2008 could go down in the annals of time and history as the Return of the Fighting Game. The mid-90's are what we widely consider the golden-age of fighters, with the monumental crash of said genre somewhat accurately occuring in the late 90's-early 2000's. When quality fighting titles have been released in recent years, they have sold very well, proving in essence that the genre remains viable in today's gaming populous, and could perhaps do with a resurgence. Updates to many of our favorite's from days gone by are in production as we speak. And most of these titles are slated for release in this calendar year. I intend to write a continuing series regarding this exciting new trend, profiling and discussing an individual title in each entry and linking available media (if any) of those title's.
Is the return of the genre exactly what fighting fans have been clamoring for? Or could it merely be a quick cash in, without enough evolution or substance to truly revive this beloved, quarter munching past time?
Thursday, March 13, 2008
Wednesday, March 12, 2008
Run DLC
The arguments for and against Downloadable Content on current-gen gaming consoles are numerous, but so little attention is given to the negative impact it has on the gaming micro-economy. Games on the Xbox 360 and Playstation 3 now charge 60 dollars just to ride, while developers that withhold already completed content for later distribution through PSN and LIVE grow in number. It is being suspected that the new Mass Effect DLC, Bring Down the Sky, is guilty of that characterization. That it was either deliberately withheld, or broken and taken out as a time constraint. And now it is available to you for download at an additional five dollars on top of the 60 you paid to play. This is certain to be the first of many downloadable episodes for Mass Effect, a game that is intended to span a trilogy. Let's suppose for a moment that this is the first of four downloadable episodes for the first Mass Effect, and that each subsequent entry into the series will follow a similar pattern. Without regard to taxes for the title itself, to play the Mass Effect trilogy in its entirety would then cost upwards of 240 dollars. Is this an acceptable amount of money to pay in foresight to learn the outcome of a single story arch?
This money vacuum could no doubt be worse than I have illustrated, with publisher EA's recent acquisition of Mass Effect developer Bioware. It begs the question; when we are now asked to pay an additional ten dollars to account for development costs for new-gen titles, shouldn't we be provided with additional incentive, rather than additional obligations in order to see all of the title that we have already purchased? Would it be acceptable on any level to purchase a Bluray film and discover months later that a previously removed scene from the middle of the composition could be downloaded for your viewing pleasure at 3.99?
Exceptions do exist. Most notably, The Elder Scrolls IV: Oblivion's expansion packs. Specifically, The Shivering Isles, which was a post-production expansion pack that introduced an entirely new map that nearly doubled the travelling area of the original game. It introduced a unique environment with new enemies, weapons, armor, side quests, spells, achievements and dialogue. It is robust and gratifying, and it is very clear in experiencing it that it isn't a portion of the game that has been intentionally withheld to siphon additional money from the consumer that has already paid 60 dollars for a product with unlimited replay potential.
When Bioshock released, files were discovered that listed the eventually released expansion pack's (if you can call it that) content. In that case, it was evident that portions of the game were removed for later distribution. Development costs are causing developers and publishers to take their loyal consumers for granted and pinch them at every turn. If a solution can't be found to this DLC disaster in the near future, it is going to draw additional negative attention. As time goes by, you may have to open your wallet to every game you have already purchased. Five dollars here. Ten dollars there. I say, at sixty dollars, either leave the game as it is, or provide us with additional content free of charge out of gratitude for the success of your product, and the support of the individuals that enable you create a true sequel to your title (or new intellectual property, entirely). I am admittedly victim to this trend, in that I will inevitably download the Mass Effect expansion pack out of a concern that I did not truly complete the product in it's entirety without the hour and a half contained in the five dollar download; a product that I have, thus far, enjoyed immensely on it's stand-alone merits. However, I already know for certain, even before my experience with the new content, that it will lower my opinion of the overall product solely due to the inconvenience it will cause me. Five dollars may not kill everyone. But it's that sort of thinking that makes it ok.
Give me a complete product. Or give me a new game.
This money vacuum could no doubt be worse than I have illustrated, with publisher EA's recent acquisition of Mass Effect developer Bioware. It begs the question; when we are now asked to pay an additional ten dollars to account for development costs for new-gen titles, shouldn't we be provided with additional incentive, rather than additional obligations in order to see all of the title that we have already purchased? Would it be acceptable on any level to purchase a Bluray film and discover months later that a previously removed scene from the middle of the composition could be downloaded for your viewing pleasure at 3.99?
Exceptions do exist. Most notably, The Elder Scrolls IV: Oblivion's expansion packs. Specifically, The Shivering Isles, which was a post-production expansion pack that introduced an entirely new map that nearly doubled the travelling area of the original game. It introduced a unique environment with new enemies, weapons, armor, side quests, spells, achievements and dialogue. It is robust and gratifying, and it is very clear in experiencing it that it isn't a portion of the game that has been intentionally withheld to siphon additional money from the consumer that has already paid 60 dollars for a product with unlimited replay potential.
When Bioshock released, files were discovered that listed the eventually released expansion pack's (if you can call it that) content. In that case, it was evident that portions of the game were removed for later distribution. Development costs are causing developers and publishers to take their loyal consumers for granted and pinch them at every turn. If a solution can't be found to this DLC disaster in the near future, it is going to draw additional negative attention. As time goes by, you may have to open your wallet to every game you have already purchased. Five dollars here. Ten dollars there. I say, at sixty dollars, either leave the game as it is, or provide us with additional content free of charge out of gratitude for the success of your product, and the support of the individuals that enable you create a true sequel to your title (or new intellectual property, entirely). I am admittedly victim to this trend, in that I will inevitably download the Mass Effect expansion pack out of a concern that I did not truly complete the product in it's entirety without the hour and a half contained in the five dollar download; a product that I have, thus far, enjoyed immensely on it's stand-alone merits. However, I already know for certain, even before my experience with the new content, that it will lower my opinion of the overall product solely due to the inconvenience it will cause me. Five dollars may not kill everyone. But it's that sort of thinking that makes it ok.
Give me a complete product. Or give me a new game.
Wednesday, January 16, 2008
Sweet Nothings
With everything I knew going into this experience, Blue Dragon could have been a huge hit or a monumental miss. There are those of you that are excited with the recent trend of live (not so) turn-based RPG's coming out of the land of the rising sun. I, however, do not celebrate this proposed next step in the evolutionary process. I'm one of the stubborn few that like my RPG's all-slow or all-go, angrily casting away all of the inbetween's that have become wildly popular as of late. For me, Final Fantasy XII was a nearly unplayable disaster that I suffered through, if only out of previous loyalty to the namesake. But I miss meticulously toiling through dungeon's, in complete control of an entire party of loveable, angsty, young heroes for a day, waging encounter upon encounter against various element based creatures in strictly turn based melee's, that I could tweak and plan to my heart's content. Blue Dragon brought on that desire, and admirably satiated it.
There are those reviewers who would have you believe that because Blue Dragon utilizes an arguably aging battle system, that it is drab and laborious. But what Artoon and Mistwalker have been able to achieve with this new title is what many purists of the role playing genre should consider the true next step in Japanese role playing, though it may be a rather small one. But before I address the intricacies of the battle system, I'd like to discuss the world of Blue Dragon.
The characters and artwork of Blue Dragon are all designed by Akira Toriyama, of Dragon Ball and Chrono Trigger fame. While I have never cared for much of anything the Dragon Ball series has had to offer, the world of Blue Dragon is easy to fall in love with. Once you are deep into the quest, you begin to develop a deeper understanding and admiration for Toriyama's minimalistic designs. Each individual character in your eventual five character party will come to hold a special place in your heart. And the game surprisingly doesn't overwhelm the player with hours and hours of spoken dialogue. Much of what is displayed in cutscene's is either necessary to the context of the story arch, or is entertaining enough to hold your attention. I often smiled widely at the comical antics of Shu and his friends, or grit my teeth at their courage and strength. Moments in the game made my arm hair's stand on end, and I felt genuinely as though I was carrying out Shu's tasks with determination. That is most certainly the imprint of a Sakaguchi produced RPG, as I found myself as exhilirated by the events in Blue Dragon as I have been in other great titles in his portfolio, such as Final Fantasy's VII and X. The game and it's world have an undeniable charm, and the Blue Dragon brand has the potential to become phenomonally popular, with animation, toys and various merchandise baring the likenesses of the characters and their simple-yet-engrossing universe seemingly inevitable, even with the title's thus far modest success.
The battle system in Blue Dragon may not be some shocking new variation of turn based role playing, but frankly, some of us prefer it that way. The class system and your ability to change them on the fly to level up individual classes, is much deeper than it appears to be if you take the time to explore your many options. Granted, some players may have difficulty deciding when and how to change classes and exactly how long to level up. But trust me, if you're a toiler and RPG enthusiast that loves to squeeze every item and experience point out of this type of dungeon crawler, you will have no issues organically discovering new and exciting combinations of abilities. And for those of you who care only to power through boss after exhilirating boss, such customization is entirely optional and you will fare just fine without ever switching classes. Which brings me to the inevitable downside of this affair.
Blue Dragon, while offering downloadable additional difficulties (that are tailored for a second go around) is unusually easy for a Sakaguchi affair. If you rummage around the world map, leveling up and finding every item and treasure chest, it won't take long to lap the competition. The ease of battle may come as a relief to some players, but I relish the challenge of a painfully difficult RPG. Granted, for those of you that are as masochistic as I am, there are some "extra bosses" (would this be a Sakaguchi title without them?) that take some serious committment to both find and defeat, and will reward you handsomely for the afforementioned class changing and leveling. Unfortunately, their optional nature is obviously not associated with your success in the main quest. I feel it is appropriate to note, as well, that this game is not necessarily made for adolescents. Strangely, it would be appropriate for such an audience outside of Shu's desire to call his adversaries "bastards". I suppose it depends on the vernacular that is allowed in your particular household. My other major concern with this title is the absolute lack of weaponry. Obviously, your blue avatar is your living weapon, which is novel and quite original. But I was silently hoping before embarking on this adventure that you could somehow equip them with helmets or gauntlets, or that such upgrades may automatically occur upon leveling up.
These concerns are few and minor, and should not discourage any lover of role playing games from giving this wonderful and engaging title a shot. If anything, I am strongly encouraging those same RPG lovers to do themselves a favor of at least renting this title. I can almost certainly assure you that if a little cutesy character design isn't enough to make you throw up in your mouth a little, you will come away pleasantly surprised with this gem. And you will share an inside joke with the few of us that understand the title of this review.
9.5/10
There are those reviewers who would have you believe that because Blue Dragon utilizes an arguably aging battle system, that it is drab and laborious. But what Artoon and Mistwalker have been able to achieve with this new title is what many purists of the role playing genre should consider the true next step in Japanese role playing, though it may be a rather small one. But before I address the intricacies of the battle system, I'd like to discuss the world of Blue Dragon.
The characters and artwork of Blue Dragon are all designed by Akira Toriyama, of Dragon Ball and Chrono Trigger fame. While I have never cared for much of anything the Dragon Ball series has had to offer, the world of Blue Dragon is easy to fall in love with. Once you are deep into the quest, you begin to develop a deeper understanding and admiration for Toriyama's minimalistic designs. Each individual character in your eventual five character party will come to hold a special place in your heart. And the game surprisingly doesn't overwhelm the player with hours and hours of spoken dialogue. Much of what is displayed in cutscene's is either necessary to the context of the story arch, or is entertaining enough to hold your attention. I often smiled widely at the comical antics of Shu and his friends, or grit my teeth at their courage and strength. Moments in the game made my arm hair's stand on end, and I felt genuinely as though I was carrying out Shu's tasks with determination. That is most certainly the imprint of a Sakaguchi produced RPG, as I found myself as exhilirated by the events in Blue Dragon as I have been in other great titles in his portfolio, such as Final Fantasy's VII and X. The game and it's world have an undeniable charm, and the Blue Dragon brand has the potential to become phenomonally popular, with animation, toys and various merchandise baring the likenesses of the characters and their simple-yet-engrossing universe seemingly inevitable, even with the title's thus far modest success.
The battle system in Blue Dragon may not be some shocking new variation of turn based role playing, but frankly, some of us prefer it that way. The class system and your ability to change them on the fly to level up individual classes, is much deeper than it appears to be if you take the time to explore your many options. Granted, some players may have difficulty deciding when and how to change classes and exactly how long to level up. But trust me, if you're a toiler and RPG enthusiast that loves to squeeze every item and experience point out of this type of dungeon crawler, you will have no issues organically discovering new and exciting combinations of abilities. And for those of you who care only to power through boss after exhilirating boss, such customization is entirely optional and you will fare just fine without ever switching classes. Which brings me to the inevitable downside of this affair.
Blue Dragon, while offering downloadable additional difficulties (that are tailored for a second go around) is unusually easy for a Sakaguchi affair. If you rummage around the world map, leveling up and finding every item and treasure chest, it won't take long to lap the competition. The ease of battle may come as a relief to some players, but I relish the challenge of a painfully difficult RPG. Granted, for those of you that are as masochistic as I am, there are some "extra bosses" (would this be a Sakaguchi title without them?) that take some serious committment to both find and defeat, and will reward you handsomely for the afforementioned class changing and leveling. Unfortunately, their optional nature is obviously not associated with your success in the main quest. I feel it is appropriate to note, as well, that this game is not necessarily made for adolescents. Strangely, it would be appropriate for such an audience outside of Shu's desire to call his adversaries "bastards". I suppose it depends on the vernacular that is allowed in your particular household. My other major concern with this title is the absolute lack of weaponry. Obviously, your blue avatar is your living weapon, which is novel and quite original. But I was silently hoping before embarking on this adventure that you could somehow equip them with helmets or gauntlets, or that such upgrades may automatically occur upon leveling up.
These concerns are few and minor, and should not discourage any lover of role playing games from giving this wonderful and engaging title a shot. If anything, I am strongly encouraging those same RPG lovers to do themselves a favor of at least renting this title. I can almost certainly assure you that if a little cutesy character design isn't enough to make you throw up in your mouth a little, you will come away pleasantly surprised with this gem. And you will share an inside joke with the few of us that understand the title of this review.
9.5/10
Wednesday, October 17, 2007
Goose Bumps
Ten years ago, Capcom released it's last stand-alone outing in the main Street Fighter franchise, Street Fighter III. It was well received by die hards; but arguably, it was not gobbled up with such gusto due to it's advancement of 2D fighting games in the same way as it's predecessor (the venerable Street Fighter II), but merely because it was a new installment in the Street Fighter series. And to a Street Fighter obsessive, new characters and the number III were as good as anything with the well then dry. It is in hindsight that many of us were left wishing there was more. And, for ten long years, we have fantasized about what IV could have in store. I, for one, have come dangerously close to breaking out some loose leaf paper and drawing new characters and costumes, much the same as when I filled countless pages with Mega Man "Man's" as a wide eyed child. But today, at least three questions have been answered. Is there a Street Fighter IV? Is Ryu in it? And is Ken in it? The answers, as I'm sure are obvious to you now, are YES, YES and YES. Capcom, coupling this with the announcement of a next-gen Bionic Commando, are after my own heart. Feast your eyes. But hold back your tears until the conclusion.
Monday, March 19, 2007
Spartan the Hedgehog
When reviewing a game with a fire breathing, three headed, ancient greek hype monster powering it, such as God of War II, it is often condusive for the reviewing party to ignore (or perhaps avoid) published opinion before devising one of his or her own. In my particular circumstance, I did not abide by this logic. As a direct result, I read a number of gushing reviews and heard nothing but boundless praise for this title. And perhaps that is most responsible for my disappointment with this hotly anticipated sequel.
Now, however, it would be unfair to say that because I was disappointed with God of War II that it isn't an engaging and downright exciting experience. Being underwhelmed does not necessarily denote distaste. And let this be a disclaimer that while I enjoyed this game, the following review will illustrate my lack of fulfillment with the final product as a direct correlation to the boundless expectations that were made for it. God of War II is a fun game, quite simply. The action (when there is action) is fast paced and enthralling. But therein lies my greatest argument;
Am I playing an action game, or a platformer?
In my experience with this title, I had no difficulty dispatching wave after wave of Greece's finest monstrosities. But repeatedly throughout my adventure, I quarelled perilously with spikes, pits of lava and bad camera placement over deep canyons and pitfalls. My frustration with these inane tasks was enough in and of itself, without the game repeatedly suggesting that I should consider changing the difficulty. Worse yet, it would remind me (seemingly as an insult) that this would only alter combat. But combat was no issue at all throughout my adventure. I had wished along the way that it might suggest increasing the difficulty of hand to hand combat. After some time it seemed as though the fights were becoming scarcely sporadic. After maxing out my blades, I became blood thirsty, and rarely found an opponent who could provide me with a beautiful death. Perhaps that is the irony in my haste to reach maximum ability; the reality that when reaching such a plateau none of my assailants remained worth engaging.
The scenery and pace of the environments were absolutely fantastic, particularly given the aging hardware it was created on. The transition between various areas is entirely seemless and will lend itself well to this series (and perhaps influence many others) in the future. But I couldn't help thinking all along that if not for the wonder of these surroundings, I would just be climbing handholds and turning cranks for seven hours amidst instant falls to death and the occassional flurry of incompetent enemies. I also couldn't help but wonder in hindsight whether this game was created on the Playstation 2 as a convenient explanation for the various juvenile game mechanics. Let's be perfectly honest; if this game were wonderously animated with all the furious power of the Playstation 3, with a dynamic camera and meticulously animated models, would you not be reasonably angered with the 100th creature that just-so-happens to be traversing a stone ceiling with his blades at the exact same time as you? Would you not scoff at the 20th block to pull or the 50th crank to push? While it is true that this manner of puzzle solving is expected of this type of game, God of War II mischievously guises itself as an altogether mature and sophisticated experience. In many ways, it becomes a parody of itself when a series of angrily blood-filled battles and hair-raising cutscenes are followed by umpteen attempts at inching across a rope over a lava lake, followed by a timed crank and a series of gates. And if you're tiring of my references to cranks, you should almost certainly steer clear of this title. Because if Kratos is the God of War, by all means, once you are done with this game, he may as well be called the God of Cranks.
Other gripes of note include this title's use of the Metroid/Castlevania have-it-all, take-it-all-away mechanic in which you begin the game with all of the powers you have previously obtained, only to have them taken away. Unfortunately, they mishandled the effect by providing you with all of the combo's you would eventually learn through the course of the game. And I mean all of them. It takes the excitement out of upgrading your blades when you know full well what new manuevers you are working to obtain. Secondly among these remaining complaints is that the first portion involving the Collosus is the most engaging and interactive stage of the game, much like the Hydra ship at the outset of the first God of War. My last gripe is my least pressing; the hole ridden story line. Without spoiling it for anyone, I will simply say that suspending your disbelief is sort of thrown out the window when the scenarios that present themselves are obviously mishandled. "Why wouldn't he have just....?" will come to mind repeatedly. Take my word for that.
I know that this review has been largely negative, but I think that it has commanded my criticism for all of the excessive praise it has received. There remains a capacity for consumers to be misled and I know I'm not the only jaded gamer out here. Like Jade Empire before it, God of War II was a great deal of fun while it lasted, but it is a largely forgettable experience as a direct result of it's many glaring flaws. If nothing else, it succeeded at grabbing my attention and not letting go until the very end (which, while I'm mentioning it, definitely made the experience more whole). I am excited for the future of this franchise and I am willing to accept this title for what it is worth as a last generation experience. If you loved the first game, you will enjoy this much in the same way as you may have enjoyed Majora's Mask as an admirer of Ocarina of Time. I can certainly suggest it's purchase on the basis of it's excitement as a pure slash and solve gaming experience in the sheep's wool of a deep and meaningful jaunt through ancient Greece. The soundtrack is wonderful and the scope is exhilirating. God of War III certainly has a long climb ahead of it. And after the apex of this title, I can only hope they redefine the mechanics of gameplay to a level more acceptable in the precedent that many next-generation titles have (already) set before it.
8/10
Now, however, it would be unfair to say that because I was disappointed with God of War II that it isn't an engaging and downright exciting experience. Being underwhelmed does not necessarily denote distaste. And let this be a disclaimer that while I enjoyed this game, the following review will illustrate my lack of fulfillment with the final product as a direct correlation to the boundless expectations that were made for it. God of War II is a fun game, quite simply. The action (when there is action) is fast paced and enthralling. But therein lies my greatest argument;
Am I playing an action game, or a platformer?
In my experience with this title, I had no difficulty dispatching wave after wave of Greece's finest monstrosities. But repeatedly throughout my adventure, I quarelled perilously with spikes, pits of lava and bad camera placement over deep canyons and pitfalls. My frustration with these inane tasks was enough in and of itself, without the game repeatedly suggesting that I should consider changing the difficulty. Worse yet, it would remind me (seemingly as an insult) that this would only alter combat. But combat was no issue at all throughout my adventure. I had wished along the way that it might suggest increasing the difficulty of hand to hand combat. After some time it seemed as though the fights were becoming scarcely sporadic. After maxing out my blades, I became blood thirsty, and rarely found an opponent who could provide me with a beautiful death. Perhaps that is the irony in my haste to reach maximum ability; the reality that when reaching such a plateau none of my assailants remained worth engaging.
The scenery and pace of the environments were absolutely fantastic, particularly given the aging hardware it was created on. The transition between various areas is entirely seemless and will lend itself well to this series (and perhaps influence many others) in the future. But I couldn't help thinking all along that if not for the wonder of these surroundings, I would just be climbing handholds and turning cranks for seven hours amidst instant falls to death and the occassional flurry of incompetent enemies. I also couldn't help but wonder in hindsight whether this game was created on the Playstation 2 as a convenient explanation for the various juvenile game mechanics. Let's be perfectly honest; if this game were wonderously animated with all the furious power of the Playstation 3, with a dynamic camera and meticulously animated models, would you not be reasonably angered with the 100th creature that just-so-happens to be traversing a stone ceiling with his blades at the exact same time as you? Would you not scoff at the 20th block to pull or the 50th crank to push? While it is true that this manner of puzzle solving is expected of this type of game, God of War II mischievously guises itself as an altogether mature and sophisticated experience. In many ways, it becomes a parody of itself when a series of angrily blood-filled battles and hair-raising cutscenes are followed by umpteen attempts at inching across a rope over a lava lake, followed by a timed crank and a series of gates. And if you're tiring of my references to cranks, you should almost certainly steer clear of this title. Because if Kratos is the God of War, by all means, once you are done with this game, he may as well be called the God of Cranks.
Other gripes of note include this title's use of the Metroid/Castlevania have-it-all, take-it-all-away mechanic in which you begin the game with all of the powers you have previously obtained, only to have them taken away. Unfortunately, they mishandled the effect by providing you with all of the combo's you would eventually learn through the course of the game. And I mean all of them. It takes the excitement out of upgrading your blades when you know full well what new manuevers you are working to obtain. Secondly among these remaining complaints is that the first portion involving the Collosus is the most engaging and interactive stage of the game, much like the Hydra ship at the outset of the first God of War. My last gripe is my least pressing; the hole ridden story line. Without spoiling it for anyone, I will simply say that suspending your disbelief is sort of thrown out the window when the scenarios that present themselves are obviously mishandled. "Why wouldn't he have just....?" will come to mind repeatedly. Take my word for that.
I know that this review has been largely negative, but I think that it has commanded my criticism for all of the excessive praise it has received. There remains a capacity for consumers to be misled and I know I'm not the only jaded gamer out here. Like Jade Empire before it, God of War II was a great deal of fun while it lasted, but it is a largely forgettable experience as a direct result of it's many glaring flaws. If nothing else, it succeeded at grabbing my attention and not letting go until the very end (which, while I'm mentioning it, definitely made the experience more whole). I am excited for the future of this franchise and I am willing to accept this title for what it is worth as a last generation experience. If you loved the first game, you will enjoy this much in the same way as you may have enjoyed Majora's Mask as an admirer of Ocarina of Time. I can certainly suggest it's purchase on the basis of it's excitement as a pure slash and solve gaming experience in the sheep's wool of a deep and meaningful jaunt through ancient Greece. The soundtrack is wonderful and the scope is exhilirating. God of War III certainly has a long climb ahead of it. And after the apex of this title, I can only hope they redefine the mechanics of gameplay to a level more acceptable in the precedent that many next-generation titles have (already) set before it.
8/10
Sunday, March 18, 2007
99 Lives
Welcome to Nintendo Thumb, lovingly titled after the term used to describe swelling in the thumb associated with excessive video game playing. My name is Charles Awad, and I will be the main contributor to this forum. I created this blog as a token of my adulation for video games, past and present. I have been lucky enough to grow alongside the evolution of this industry and have had many experiences, good and otherwise, that I have shared with lonely store merchants and impatient friends (sound familiar?). With that in mind, I will use this forum to articulate my many opinionations, ranging from reviews of next-gen and handheld titles as well as editorial content regarding the state of the industry. I am fascinated by the effects of gaming on our culture and the direction we are heading. Along with me, I will have several editorial contributors and we may choose to eventually offer news items as well. Enjoy your stay..
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