Which handheld best suits your habits and personality, the Vita or the 3DS? Find out in my handheld buying guide on GameZone.

And here’s the continuation of yesterday’s console article, featuring the top ten most anticipated Vita and 3DS games of 2012.

As an update to the big fifteen console games of this year, Diablo III has just been confirmed for consoles. W00t!

I’m back with another five-day video game editorial on GameZone. The first one (here, if you missed it) was extremely successful, so thanks to everyone who read.

I’ll be updating this post with links as the week goes along.

Part 1: The Platformers (#25-21)
Part 2: The Fighters and Racers (#20-16)
Part 3: The Shoot ‘Em and Runs (#15-11)
Part 4: The RPGs (#10-6)
Part 5: The Special Mentions (#5-1)

A lot of details are pouring in about Sony’s PSP successor, referred to as the “NGP,” or “next-generation portable.” GameInformer has reported a wealth of information, including first-hand impressions of a new Uncharted game being prepped for the handheld, possibly as a launch title.

Below are some thoughts on the NGP’s new design and prowess, as well as what it could mean for gaming.

THE AD

Overall, PlayStation’s video teaser for the NGP is just that: a teaser. But since I’ve been tearing apart ads lately, I thought I’d devote a brief moment to how unbelievably cheesy the NGP ad is. It doesn’t exactly sell me on the comfort of the product, to say the least.

THE SYSTEM

The NGP itself, however, is a matter separate from the bizarre ad—and one much more convincing and substantial.

Two analog sticks are a plus—even an additional nub would have significantly improving the playing experience of the PSP, which has otherwise earned my seal of approval. With the inclusion of front and rear touch pads, though, the NGP sounds like quite a handful.

Watch the video below to see more of the system’s anatomy, or click here to view technical specs.

THE GAMES: UNCHARTED

GameInformer’s hands-on impressions of the upcoming Uncharted title for the NGP revealed potential good and bad qualities concerning how games will take advantage of the system’s functionality. No doubt the NGP is going to be a powerful machine, and according to GI’s Phil Kollar, considerable effort went into making it as sturdy as possible.

The NGP’s Uncharted title is rounding up to a versatile experience. Gamers can either execute controls via the usual button input or the new motion technology—the touch screen to unleash attacks (eg., pulling down enemies from cliff edges) and the gyroscope to engage a first-person camera mode (or, for example, to swing back and forth on vines). Alternating between both at will sounds like a luxury, not just a convenience, as with the occasional choice of stylus versus face buttons on the Nintendo DS.

There is one foreseeable problem: accidental movements. Would you have to hold the console perfectly still to play the game, to prevent a slip of movement or unwanted action? Too many options, in this case, could pose a problem, but one that might be fixable with the added capability of enabling or disabling the motion technology.

GameSpot’s video demo of the game raises another question: Will using the back touch pad compromise the player’s grasp on the system itself? Stroking the pad requires the user to cradle the NGP awkwardly in his or her hands. See for yourself below (excuse the muffled voice audio quality and sensational spin).

GI has gathered the names of publishers and developers currently working on NGP projects. THQ and EA have been excluded from the list.

What are your thoughts and concerns regarding the NGP’s enhancements and playability?

In a world where aeons (err, [relics]) hold unimaginable power, a spoiled princess with a phobia of pumpkins and itch for world domination and a humble shape-shifter with modest intentions meet in a bumbling little town. As they race for Valen’s relic, the ultimate aeon, the two magically bestowed adventurers pummel thievish pirates, explore ancient ruins, and best a mighty dragon. Wrap two stories, one lighthearted and the other redemptive, in one action RPG/platformer, and Threads of Fate is born.

Japan recognizes Square’s sorely underplayed creation (released here in 2000) as Dewprism, a game drizzled with role-playing elements and rife with personality. Clocking in at around fifteen hours, Threads of Fate engages players in a satisfying romp through dungeons and other fantasy locales. After choosing between the magician-in-training Mint and Rue, a mysterious and driven young man, players arrive at the central hub of Carona, and from there embark on a linear path rich with humor.

Although Mint develops her magical prowess along the way, Rue can transform into the monsters he encounters. Simplistic, non-obtrusive puzzles guarding rare treasure, the heroes must implement a different approach to overcome the challenges embedded within the picturesque environments. Indeed, the graphics have lasted well past their shelf life. Vibrant colors fill the screen, and catchy music adds a fun flair.

Since Mint and Rue can take a generous amount of damage before calling it quits, the game’s design adapts quite flexibly to the player’s skill level, the battle system ensuring that players build their stats without grinding. For perfectionists, extra opportunities periodically surface to boost core stats.

While the manageable but limited number of areas, side quests, and characters creates a wholesome and easygoing mini RPG, the world ends up restricted with little reason to revisit places besides collecting a missed item or two. Although magic is intuitive, players will be hard-pressed to exploit the variety available. With the exception of the aforementioned in-game puzzles, enemies have relatively non-specific weaknesses, so magic goes to waste.

Any head-scratching moments that crop up subside quickly, but one wonders whether this is due to the tight world. For such a small town, Carona poorly utilizes its services: The tavern, church, and Hobbs’ shop justify a stark handful of visits combined, Marco’s shop is always understocked, and the rare item buyers curiously disappear when they’re most needed. With a short list of areas to investigate, players won’t be stuck for long.

Though streamlined and entertaining at first, eventually the story and dialogue begin to drag, restating the same old ideas. Nonetheless, the dynamic aned quirky characters interact wonderfully, every scene comes to life, and the consistently interesting bosses fight fair. Two quests means at least a moderate replay level, but with this game’s charm, you’ll want to bash pumpkins and play with cute Poppul Purrels all day long. 8/10

“Ada, wait!” Before las Plagas, there were zombies. Ankle-dragging, brain-hungry zombies, the undead who waited behind corners and inside lockers, hoping an unlucky S.T.A.R.S. member or even some exhausted shop owner with a shotgun would walk straight into their open arms. Hey, it happens. Resident Evil 2 is proof.

When it comes to horror video games, Resident Evil tops the chart, nails the head shots, and splatters the screen with blood and gore. Although the popular series changed its mainstream viral formula with the “action horror” award-winner Resident Evil 4, fans still consider the second game a hot favorite. Leon S. Kennedy may be a teenage girl’s knight in zombie gut-stained armor now, but he wasn’t always such a looker who rolled with Umbrella’s punches as slickly as the bad puns and bingo jokes. Once upon a time in Raccoon City, he was a rookie cop whose first day on the job ended in city-wide decimation. He slogged through grimy sewers, followed a corporation’s blood trail, befriended Redfield’s sister … and fell for one dangerous lady in red.

Interested in the full retro review? Click here and read it on Spawn Kill.

Oh, Silent Hill, how I adore you. Thanks to the PlayStation Network’s inclusion, I recently revisited the PSOne classic on my PSP. So despite the voice-acting that makes soap operas sound like Shakespearian language, what distinguishes Harry Mason’s experience and keeps the aging title memorable? Find out at Spawn Kill.

One decade ago, Konami left a neoteric imprint on the survival horror genre with Silent Hill, a video game that would inspire a number of future titles, a movie, and several books and comics. But Harry Mason’s investigation into the fog-covered town and its strange occurrences accomplished more than just a household name among the likes ofResident Evil. The heart-pounding adrenaline rush introduced gamers to a nightmare founded on psychological Japanese horror and an equally unnerving musical score by composer Akira Yamaoka.

I’ve been meaning to catalog the full Silent Hill history for awhile, but now couldn’t be a more perfect time. Unless I’m screwing up the math (which is possible, trust me), then January 2010 marks the full ten-year anniversary of the survival horror series. What better way to celebrate than to take a look back on the years with all their missteps and achievements? … Okay, well, I guess we could all dress up as the crazy gang of monsters and characters and put on a performance enacting famous scenes from the video games in a thematic party, but maybe that’s a little much. Eh, there would be punch, though.

Who’s your favorite Silent Hill individual?

For the last ten years since its 1999 debut, the Silent Hill video games have launched gamers into the heart of a macabre town crawling with unearthly creatures, cult secrets, and enough horrid psychological chicanery to justify a happily executed lobotomy. Despite the series’ notable footprint on the surface of the survival horror expanse, each installment bears its respective weight in flaws as terrifying as its disgusting creatures and unsettling music. So what makes Silent Hill unique and massively popular among horror addicts? Here’s a rundown of the Silent Hill landmarks that established the series and an envisioning of what fans can expect in the years to come. Feel free to add your own tribute in the comments below!

The holidays are almost upon us, which means sooner or later we procrastinators really need to start, you know, shopping and stuff. December is always a wonderful time of year for gamers—sure, November starts the race … especially on Black Friday … but the real joy comes in the first real snow-flying month (unless you live in California … jerk).

In celebration of our favorite time of year, I thought it would be interesting to take a look back at December sales and landmark events in the past seven years—that’s the entire 21st-century thus far according to the good ol’ Gregorian calendar. So sit back and read on, and I hope you enjoy. The full feature is up at RadNerd, but here’s a brief preview:

Developers, publishers, and gamers put down their controllers and join hands for that special time of the year when they break fingers and rush out in a mad stampede to buy the latest and greatest of the tie-breaking holiday season. The winter holidays are as big and influential for the gaming industry as summer is for popcorn movies, and this season will fall in line just like a pixel-decorated, shining … okay, insert your own politically correct object here. Let’s just say Charlie Brown would weep with joy and throw that stick figure excuse for an ornament-hanger in the trash with all the annually recycled wrapping paper. Here are the top December games of the last seven years—because 2000 doesn’t technically count (and no one loves it).

2001

One year in and the holiday season has a bundle of soon-to-be favorites to offer gamers in exchange for their merry good cheer. Of course, it was also a year of new tidings: the Game Boy Advance, Nintendo GameCube, and Xbox entered the popularly dubbed console war.

PS: I hope you like the banner.

Do we need an excuse to play old games? Hell no! But sometimes music from OSTs can inspire us to try new ones or revisit past loves like dirty, secret affairs.

Before Sounds of Nostalgia ends on an indeterminate hiatus, I thought it would be best to leave things on a carefully chosen note. This time, I’m highlighting one of my favorite games of all time—and one that’s underrated at that—Legend of Legaia.

In the days when all I seemed to have a taste for were RPGs, Legend of Legaia made more than a passing blip on my radar. Its unique storyline captivated me, inspiring me to pour in hour upon hour of my time into the game, which follows a trio of very different heroes who are forced to band together to save the world from the dark grip of the monster-bathed Mist. From the enigma surrounding the story to its memorable characters, I was hooked—for better or worse. Legaia deserved the patience required to raise each party member’s levels, especially when gameplay became grueling during the bread-themed quest in Sol’s dizzying heights—filled with both entertainment and, on its lower levels, a gamble with death. Boss battles amounted to truly fearsome challenges (holy shit minotaur), and oftentimes I found myself running about areas like a chicken with my head cut off (or maybe just with a Chicken Guard) in the hope of gaining precious experience.

Despite the game’s labors, the thrill of seeing Juggernaut for the first time, hearing the energetic theme of Drake Kingdom, and kicking Songi’s ass is something I’ll never forget. No RPG has worked its way quite so deep under my skin before, and it earned every inch. What Legend of Legaia lacks in PS1 visuals and mercy for weak-hearted gamers, it makes up in a moving soundtrack and a fantastic, visceral adventure dripping with humor as well as heart-pounding moments. Most importantly, the game teaches the sometimes much forgotten value of what, “I just beat the damn game!” should mean to a gamer.

“Young Nobleman of the Mist” is one of the OST’s longer tracks, but “The Misty Nest” (Mist Generator theme) easily reigns as my favorite. After all, it was the only happy side to having to venture into one of those evil fortresses again.

Don’t forget those Doors of Light, and remember—say “no” to sequels, and no matter how hard you cuss at Songi, he’s not going anywhere for awhile. (Bastard.)

Do we need an excuse to play old games? Hell no! But sometimes music from OSTs can inspire us to try new ones or revisit past loves like dirty, secret affairs.

How can I do Sounds of Nostalgia without taking the time to honor one of first games to truly launch music-based video games? Envision a 2D world where you’re a rapping dog who learns zen-esque, fighting-styled moves from an onion-headed guru, and you’ve stepped into PaRappa the Rapper (discounting its iffy, over-the-top weird sequel). Kick, punch, chop, jump, duck, and turn to the rhythm and u rappin’ COOL. So kick, punch—and remember, it’s all in the mind.

What are some of your favorite Sounds of Nostalgia?

It’s a special edition of Sounds of Nostalgia, following up on the previous Silent Hill feature.

Akira Yamaoka ranks as my favorite video game composer. His music has helped Silent Hill become a memorable and highly successful survivor horror series. From its twisted understanding of fear and hell to its uncanny ability to weave obscure references from past games into entirely new storylines (“There was a HOLE here; it’s gone now,” the Hope House, etc.), it’s no wonder fans come in swarms for more of the psychological horror and demented bloodshed. Of course, there’s one thing in particular that I look forward to most with each new soundtrack: Mary Elizabeth McGlynn’s and Joe Romersa’s vocals, which provide invaluable insight into Silent Hill and the stories at hand.

5. Hole in the Sky (Silent Hill: Origins)

Mary Elizabeth McGlynn lends her powerful vocals to the strong theme of “Hole in the Sky,” which resonates the panic of falling into the dark grip of Silent Hill. The lyrics, “Shadows that look like blood/Dead as far as the mind goes” and “Just when I think I’m okay/Shadows surround me,” tell of the infamous and dramatic transition into the evil Otherworld of the town’s locations. You really never get used to those sirens.

“Fear that comes from my head/Lives in the mirror” accurately pins the experience on the sufferer’s own mind and sins, and the repetition of “Let me out” describes the heart-pounding need to escape the town that just won’t let you go until you’ve been punished—or you’re dead.

4. Alex Theme (Silent Hill: Homecoming)

Alex Shepherd is the newest protagonist with a secret to grace the Silent Hill series, and McGlynn’s vocals brilliantly portray his character. “The answer, is drowning, this pain will last forever” captures the essence of Shepherd, trapped in a nightmare he cannot escape with memories of an event he struggles to remember. Additional references to water, such as in, “Your promise is broken/I drank your sacred water” not only further presses the matter, but also builds upon the general story involving the Silent Hill cult, the Order.

McGlynn mentions “soldier” twice and “order” multiple times, tying Alex into the lyrics that do well to describe the complicated relationships he has with his brother and father as well as his purpose in revealing the founding families’ pact: “Your power is over/I’ve come to change the order.” The music blends a haunted melody with the fragmentation of quick lines and a fierce power, giving the entire song a feeling of confusion and strangeness (“Inside my head is humming/Sometimes I hear them coming”) that gracefully encapsulates both Alex’s mission and his dark connection to Joshua.

3. The Sacred Line (Silent Hill: Homecoming)

“The Sacred Line” functions similarly to “Alex Theme,” only on a grander scale. After you learn the secrets of Homecoming, the credits roll and this song puts the finishing touches on the story. Strong music and lyrics complement the themes of the game and Alex Shepherd’s struggles (especially with his brother and father: “In time, we’ll be forgiven”)—all while suggesting an unfinished, inconclusive air that fits the story well. And most of all, the lyrics resonate “the sacred line” of life and death that’s central to the game: “This line that can’t be broken/This line that never will be crossed again.”

The chilling lines, “We have fear to swallow” and “Opposite of what you hear/Dying is the least of fears,” drive home the oath with which the series operates: In the midst of Silent Hill‘s torture, you’ll either be dead … or wish you were.

2. Hometown (Silent Hill 3)

As a revision of the classic theme from the first Silent Hill installment, in “Hometown” vocalist Joe Romersa ties together what was started in Harry Mason’s experience with its continuation in Silent Hill 3. One of the best moments of the third game occurs when Heather returns home to her adoptive father, sitting on the chair. It’s hard not to conjure that image when hearing the words, “Now it’s too late/Too late for me/This town will eventually take me”; it’s easy to begin to wonder what was going through Harry’s head in the hours before Heather came home.

Romersa smoothly transfers the focus from Heather to the original protagonist, recalling the fear and ending of SH1—”‘She’s gone!’ and fear has overcome” and “He spoke of tortured souls/So outrageous the toll”—on top of the disturbing song intro. Romersa brings forth a sense of dread from the original game with images like, “Four and twenty dead birds/They bleed upon the nest,” “Dark creatures singing a terrible song,” and “While angels sing, in endless dark/The dead seek out sin.” The transition and imagery calls out to Silent Hill‘s roots, forcing us to remember how it all started.

1. Cradle of Forest (Silent Hill 4: The Room)

Considering Silent Hill 4 features a story involving adult and child versions of the same serial killer and the cult orphanage he grew up in, Joe Romersa’s vocals on the eerily beautiful “Cradle of Forest” couldn’t fit the mood better. Romersa hauntingly infuses dark imagery with children playing: “Deep in the forest night/Children dance the waltz” and “Dance like butterflies/Shadows appear/Right before my eyes/Sounds echo the absurd/Hard to explain something that I heard” do well to reflect the horror of the series as well as the story at hand. “Their eyes/What are they looking for?” “Red moon colors the trees,” and “Their song/Starting to make some sense/Only if you’re listening” only empower the song more.

The chorus is what pushes “Cradle of Forest” to the top of the list, however. Not only does it strike up memories of the dark forest in the game, where Walter Sullivan chases you like a madman, but the words speak of the serial killer’s true nature: “Hear the forest talking/Insects and birds/Does the scent of soil and beast/Breathe the life into the animal you hide?” Not to mention the following lines, “When you think you’re really alone/Feel the eyes of someone looking in on you” mirrors the heavy feeling that permeates the entire game—you’re locked in your own apartment, and the only person who seems to know you’re truly there and alive is the serial killer who plans to take your life.

See which song almost made the cut and why it didn’t after the jump.

“Room of Angel” easily falls as one of my favorite SH vocal songs, but I granted the fierce “Hole in the Sky” a spot in the top five instead in order to encompass a wider range of games—especially because my number one pick comes from the same title as “Room of Angel.” I could not choose between the two highlighted Homecoming songs, however.

5. Room of Angel (Silent Hill 4: The Room)

“Room of Angel” ranks as one of the most beautifully haunting Silent Hill songs, mainly credited to its lovely melody in conjunction with McGlynn’s vocal interpretation of the cold lyrics.

Her words—which tell of serial killer Walter Sullivan’s homicidal nature and the unnatural relationship he has with his “mother,” room 302—are almost emotionless in execution, which perfectly fits the deadly lack of empathy a serial killer possesses. The words, “Here’s a lullaby to close your eyes/It was always you that I despised” are almost sweet and caring, yet falsely so. The way McGlynn mixes tender passion with her more violent, seemingly disgusted stresses on words like “despised” and “goodbye” makes for a powerful song. Lines like, “I don’t feel enough for you to cry,” “Your tears, they mean nothing to me,” and “Where is the light/Wonder if it’s weeping somewhere” reflect a killer continuously failing in the act of expressing compassion—something he does not understand and thus misinterprets in a ruthless, obsessed manner. Even more so, the game’s character Eileen Galvin—whom an adult Walter remembers fondly from his childhood and still feels affection for at the same time he tries to murder her—is known as the intended “Mother Reborn” victim and fits the theme well.

The Silent Hill series boasts a wealth of great vocal tracks: Silent Hill 3 offers other songs like the popular “You’re Not Here”  as well as “Letter – From the Lost Days,” and “I Want Love”; Silent Hill 4: The Room includes the alluring “Tender Sugar” plus “Your Rain,” and “Waiting for You”; Silent Hill: Origins features “Blow Back,” “O.R.T.” and the strong “Shot Down in Flames”; Silent Hill: Homecoming‘s soundtrack also has “Elle Theme” and the climactic “One More Soul to the Call.”

What’s your favorite Silent Hill vocal song?

Do we need an excuse to play old games? Hell no! But sometimes music from OSTs can inspire us to try new ones or revisit past loves like dirty, secret affairs.

There’s nothing quite like Silent Hill. The survival horror series stands on its own, and while the games aren’t quite what they used to be, they’re still as screwed up as ever. Even the not-so-great Silent Hill movie succeeds as one of the better adaptations, especially since it manages to retain the spirit of Silent Hill with so many nods to the fans—not to mention my favorite scene, where Pyramid Head rips the skin off Anna.

Anyway, few fans can forget the first installment of the series—the game that redefined “what the fuck” moments. Who can mistake the classic alley scene at the beginning? Or the first time you were thrown headfirst into the dreaded otherworld—which I’m pretty sure is what hell really looks like. From static radios to monsters in the fog, exploring hospitals and cursing at the sudden lack of road before you, Silent Hill truly grasped the raw notion of horror and made you stare at it mercilessly before shoving you blindly into hell. The combat system might be worse for wear, but we loved the game for its ability to scare the shit out of us with psychological, weird stories that don’t make a shred of sense but horror scenes that completely do. And the puzzles were always annoyingly fun, like they should be.

While “Promise (Reprise)” ranks high as one of the best Silent Hill songs, it’s hard to scrub the eerie beginning of the “Opening Theme” out of your psyche. And isn’t that just perfect?

What are some of your favorite Sounds of Nostalgia?

Do we need an excuse to play old games? Hell no! But sometimes music from OSTs can inspire us to try new ones or revisit past loves like dirty, secret affairs.

I’m jumping ahead to the memorable days of the first PlayStation console in this Monday’s Sounds of Nostalgia feature. The other day I popped in Threads of Fate (known as Dewprism over in Japan), which is probably one of my favorite PS1 games—and a highly underrated one at that. I had forgotten how much great music Threads of Fate has, like “To the Ultimate Relic.” Not to mention loads of hilarity that makes me wonder what kind of magic (Green? Red?) voice-acting would cast on this game if it premiered in today’s next-gen world.

I’m holding my tongue (err … typing fingers) for now, because I might have more brewing about both Threads of Fate and Zelda II: The Adventure of Link in due time, so watch the blog for a special update soon. In the meantime, go hunt down Threads of Fate. You might be pleasantly surprised by how much fun it is.

P.I.N.T.O.! (Shhhh.)

What are some of your favorite Sounds of Nostalgia?