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Sine Mora

Platform(s): PC, PlayStation 3, PlayStation Vita, Xbox 360
Genre: Action
Publisher: Digital Reality
Developer: Grasshopper Manufacture
Release Date: Nov. 20, 2012 (US), Nov. 21, 2012 (EU)

About Brian Dumlao

After spending several years doing QA for games, I took the next logical step: critiquing them. Even though the Xbox 360 is my preferred weapon of choice, I'll play and review just about any game from any genre on any system.

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PS Vita Review - 'Sine Mora'

by Brian Dumlao on Feb. 6, 2013 @ 1:00 a.m. PST

Sine Mora is diesel-punk shoot 'em up that provides a unique take on the genre, where time is the ultimate factor.

When it released in March of 2012, Sine Mora was seen as a great bullet hell shooter. It was graphically brilliant and challenged genre veterans. It boasted a remarkably high level of presentation and a story that was fascinating and somewhat unexpected. For a while, it was exclusive to the Xbox 360, but it's since made its way to the PlayStation 3 and PlayStation Vita. The Vita, while technically a powerful system, doesn't have the same freedom as a home console, but luckily, fans of bullet hell shooters who want to take their game on the go don't have to worry at all.

Sine Mora has some traits of a classic side-scrolling shooter. With an exception or two, levels automatically move to the right at a decent speed while enemy swarms come in from all directions and you shoot forward at all times. Your arsenal consists of a basic gun with unlimited ammunition as well as a limited supply of special weapons, including cluster bombs and a concentrated laser beam. Destroyed enemies drop power-ups, including the ability to increase your primary weapon's firepower and refill your special weapon supply, all of which are needed when you face any of the multi-stage bosses.


There are a few twists in the gameplay, especially in regards to time. Aside from your primary gun and secondary weapon, you have the ability to slow down time. Though your enemies and their projectiles are slowed down, you move at a normal speed, giving you the chance to better dodge things coming your way. Every level and section contains a timer that ends the game once the counter reaches zero. You can grab some power-ups to extend the timer up to 100 seconds, but the best way to add a few seconds to the clock is through the destruction of enemies. Colliding into the environment, an enemy, or a stray bullet doesn't immediately take you out of the game but removes seconds from the clock. Death may not be immediate with this mechanic, but it still punishes players who play sloppily instead of with precision.

The game consists of a few modes. You must go through Story mode if you want to unlock everything the game has to offer. The plot is fairly pedestrian. During a government-ordered bombing run on a time-traveling civilization, one pilot refused to follow orders and was subsequently executed. While the nation felt that justice was done, the pilot's father felt otherwise. After joining up with the last survivors of the destroyed race, he utilizes their talents and expertise against the empire in an act of revenge.

While most shoot-'em-ups don't have great stories (if at all), this tale is downright bizarre. A rape victim who speaks with a voice box is blackmailed into fighting or else she'll be exposed as a half-breed instead of a pure citizen. A member of the upper crust takes out her frustrations on every enemy she faces because she is unable to have children. A government goes as far as robbing its test subjects of their senses to produce better experiment results. It's an eerie tale made even stranger by the scenes between levels and sections, which are simply walls of text with no visual accompaniment. Several sections are also played out of order, though different perspectives and radio chatter show the characters to be anthropomorphic; it dulls the horror a bit but ratchets up the weirdness.


Story mode plays with the typical shoot-'em-up level layout and progression in several different ways. Though there are only seven formal levels in the game, including the prologue, each level is split into sections where you take control of several different planes. The crafts control the same but have some differences, such as the upgraded primary weapon and the type of secondary weapon. The sections are also truncated in length, so while there are normal enemies to fight, you'll encounter boss fights faster and more often than you would in other shoot-'em-ups.

The biggest change in Story mode is in the difficulty level. On Normal, the game represents shoot-'em-ups prior to the rise of the bullet-hell shooter. Some elements of newer shooters are present, like the notion of a hit box being the only vulnerable part of your ship. For the most part, your enemies dole out manageable fire while the bullet patterns and shots from bosses aren't as harrowing as expected. Your continue count also starts out at 10 with a generous checkpoint system, and the only penalty for depleting the 10 continues is that you start at the beginning of the last level. Bumping up the difficulty level makes things more difficult, with more bullets being fired and only five continues, but it feels tamer than what you'd normally find nowadays.

The focus on this reduced level of difficulty does a good job of opening up the genre to fans who have felt intimidated or bored over the last few years. Seeing a bevy of bullets come at you for the first time can feel overwhelming to new genre fans, and the infinite continues and ability to start immediately where you left off can cause some players to play through the game once and never come back. Here, death sends you back to a checkpoint, and real progress is made by those who try to be careful and plan their moves accordingly. It feels more accessible, and it wouldn't be surprising if this mode brings old shoot-'em-up fans back to the fold.


Arcade mode eschews the plot and cut scenes in Story mode in favor of more familiar gameplay progression, albeit with the same number of boss encounters. However, there are other, bigger changes implemented. The scoring system remains the same. Multipliers get reset if you get hit or use anything other than your primary gun, but the modification comes from the amount of time you spend not getting hit. The longer you are mobile, the faster a meter gets filled. It only grades your performance on a C to A scale in real time and doles out bonus multipliers. Starting stages can no longer be selected, but you can choose other things. Plane selection (with visible hit boxes) governs your firepower type, pilot selection dictates your special weapon, and the time slow ability can be swapped out for a rewind function that sets you back a few seconds after you die or a reflective shield that lasts for a short amount of time. There are about 60 different combinations that can be formed, giving you many options.

The biggest one has to do with difficulty level, which is limited to something higher than those offered in Story mode and only gives you three continues. The change in difficulty level also changes the fundamental game from a more classic style to a more modern bullet-hell shooter. The Hard difficulty level is tough for genre veterans, and Insane lives up to its name, as enemies produce bullets even after they expire. Factor in the constant challenge presented by the countdown clock, and you have something that even the most seasoned of bullet-hell fans will enjoy.

Score Attack takes on the same structure as Arcade mode, with fewer changes than expected. You can't progress further once a stage has been completed, and there are no continues in play. Your score is recorded, so your best run always makes it to the leaderboards.

The final mode is Boss Practice, which lets you face off against any boss of your choosing. It plays similarly to Score Attack except that your scores are never posted online, and you can modify things like primary firepower level and number of secondary weapons. Considering that the bosses take up most of your time in the game, you'll play this mode if you want to try out a strategy.


With most of the game feeling just right, there is one thing that annoys all players, and that is the screen shake. Hitting certain objects causes the screen to shake violently before returning to normal. While it may not be bothersome when playing the game on the easiest difficulty level, the shake is detrimental on higher difficulty levels, where too many projectiles can cause cheap hits because the player's view was obstructed by artificial handicaps. The option can be turned off, but it's on by default and will irritate those who won't know that the option can be disabled.

Much like other games that make the transition from one platform to another, the Vita version of Sine Mora comes with a few extras. Challenge mode allows you to face one boss after another in quick succession. It is similar to Boss Practice mode, though with no breaks between fights, it feels more challenging. There's a GPS mode that gives you the chance to see bonus artwork when you're traveling and turn it on when you're far away from the last place you played it. The big addition is Wilhelmine Muller from G.rev's Under Defeat. While you can't use her in the Story mode (which is fine since it'll be hard to explain a human in a completely anthropomorphic world), she allows for nine different combinations in the Arcade mode.

Unfortunately, there are a few additions that, intentional or not, aren't ideal. There are a few options for touch-screen play, which is fine if you're playing on the easiest difficulty level but useless otherwise due to the nature of bullet hell shooters. Though part of the frustration is alleviated by automatic fire, most players won't bother with it. Load times are also two to three times longer than they are on the Xbox 360 version, which came out months ago. The console load times were very short, but those who've played the game on other platforms will notice.


Like most of the game, the sound blends together some unusual qualities and constructs something that works very well. Akira Yamaoka, the composer behind a good deal of the Silent Hill series and Shadows of the Damned, presents a soundtrack that is an eclectic mix of typical shooter fare and haunting material. Despite the clash of genres with pieces that are sometimes off-beat, the score is arresting and is instantly another highlight in Yamaoka's portfolio. The voice work is another feature of the game, as it's all done in Hungarian as opposed to English, Japanese or gibberish. A language barely used for North American audiences, it lends some allure to the game's world and makes the story even more fascinating.

Graphically, the game is still stunning despite the lowered resolution. The environments and ships look like a perfect match to the concept art that was touted almost a year ago. The textures look very close to the console version, something that is pleasing to see when you consider how many similar titles drastically reduce the texture quality. Frame rates are smooth, and the games colors and detail really pop on the Vita's screen. In some cases, the screen becomes more of a benefit since, depending on your TV, you don't have to scan around a large area to ensure that nothing will hit you. The lower resolution produces aliasing issues, though, as there are more instances of jagged lines than on the console counterpart. The frequency is low enough that few will notice, making this a perfect showcase title for the OLED screen.

As before, Sine Mora is a great example of a bullet hell shooter with style. The action is frantic, the mechanics are tight, and the story and art style present the player with a unique and enjoyable experience. The transition to the Vita comes off mostly intact, and while some additions aren't very useful, most will provide fans with a good reason to get the game for the handheld. Even though it's another port, it's one that Vita owners will be glad to own.

Score: 9.0/10


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