery. I quite liked most of the characters even if some of the ridiculous obscure objects of knowledge some of them have conveniently are hilariously daft at times. It all fits together in a satisfying way once you unlock all the endings however.

The puzzles themselves are pretty good too. I got stumped by a couple briefly but they are balanced in a way that they tell you what needs doing without directly holding your hand I appreciated. I also appreciated that trying different routes gives you new puzzles in those locations but allows you to skip the old ones once you've beaten them. This is a game about rushing against time that also respects your time as a player in most cases.

Not what I expected going into it. Looking forward to the next game in the series.

+ Surprisingly interesting story and characters.
+ Pacing is excellent, good mix between story and puzzles.
+ Looks surprisingly good on PS4 visually.
+ unlocking alternate endings is a painless affair if you choose.

Absolutely great setup for this kind of game. There is an infinite amount of creative situations that the Nonary Games' setup allows for, and the rest of the game doesn't disappoint. It is extremely rare to find a mystery this well-crafted. I managed to actually just straight-up anticipate certain reveals without them being obvious at all, that's the mark of really consistent writing imo. Also the escape rooms are really fun. I think there's a couple of minor issues (text speed is way too slow, some of the number-related twists at the very end are a little goofy and i feel like getting the true ending without looking it up would be pretty rough) but yeah this is a really good game. NieR Automata if it was good fr fr

so, i played through this game with a close friend and then revisited some pivotal moments on my own after completing some of uchikoshi's previous work, namely never7 and ever17. this was my first uchikoshi game proper, and upon revisiting it, it's still pretty cool, but very much bleeds his issues and lovable incompetence as a writer passionately from time to time. i've come to label uchikoshi lovingly as 'a hack, but my kind of hack', and that's more prevalent here than in any of his other work i've yet to experience.

the actual gameplay of 999 is pretty dope. i think the puzzles are generally pretty interesting and very adv-game-on-the-ds-y feeling like a hodgepodge of ace attorney and flash escape room games in just the way for it to feel comfy and right at home. the presentation is superb for the ds, with really lively sprites and artwork. soundtrack's solid but definitely not as memorable as ever17's, though in all fairness that's in the upper echelon of vn soundtracks in my book.

the biggest issue with 999 lies in the fact that uchikoshi basically has no one reeling him in, and considering he might simultaneously be one of the best ideas guys and one of the worst pacing guys in visual novel history, you will constantly be barraged with walls of text, worse as the game goes on, about high-concept theories or phenomena that don't actually end up affecting the plot in any meaningful way. it becomes clear in retrospect that for as cool as much of it is, only about a third of the things the game slows to a crawl to bring to your attention is actually relevant. and considering the fact that the plot is as time-demanding as it is considering the circumstances of the cast, that can border on destructive to the tone at its worst moments. the cast is relatively balanced in coverage but that said it definitely feels as if some characters essentially had to have a purpose shoved in at the last second - particularly lotus, clover and 9th man. this is all without mentioning some pretty egregious shaggy dog jokes around sex or whatever. i would've expected this more out of ever17, or ESPECIALLY never7, but no, it's at its most egregious in zero escape, thus far. and i don't mind a pervy joke or two, but christ alive, 999 takes like 10 minutes to get its overwith at an otherwise incredibly pivotal moment in the story.

for all this game allegedly steals from uchikoshi's previous work, more specifically ever17 (which i don't deny the obvious overlap with) it often misses the context and point of those ideas or moments existing in the first place. and certainly, this wasn't a game that was designed to, or needed, a sequel - i'm more than happy with this being my first and only excursion into zero escape for the time being. while i've been pretty critical of it, i do really genuinely enjoy this game a lot - i'm just familiar enough with uchikoshi's work at this point to give it an honest lookback and compare it to his previous releases.

Rod Serling might not be a name you recognize, but you probably know his voice. He was the creator of the original Twilight Zone series and the narrator of its famous intro, ushering viewers into a world between light and shadow, science and superstition. His unique cadence was a perfect way to open the show, since it’s clear and understandable, but also a little… off. It’s hard to describe, it’s like he speaks in a slightly different time signature to the rest of us, friendly but faintly suspicious. When each episode begins, he often appears on screen in a tidy black suit and introduces the characters, who are obliviously going about their lives as the man in black hints at the intersection of the supernatural that’s about to occur. While he's not jarringly out of place, he doesn’t quite belong either, which is a great way of conveying the feel of many of the show's conflicts. They’re the sort of things that might occur in a dream, not limited by mundane logic, but are still real enough to hold truth. Sometimes they’re scary, sometimes they’re tragic, but through them all is a message that speaks to the feelings we all share.

That’s what makes The Twilight Zone so special to me. It’s not just cheap twists and pulp, there are real messages, ideas, and emotions here, just with a lair of the supernatural and sci-fi that bring life to the fiction. It’s a quality that Nine Hours, Nine Persons, Nine Doors shares as a visual novel, presenting a mystery that seems steeped in convoluted and cheap sci-fi, but at the center of it is a story with a message and heart. It uses those elements as tools to help you connect with the characters, who are often just as confused as you are, and experiencing the same dreamlike horror you might be feeling as you read. It captures everything I love about that sixty-year-old show with its mysterious atmosphere, relatably flawed characters, and the sort of tragic story that gives you a lot to think about.

However, I also have to confess that it encapsulates some of what people don’t like about The Twilight Zone too. The experience of atmosphere is highly subjective, stories will never resonate with everyone, and a visual novel requires a much greater time commitment, lasting nine hours instead of twenty-five minutes. Also just like the show, it’s a bit dated. Other works have been inspired from it and played off the same ideas, and it may come off as feeling tired or obvious to genre fans who started with something else. It’s a game that, unlike most when I try to recommend them, comes down almost entirely to personal taste. I can’t highlight a certain mechanic or describe how it uses the fundamentals of good game design, it’s just a story I love and want people to give an honest chance.

Bonus Content:
Since I talked about the show so much, and love it so dearly, here are a few episodes I might recommend for people interested in the show. If you end up watching/enjoying it, you absolutely earn a place in my treehouse club for cool dudes:

Where is Everybody? (season 1, episode 1)
As a Star Trek fan, terrible first episodes are something I've come to expect, but this one does a great job at establishing the atmosphere of the series. It's quiet and tense, with shots that remind you of movies like "I Am Legend", even with comparatively primitive filmmaking tools. You could use this episode as an example for how far you can take a story without computers or a high budget, using creative methods to tell a gripping story of total isolation.

What You Need (season 1, episode 12)
While The Twilight Zone is primarily known for its horror, this episode shows the other side of the series with a cautionary tale. This is a natural fit for a show where the variables of reality are unreliable, putting people into unrealistic scenarios which test their character in a way that still feels realistic. When watching this episode in particular, it's natural to wonder how you would react if you were put in the shoes of the main character, and it's this thought-provoking nature that makes the show more than the sum of its parts.

The Monsters Are Due On Maple Street (season 1, episode 22)
I said that "Where Is Everybody?" is a good taste of what The Twilight Zone is all about, and if that's true, this episode is the main course. It's considered one of the best in the series for good reason, mixing the horrific, moralistic, cautionary, and even political elements together to deliver a story that will still resonate with modern viewers. If I had only one episode to convince someone that this series is still relevant, it would be this one.

The Shelter (season 3, episode 3)
If you're a fan of that realistic and morally-focused side of the show, this also episode is for you. With how plainly the story is told, it feels like a direct message from Serling about how insane society can be. It's a straightforward story with an obvious message, but that realness makes it one of the most relatable episodes in the entire series. You can easily see the events of this episode happening in real life, and that's what makes it uniquely terrifying.

The Midnight Sun (season 3, episode 10)
This is my favorite episode of the series, even if it's not popularly considered one of the best. The horror in this episode is unlike anything else in the show, with a threat that isn't hidden in the shadows or behind the supernatural. Other episodes may give you the creeps, but this one is set up to give an oppressing sense of dread. If you have anxiety problems and need to explain to someone what it's like, make them watch this episode. It's about as close to the real thing as you can get.

it was pretty hard to think this one over, but ultimately i think 999 is a game about purpose, and finding that said purpose in everything you encounter. what may seem like a fairly straight forward story at its roots, eventually blossoms into an ineffaceable tale that recognizes the joy of the mystery rather than the broader ideological themes a mystery may present. uchikoshi is a guy who likes to explore the inherent mystery within the mystery, which i really enjoy in this scenario. with each character having their own focus and suspicions, it’s extremely easy to lose yourself in these characters and the puzzles that follow suit not just in-game, but behind every bracelet-bearing personality as well. between the carefully thought out suspenseful puzzle rooms, colorful cast of characters, oppressive atmosphere, moody melodies, and the narrator’s almost overbearingly detailed descriptions, i found myself completely hooked. 999, for the most part, is a pretty cut and dry character driven adventure game that i can’t help but love.

i also really like sudoku.

I've become convinced that there is no way to substantially improve this game, and/or its story, without drastically altering the final product and its core identity for the worse. If Spike Chunsoft's Danganronpa series is an exploration of character relationships dynamics at its most hyperbolic and brash, Nine Hours, Nine Persons, Nine Doors explores those same dynamics with the tact of a carefully crafted pressurized chamber. There are so many moments within each stroke and line that are created with the sole intent of increasing the dread between two characters, whether by sowing discord or pulling them together amidst almost certain death. The tension isn't overbearing at first but it builds and towers into this monolith of anxiety, to the point where its true finale brought me to tears on my first playthrough.

That's not to discount the gameplay, which is in effect perfected (for the most part) in the PC port but is just as gripping and fun in the original DS version. It's the type of escape room puzzling that I absolutely adore, fully realized and made even more gripping with the eclectic ways you craft solutions. Combining objects, altered arithmetic, careful dialogue traversal, it's all so wild and fresh as someone who plays around with this genre as a matter of habit, let alone taste—it makes me wonder just how much more developed this idea of room traversal and additive puzzle-solving can get if this game is the best I've seen the genre offer. It's such a shot of euphoria peeking through each individual notch in this labyrinth of rooms, putting together pieces and creating more puzzles. It's this type of design that makes me swoon and weep for more of its kind, even as the escape room genre wanes in its popularity little by little every year. This is the type of puzzle game I fucking adore, concentrated and purified to such an extent that replaying it was an immediate rush of dopamine and anxiety.

     ‘You know what I hate most in the world? Hope, Faith, Love, and Luck.’

Played with BertKnot, through the remastered collection, to which the score applies.

In 2009, Kotaro Uchikoshi presented a new idea, resulting in the Zero Escape series. Some of the themes were already present in his previous works, such as Ever17: The Out of Infinity (2003) or 12Riven: The ΨCliminal of Integral (2008). The concept of an enclosed environment serving as a setting for a mystery was already present, continuing a well-known convention of detective fiction. While these seminal titles were visual novels and offered only limited interaction, Nine Hours, Nine Persons, Nine Doors interweaves novel sequences with gameplay-driven sections in the form of escape rooms. The most obvious roots of this idea can be found in Myst (1993), which largely popularised the formula of a first-person game – especially browser games –, harkening back to the legacy of the traditional point-n-click games. Initially designed for the DS, Nine Hours, Nine Persons, Nine Doors is one of the console's legendary titles, both for its unique nature and its clever and intuitive use of the hardware. In 2017, a compilation of all three games in the series was released, allowing players to experience the entire franchise on the latest platforms, with new modern visuals and quality of life options.

The player assumes the role of Junpei, who wakes up in a cabin closed by a strange mechanism, having been kidnapped by a mysterious masked figure. Immediately, the title introduces its escape room mechanics: the player must navigate between several fixed screens and interact with different objects, in order to find a way to open the door of the room. Puzzles punctuate these sequences, often codes to solve or small mathematical problems: they never represent a tremendous challenge, especially as they are often based on the same repeating themes, but they always provide a sense of satisfaction when they are solved. After leaving the cabin Junpei meets eight other characters who have also been captured by Zero. The latter makes contact with the group and explains that they will have to work together to escape; however, the story and the motivations of each character seem to be more complex than they appear. The game involves progressing through the different rooms, while solving the mysteries and murders that occur against the backdrop of these sordid games.

Whilst the remastered version may evoke the Danganronpa series, 999 is surprisingly humble in its direction. The escape rooms do not deviate from their gimmicks and a real emphasis is set on the puzzles, whose difficulty is calibrated to be accessible to the greatest number. It is during the visual novel sequences that the storyline becomes more intense and the plot thickens. In these sections, the player sometimes has to choose an option, such as the next door they want to go through. A playthrough takes the player past three different doors, leading to various endings. Three of them are considered bad outcomes, contrasting with the normal ending and the true one. Regardless of which branchings are selected, a specific door will always lead to the same room and the same puzzles, although new dialogues might also appear, depending on the choices previously made. This strict dichotomy between narrative and gameplay may come as a surprise, especially in the original version, in which the player was forced to redo a new route in its entirety, regardless of whether they had already solved a room in a previous playthrough.

The remaster introduced the Flow, a diagram that summarises the story's junctions and allows the player to skip parts of the game that have already been played. The pacing has thus been quickened and it is now possible to finish the title in half the time it took on the Nintendo DS. This added quality of life is certainly understandable by modern standards regarding visual novels, but it is difficult not to feel as if the game has lost part of its appeal. The transition to newer platforms has removed the DS's distinctive sprites for more traditional and standardised design. The 16:9 resolution makes some of the environments a little too wide and loses the spatial narrowness implied by the smaller screens. As for the Japanese dubbing, it features talented voice actors – Ace is voiced by the prestigious Takaya Hashi, while Snake and Lotus are dubbed by Takahiro Sakurai and Rie Tanaka, respectively – and, while it sheds the magic of the indistinct dialogue noises, it nevertheless suits the game's tone. The bleakest aspect of the remaster is certainly the closing hours of the game. They suffer sorely from not having the dual screens of Nintendo's console; worse still, the final puzzle has been replaced by a painfully hollow enigma, utterly shattering the tension of the finale.

Beyond the notion of conservation, it is tough not to consider the remaster as a downgraded version of the original title. Certainly, the addition of Flow saves time, but its implementation also lacks elegance and clarity to really deserve laurels and make up for the other choices. In 2009, Nine Hours, Nine Persons, Nine Doors was a unique foray from the Japanese mystery fiction into the West, showcasing a part of the prolific Japanese production. The art direction, halfway between Japanese animation and Western cartoon, accompanied the subversion of the traditional conventions associated with the different characters, and offered a story that was quite unusual compared to the family-friendly releases that most Nintendo DS owners were used to. The gameplay of the puzzles was likewise tuned for touchscreen use and their remastering is hardly convincing: the occasional wheels that need to be turned are implemented in the most cumbersome way possible, relying on a button to start and stop turning them, whereas the DS version simply let the player use their stylus. It is very noticeable that the remaster was designed for home consoles, as even the PC version doesn't take advantage of the mouse cursor. The decision to discard what made the original version so unique – and at the same time, how could it be retained? – sadly puts the title among the plethora of recent visual novels based on macabre games.

Fortunately, the source material is great enough to compensate for these shortcomings. The story unfolds organically and offers a clever mystery, which very alert players will be able to anticipate, carried by a charming and never obnoxious cast: their interactions feel natural, as the characters are more than the trope they initially embody and have the merit of being mostly adults. Admittedly, the gender representation remains within the sexist clichés of Japanese anime, but there is some effort to bring more depth to the various figures. This makes their explanations of the numerous scientific experiments quite apropos and believeworthy – even when it comes to pseudo-sciences –, although one could be dubious when faced with someone knowledgeable about every single trivia regarding the sinking of the Titanic. By and large, the title avoids being too long-winded, except perhaps for the repetitions between the normal and the true endings – albeit diegetically warranted. The game never falls into gratuitous cruelty and shows respect for the individuality of each character, contrasting very favourably with Danganronpa.

It is tough to blame Nine Hours, Nine Persons, Nine Doors, in its remastered version, for being a disappointment, as it is constrained by more recent systems, for whom the puzzles were not designed. Simultaneously, it is arduous not to consider this version as half-baked and lacking in identity. Some graphical assets have been destroyed by the upscale and the UI has a very unpleasant amateurish quality. In spite of that, 999 remains a title of rare quality, capable of surprising the player unaccustomed to the detective genre. The respect for its cast makes it an enjoyable experience from start to finish and establishes it as a classic for anyone interested in either mysteries or escape rooms. If the absence of the Flow system is not inconvenient, the DS version is still the one to recommend, so as to enjoy the game experience as imagined by Kotaro Uchikoshi.

Conseguido mecanismo narrativo de intriga, fallido todo lo demás.

999 es una muy rocambolesca historia en un improbable escenario con una improbabilísima secuencia de acontecimientos presentada de tal modo que el jugador empiece entendiendo cero y poco a poco vaya obteniendo pistas, respuestas, sorpresas. No por sí mismo, sino a través de una narrativa concreta. Todo en el momento y al ritmo determinados por la narración. Su cometido es intrigar e intriga, busca enganchar y engancha. Uno siempre quiere ver qué hay tras la siguiente puerta, descubrir qué ocultan otros, dar sentido a la extraña situación, desentrañar el misterio que se va fraguando. Saber qué pasa a continuación. Encuentro innegable el mérito en su meticulosa (casi matemática) construcción y justificación de sorpresas argumentales, en la minuciosidad de su esqueleto narrativo, incluso si sigue de pe a pa los pasos ya andados antes por otras ficciones populares japonesas, a las que no añade gran cosa más allá del formato. Formato que, por otro lado, no se desaprovecha aquí: que el argumento gire alrededor de experimentos con personas da verosimilitud a los puzzles, que pueden permitirse ser casi cualquier clase de acertijo a-la-escape-room sin sacrificar coherencia. En vez de ratas o monos tratando de encontrar la salida, esta vez humanos. Y, por ser humanos, resolviendo acertijos. Con la ventaja añadida de que sabemos, como jugadores, que la solución siempre se encuentra en la sala de la que intentamos escapar, solventando así esa situación tan común en aventuras gráficas clásicas de no saber qué buscar, dónde ir, siquiera qué se supone que hay que hacer. En un videojuego esencialmente narrativo, tan dirigido por su guion, esta es una buena decisión.

También valoro las ventajas que aportan a este tipo de historia los múltiples caminos posibles (siempre queda la intriga de lo no visto y elegido), y encuentro jugosa la premisa tan de ciencia ficción que al principio esconde el argumento pero va revelándose discretamente a medida que avanzamos. Lo que no me gusta y lo empaña todo es, bueno, todo lo que no es esa capacidad del juego por intrigar.

Resulta que, al ser esta una historia tan dependiente de giros inesperados y su habilidad para darles lógica (que al ser revelados nunca los esperemos pero a continuación se nos demuestre que no fue ninguna idea feliz, que estaba todo ahí desde el principio), el título debe justificarlos a base de una gran cantidad de información (para que todo conecte) y explicaciones (para entender la lógica del asunto). Esto implica que dos tercios de lo que vayamos a leer serán explicaciones y justificaciones. Es, sencillamente, demasiado. El universo del juego es incapaz de existir por sí mismo y absolutamente dependiente de su oculto narrador omnisciente, que interviene a través de los personajes y de la voz en off del protagonista. A la larga, uno empieza a notar que, de hecho, no hay interés genuino en el mundo, ni en los personajes, nada. Estos son poco más que excusas, vehículos para hacer girar el engranaje narrativo de intrigar-sorprender-justificar. Explicaciones, ejemplos, justificaciones, más explicaciones. El único personaje omnipresente es uno oculto (el narrador) y poco importan el carácter, la personalidad, o las características en general de las que se intentó dotar a cada personaje, pues en el fondo la función principal de cada uno de ellos será la de servir de interlocutor entre lo que el juego quiere explicarte y tú como receptor de esa información. Y no importa que las circunstancias sean de tensión y apuro (nueve horas para escapar o muerte), siempre hay tiempo para extensas explicaciones con minuciosos ejemplos, diapositivas e info-graphics inclusive, con preciso lenguaje cuasiacadémico, fechas y nombres exactos, términos científicos, etc.. La personalidad y forma de hablar y actuar de cada personaje se evaporará en el momento en que el juego los utilice para su "info-dumping", algo que sucederá todo el tiempo, sin cesar, pues es la única manera que tiene el rocambolesco guion de sobrevivir. Eso o que el narrador se literalizase, algo inviable con tales cantidades de información, mucho más en un videojuego que nos pone en primera persona a tomar decisiones.

Así pues, por mucho que la narración funcione como mecanismo adictivo, al consistir su estructura en personajes interactuando entre ellos y revelando partes de sus personalidades y pasados, fracasa como historia y queda en un punto intermedio como obra, como videojuego. Yo dudaba a medida que progresaba en la aventura, me cuestionaba si pesaba más lo conseguido o la evidente falta de otredad de su universo y personajes. Todo el mérito de su estructura frente a su carencia total de empaque. @Zeloid sostiene, en el último párrafo de su texto sobre The Nonary Games, que estos no tienen nada que decir, y, aunque eso es algo que resulta fácil de afirmar equivocadamente de cualquier cosa que no gusta o con la que no se conecta, debo decir que en el caso de 999 pienso exactamente igual. El juego tiene algo que ofrecer, su mecanismo narrativo de intriga, pero nada más allá de eso pues todo lo que se dice en el juego sirve al propósito de alimentar tal mecanismo. Sin ideas que comunicar, experiencias que contar o personalidades en las que profundizar.

Los momentos en que los personajes se avergüenzan, enfadan, ríen o, en definitiva, muestran quiénes son como, eso, personajes, fueron los que determinaron la balanza, para mí, negativamente. De lo que queda de ellos más allá de la transmisión de información, no hay frase o instante que no sea cliché, ni pretendida emotividad que no resulte cursi y excesiva. Para cuando alcanzamos los finales me atrevería incluso a hablar de mal gusto. Queda claro, a cada hora de juego más, que la meticulosidad matemática que caracteriza la propuesta es inversamente proporcional a su sensibilidad. Su avanzada lógica viene con carencias de sentido común y su inteligencia es algebraica, no emocional. Qué lástima.

Ah sí, y los puzzles son todos mediocres.

A masterpiece encased within an interesting puzzle solving visual novel. OST, Characters, Art Style, and simple but effective gameplay are all top notch. The mystery surrounding being on a sinking ship and who everyone else in the game is helps keep you moving forward. This game lacks the sheer number of twists that its sequel has, but still manages to keep you neatly engaged. This cast feels so human. It's hard to explain but I can't state enough how some of the characters here come across so genuinely. Speaking of, this is genuinely a game I'd call a masterpiece. You owe it to yourself to experience it. Buy the nonary games collection on PC and don't look back.

999 is, as the title suggests, a game about nine persons who have nine hours to go through nine doors. This is basically a VN with occasional puzzle segments in which you're locked in a room and have to find a way out. The puzzles are not very difficult for the most part, but there were a few towards the end that combined aspects from the previous rooms to make more engaging puzzles that actually took me a while to figure out.

I think the main appeal of this game is the story, and it definitely delivers on that front. It takes a while though for things to get interesting, but it really picks up when you start to figure out why you're trapped on the ship, and how the characters are related to each other. Another interesting aspect is the branching story, where each choice you make has the chance to change the ending you get. It's ideal to play all of the bad endings before going for the true end, but only one of them is actually required.

The presentation is also pretty good, I really enjoyed the voice acting for all of the characters and it helped endear them to me a lot. Music is good, although most of the tracks are kind of forgettable I think it does its job to set the mood and atmosphere well enough.

I played this on Vita, which most people say its an inferior version because of the way the game uses both screens on the DS, but I had it switched to novel mode almost the entire time so I don't think I really lost anything. Either version seems good to me, but I definitely like how well it uses the DS's gimmick.

I am giving this game a 999/1000.