Tuesday, October 21, 2014

Arcade Sushi review of Avenged Sevenfold's Hail To The King: Deathbat

Arcade Sushi posted a review of Avenged Sevenfold's Hail To The King: Deathbat, you can read some excerpts below:


It’s usually tough to pull off decent storytelling on the mobile format, but Hail to the King provides a unique story without ever dipping into the cliche. The presentation and lore of Hail to the King is where Avenged Sevenfold fans where undoubtedly fall in love with Deathbat. A trio of gods arguing among one another created the world of Haides and threw in all sorts of life onto the planet in order to see if those with the ability to think for themselves would follow a path of evil or benevolence (with two of the gods believing in good, and the third, Kerberos, believing in darkness). They dropped a powerful talisman into the world and watched as the world fought over it. You play as Andronikos, the great warrior king who united humanity and intended to stop the evil. Most mobile and tablet games would start the game right there and have you go out into the world and set things right. In HttK, Kerberos intervened in the war, killing Andronikos and replacing him with an evil version of his body which led humanity into chaos. The other two gods resurrected Andronikos as the Deathbat, and it’s up to you to stop your evil self, find the broken parts of the Talisman and bring peace to Haides.

From the second I heard the Witch/item vendor’s ‘Tales from the Crypt’-inspired shriek, I knew I was in for something special. HttK’s presentation is pure fan service, but not just for A7X fans. Upon starting up the first stage, I was introduced to what is easily the greatest soundtrack to ever hit iOS gaming. Sure, most people would think that the Hail to the King’s soundtrack would just be filled with songs from A7X’s 2012 album of the same name, but that is certainly not the case. Every single stage has background music that seems 8-bit in origin with modern instruments put on top of it. They call to mind the various, dark tunes of Castlevania, Simon’s Quest and Dracula’s Curse on the NES as well as the dungeon themes from the two original Legend of Zelda games. It isn’t until you reach the bosses and mini-bosses where the soundtrack changes into the expected songs of the band, but even then the songs are usually presented in instrumental form, which never detracted or distracted from the task at hand — it is done as an effective way of shifting gears.

Click here to read the full review.