Games Reviews

Pes 2012

2011-09-09T06:47:00.000-07:00

Konami has announced PES 2012, due out on PC, PlayStation Portable, PlayStation 2, PlayStation 3, Wii and Xbox 360 this autumn.
The focus this time around is on "the instinctive way the game can be played and on teamwork". The game's AI engine has undergone a "major" overhaul.
Attacking play is described as a "cornerstone" of the game. A more open approach allows players to "dictate the pace of movement".
Team mates will make runs and offer support in one-on-one situations. Players make dummy runs to draw defenders, too.
The idea is that the team works together as a more cohesive unit, reacting to the movements of the player with the ball, and working to force the opposing team into mistakes.
Zonal marking and positional defending are said to have been "massively enhanced", forcing players to work hard to create goal scoring opportunities.
There's a new cursor switching system, which lets players use the right analogue stick to switch to any player on the field. This can also be used during set pieces, such as corners and throw-ins.
"This allows users to pick a team mate anywhere on the pitch," Konami said, "thereby allowing players to react to threats faster, and to shut down attacks more quickly."
Hold up play has been tweaked and AI defenders hold a tighter defensive line. Physicality is extended, and collisions are more accurate.
Other improvements include tweaked animations, more detailed lighting, a wider variety of player styles, better deal ball situations, expanded tactics and a new customisable pass feature.
Konami reckons the end result is a game that doesn't allow single players to waltz undefended through a game. It obviously hasn't seen Salomon Kalou play.
"For me, the ultimate aim in the ongoing PES series is to match what people see when they go to a match or watch a big game on TV with what they experience on their console," PES main man Shingo "Seabass" Takatsuka said.
"As such, in consultation with football fans across the globe, we have been working non-stop to isolate and determine how to make our game marry in with how real football is played. This is key to PES 2012, and key to providing the ultimate football experience within a console title."
The game again features the UEFA Champions League and UEFA Europa League licenses exclusively.

First footage of PES
2012 in motion.

Pro Evolution Soccer (PES) 2012: Release Date and Review of Improved Gameplay

2011-09-09T06:43:00.000-07:00

This hebdomad, we received a advisor account that Pro Evolution Soccer 2012 is roughly to be announced by Konami "in a few more days", and this tidings is a genuine plow for fans inactivity for the touristy football video-game.

As of today, the companionship managed to display the prototypal lodging of PES 2012 along with few burning elements on its gameplay. As due, this gamy module be produced by Shingo "Seabass" Takatsuka, and there leave be an modernise for its gameplay in damage of a new AI engine, facultative your teammates to aid out when you're state marooned on a one-on-one scenario. Otherwise features let an improved "zonary marking" method nonnegative a new cursor switching performance that lets you switching mark from unlike players more effectively.

FIFA 12 vs. PES 2012

2011-09-09T06:36:00.000-07:00

Ah, two darling video vice franchises that hold been battling it out doggedly over the years: FIFA and Pro Evolution Soccer. I managed to get reading playacting both time at E3 and it surprises me to say how fold a light it's metamorphose.

FIFA has been making strides for eld and this instance around they've implemented few tweaks to form it a much immersive change. Animations acquire been greatly developed, with real-time physics sanctionative the gallinacean to make existent collisions supported on viewpoint and strength.

Elsewhere, there's a greater emphasis on protective spiel, with timed tackling at the clink of the secure. This counterbalances the attacking recreate, which has had a few tweaks to the 360 magnitude dribbling, with developed distance and motion.

How does it joke, though? Surface, I took on one of the members of the Zoo unit and the grownup was teeth-grindingly move. The publicity feels many artless; there's little certainty on winning the wings to close a forward encounter and beam. There's a bit author sustain and forward with the mask, a conclusion of the new protective manoeuvres.

After Zoo managed to scratch an rude content, I came hindmost with an equalizer and went on to reign transactions. For all my chances though, it remained a paint. It's definitely a statesman changeful have and there's a lot statesman signification to the change. With much animations and a explicit equilibrize to both sides of the brave, it makes for a fairer cope and one filled with new opportunities.

On the new choose of E3's Southward Room we open ourselves playacting PES 2012. There's no arguing with the fact that PES has been leftish in the junk over past eld. It just hasn't been able to have up with the leaps and boundary of FIFA's god exactness apiece and every case.

Konami has really brought their strategy support with PES 2012, withal. Adjusting most of the components, this is a sleeker, cultivated and altogether many pleasant message - nimble AI Intersection is one of the stylish innovations, rising players' action off the agglomeration and making outstrip use of unfastened expanse.

Protection has also been reworked, with Zonal Evaluation and Zonal construction making for many believable real-world reactions from your AI teammates. Symmetric the pandurate squeezing of switching players with the sect follow (mostly victimized for corners and throw-ins) feels a lot author illogical than previously.

It's observable when playing the gamey that the gap between FIFA and PES is final. The two rest clear and if anything PES feels slightly more provocative. The reliance on AI is heavier and the animations proving meet as intricate as FIFA. Again, the accommodate feels more afford and the roleplay less inevitable.

Both games bonk whatever way to go before they're fit for relinquishing (lately this period) and at this measure in time it could be anyone's occupation. As it is, FIFA slightly has the slip on philosophy unparalleled, time PES plant has that too smooth property to it. Learn out the recording below for a analysis of FIFA's new features and a young Corporation cameo.

Pro Evolution Soccer 2011 vs Fifa 11

2010-11-15T01:13:00.000-08:00

PES VS FIFA

Pro evolution and FIFA are considered the kings when it comes to football gaming. With both games always being highly anticipated people always show a great sense of urgency to find out what improvements each game will have.
Licensing
It seems the main problem that Konami (makers of PES) have had in recent years is to gain fully licensing for some main european leagues, the highlight of this is the Premier League, this results many fans in England and around the world to choose FIFA over PES. FIFA on the other hand have rights to a majority of leagues, also including second divisions for some countries.
This upcoming gaming year, PES 2011 will once again not have the rights to the English Premier League, despite this, aswell as gaining official rights to the UEFA Champions League and UEFA Europa League in 2010, they will also feature the UEFA Super Cup and the CONMEBOL Copa Libertadores sparking off a chain of fans in South America.
Gameplay improvements
FIFA who in the past have been met by criticism for minimal improvements on the previous games seem to have added a few additions for the upcoming FIFA 11.
Personality+: This is supposed to reflect each players individual attributes more resulting in a clear differentiation between players.
Pro Passing: This will mean that the gamer's accuracy in passing will reflect the actual accuracy of each pass in-game, also the accuracy will depend on the player being used in the game.
Fifa Theatre: For the first time ever in the Fifa Series, Players will be able to create their own soundtracks that can be improted into the game. Players can also create customised chants that can be imported and set to play when the players are coming on the field, at haltime, when goals are scored and at the end of a match.
Creation Centre: Players can now edit kits, names, home stadia and players on the internet and download to their console and share it with friends.
Pro Evolution Soccer who in the past generations of football games were considered the king ahead of FIFA, have struggled to match FIFA on the Next Gen Scene. This year looks very promising for PES fans as Konami have promised a much improved game with lots of new features.
Total Control: Konami are said to have improved the 360 Degree passing ratio, meaning the player will have a much higher level of control over passes, shots, throw ins, through balls, and lofted through balls. Players must weight their passes precisely and anticipate the runs that their team mates will make.
Shot and Stamina Gauge: The all new stamina gauge will detail the exact level of the players fitness. Constantly sprinting will hurt the players fitness level, this will affect the players movements and passing ability.
Speed of Play: The additional levels of control in PES 2011 allow the speed of play to change dependent on the situation of the match. For instance the game will quickly liven up when a counter attack starts. Passing will be the key aspect in PES 2011 with long runs not being as effective as in the previous games.
New Defender AI: The new defensive AI means that the defenders now stay in position and no longer chase any ball that enters their area, instead they try to close down the attacker forcing them to make a mistake.
Stadium Editor: With the stadium editor you will be able to recreate any stadium in the game, You will be able to choose the capacity, the turf style, the nets, the roofing and the tunnel placement, whether the stadium has a running track or just grass around the pitch and the distance the stands are from the pitch. There will be space to create 25 additional stadiums on top of the 25 that will be in the game by default.

PES 2011 Logo

Teams
Pro Evolution Soccer 2011
The Italian league, French league and Dutch league are expected to be fully licensed as always, however, it is yet to be confirmed.
The Spanish league is expected to be partially licensed, at least 12 teams.
Only 2 teams from the english league will be fully licensed, Man Utd, and it is thought to be Chelsea but it is yet to be fully confirmed.
Here is an official list of confirmed teams..
Inter, Roma, Man Utd, Chelsea, Benfica, Porto, Atletico Madrid, Real Madrid, Barcelona, Boca Juniors, River Plate, C.A Colon, Estadiantes De La Plata, Deportivo Tachira, Deportivo Italia, Caracas FC, C.A Cerro, C.A Lanus, Newell's Old Boys, C.A Velez Sarsfield, Club Blooming, Club Bolivar, Real Potosi, Once Caldes, Deportivo Quito, C.S Elemec, San Luis F.C, C.D Guardalajara, Sao Paolo F.C, Juan Aurich, Alianza Lima, Club Nacional, Club Libertad, C.F Monterrey, Estudiantes Tecos, Junior, Independiente Medellin, C.F Universidad De Chile, C.R Flamengo, SC Internacional, S.C Corinthiants, Cruzeiro E.C
FIFA 11
FIFA have not unveiled any information on any teams yet, but it is expected that many leagues will be fully licensed.
Some of those leagues include:
Australian League, Austrian League, Belgian League, Italian League, French League, American League, Turkish League, Swiss League, Swedish League, Spanish League, Scottish League, Russian League, Polish League, Portugese League, Norwegian League, Dutch League, Mexican League, Korean League, Irish League, German League, English League.
Also it is expected that the English, Italian, Spanish, German and French Leagues will also contain lower divisions

Pro Evolution Soccer 2011 review - PES is back!

2010-11-15T01:09:00.000-08:00

"Engineered for freedom". No, it's not another eye-rolling tagline for the latest car TV ad, but the back-of-the-box headline for the 10th outing of Konami's annual feast of football. You might be forgiven for thinking that this is the usual marketing bulls**t. After all, did we not have the full 360 freedom to manually pass last year? Well, yeah, but let's not ruin a good slogan.

A less punchy tagline, but closer to the mark, would have been more freedom, more often. Konami loves boasting about this stuff, but it bears repeating - if only because it's actually true for the most part. The chief boast is the 'freedom to play', and this is definitely where PES impresses most this year.

Passing feels crisp, responsive and intuitive, and if you can get that right in a football game, you're halfway to greatness. Even if you're one of those players who completely overlooks left-trigger-enhanced manual passing, it's easy to see that Seabass and co. have completely nailed the fundamentals this time around. Simply knocking the ball around to feet, there's a satisfying zip to it, and fewer passes go limply astray. Likewise, AI players are more alive to the situation, and more likely to read your intentions and run towards misplaced passes or try and break into space. The system builds on the flow and excitement of last year's PES, albeit with added conviction.

The licences aren't as plentiful as FIFA but it makes them count - and it's got one of the biggest of them all to boot.

But even when you're trying to win the ball back, the tweaks to the defensive system make the dogged art of jostling for possession feel less irritatingly bobbly and random. In PES 2011, positioning and timing is absolutely critical, and if you can get the right side of your man, the chances are you'll reap rewards. Call another player into the fray to close the player down and tackle, and it's a game where you're less likely to get punished for arbitrary, basic mistakes, but one where you can be passed into oblivion if you give opponent too much space. But while you can generally rely on your defenders getting tighter to the man and generally being less suicidal than previously, keepers can still pull a Robert Green when they want to. They'll probably blame the new balls...

The vast improvements to the animation across the board make the whole spectacle a great deal more convincing, too, meaning that a well-timed sliding or block tackle can be as game-saving as it would be in real-life. If you get it wrong, the slow-motion replay will generally reveal why, though it's fair to say that referees are still pretty intolerant creatures when you deign to lunge in.

On top of that, the improvements to the possession system make it much more rewarding to try and patiently build attacks with hold-up play. The unpredictability of the outcomes make it the sort of game where you'll try new things, whipping in a cross after stealing possession, only for an onrushing forward to score a spectacularly opportunistic diving header. The outcomes are rarely the same, and you'll find yourself taking a punt from all angles - only to miss as many sitters as you'll score improbable net busters.
Tactically, PES 2011 is a tinkerer's paradise. Not only does it have an elaborate stadium editor, but it has a fantastic new system that enables you to drag and drop players into precise formations, as well as issue the kind of team management instructions that effectively turn the game into an incredibly complex simulation.

Fortunately none of the tinkering is even remotely mandatory. On the contrary, the long-overdue reintroduction of variable game speed allows for plenty of mischief (even mid-game) allowing you to either dial it down to a geriatric pace, or crank it up for comedy capers. If that's the way you want to enjoy it, fine. At the very least, it allows you to put the cat amongst the pigeons once you've mastered it.

Tricks and feints play a slightly more prominent role this time around, though it's questionable whether this is necessarily for the best. Being able to create and customise your own link feints and map them to the right stick certainly looks pretty neat when you can pull it off, but it's questionable whether your average defensive clogger should be able to pull off a Step Over Dummy and Sideways Scissors at the drop of a hat. Sometimes, Konami, less is more.

The stadium editor allows for some Konami-tinged retro fun.

Sadly in the case of PES' ongoing licensing poverty, less is definitely not more. The rather apologetic inclusion of a few more official licenses of the bigger teams (such as Bayern Munich) does not make up for having to play as London United or Merseyside Reds. Fortunately, the presence of real player names and some spot-on player likenesses swiftly helps negate the initial disappointment. Directly compared to the mighty FIFA, it's likely that many of you will actually prefer Konami's crisper, more vibrant visual approach - especially when you're playing two similarly coloured teams. Certainly, no-one can have any complaints about the front-end anymore, with its slick minimalism and roster of excellent tunes to nod along to. It's like they listened and everything.

Long term PES fans are also likely to be pulling their shirts over their heads and running around the living room at the thought of an online Master League. Needless to say, time limitations and the fact that the servers only went online on September 30 prevent us from giving detailed first-hand experiences, but you'd bet your house on it, given how well it works offline. Bidding against each other for the best players, in particular, will give an already hugely addictive, absorbing mode an entirely new dimension. Traditional online play, though, we were able to test just prior publication, and found it extremely easy to get up and running, and pleasingly lag tolerant. On the downside, it's a little short on options for an online game in 2010, and is definitely an area Konami could improve dramatically in the future.

Closing Comments

After the promising strides made by last year's reboot, PES 2011 feels very much a realisation of that potential. With its emphasis on fun still apparent, the added realism provided by control, animation and AI enhancements improve and broaden the package's appeal no end. Factor in the added tactical flexibility and the addition of the online Master League, and it's easy to see why PES' return to form will be widely celebrated. Some may prefer FIFA's more studied approach to football realism, but when it comes to pick-up-and-play fun and intensity, PES 2011 gets my vote this year.

IGN Ratings for Pro Evolution Soccer 2011 (PS3)

Rating	Description
out of 10
8.5	Presentation PES 2011's still lags behind FIFA in terms of licenses and frills, but this year's is by some margin Konami's best attempt, with slick menus, match build-up and replays.
8.5	Graphics With some incredible player likenesses and super-slick animation, PES is neck and neck with FIFA in most departments. As usual, the lesser-known and generic player models drag it down slightly.
7.0	Sound The commentary team could do with a revamp, and the crowd chants are nowhere near as good as FIFA's, but the soundtrack should get the thumbs-up from the indie crowd.
9.0	Gameplay Instant, intuitive, and almost as satisfying to play against the AI as a human opponent. A long overdue return to form.
9.5	Lasting Appeal There are few games in the world that have the lasting appeal of a top-notch football title, and PES 2011 definitely qualifies as one of those.
9.0 OVERALL	Outstanding (out of 10)

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Army of Two: The 40th Day Review

2010-03-25T05:44:00.000-07:00

Submitted by Chris Leyton on January 13 2010 - 12:02

Rios and Salem return in a slightly more tasteful and subtle sequel...

Pros

Subtle yet effective moral themes.
Co-op pivotal to game.
Buddy bravado toned down.

Cons

Weak combat and controls.
Pretty short length.
Poor multiplayer modes.

The men in the masks return, this time around with less chest bouncing, fist bumping and air guitars. Army of Two: The 40th Day (a better title than Army of Two: 2 but not entirely sure what it represents) finds Salem and Rios reunited on the streets of Shaghai, in a sequel to the third-person shooter that places the emphasis on co-operative play and buddy, buddy action.

According to EA's research, Europeans apparently found the antics of Salem and Rios "ridiculous" and "tasteless" in the original Army of Two, two words that seem pretty apt in consideration of its general tone. In an attempt to appease such sensitivities, The 40th Day makes a departure from two goons bringing further carnage and destruction to the likes of Somalia, Afghanistan and Iraq, defending back-to-back against waves of suicide bombers and references to Al-Queda. Instead, EA Montreal has decided to tastefully subdue the crudity, dropping the sensitive real world settings and themes for a more fanciful, yet subtlety effective, attack by a megalomaniac on Shaghai.

Central to the Army of Two experience is the Agro system that underpins the co-op structure. Essentially Move, Hold and Follow commands have two operators, covering the actions in a stealth and not-so stealth manner. The idea being that if one person is laying down covering fire, it takes the heat from the other person to move undetected up the flanks. Like its predecessor, the Agro system is a remarkably simple yet efficient system to promote the game's co-operative structure and strengths. Generally the co-op AI looks after itself and handles commands effectively, even if occasionally confused by the more taxing task of pressing buttons together. Such issues won't be a problem if you're playing with a friend, but strangely it's a system that's best employed on your own. The tactical benefits of the Agro system are underplayed as you'll often come under the same issues of who's in command. Unless you've a military discipline or just playing with somebody that enjoys barking out orders, Army of Two looses a little in the tactical stakes, but gains a little more entertainment when played with somebody else.

The qualities of the central system are however undermined by a general lack of imagination, which ultimately finds the game degenerating into the typical mediocre third-person shooting action that seems to be all too prolific at the moment. Although the devastation that befalls Shaghai continually impresses, it ultimately leaves a sense of a rapidly decreasing engagement as the game goes on. The introduction of a specific covering system highlights the inadequacies of the core combat. Movement and shooting feel loose and unresponsive compared to the heavyweights of the genre - or more specifically Gears of War - while combat suffers from throwing waves of the same opponents, spiced up occasionally with the appearance of tougher heavy soldiers with specific techniques and more elaborate routines to overcome. Gun customisation forms a peripheral aspect of the game, but failed to really make itself exciting or beneficial enough to warrant any experiment with this aspect. The default weapon was sufficient to see me through the course of the game, and no amount of blinging up pistols with gold plated coverings or diamond encrusted grips was enough to make this any more interesting.

It's a shame that EA Montreal hasn't had the will or desire to take the idea of co-operative play further considering the game is so inexplicably woven around the concept. Beyond the Agro system, levels are designed to compliment the setup but the overall experience slips into typical facets of co-op gameplay. Surely some development studio can come up with more than the same old tired ideas such as hoisting the other character up to an elevated ledge, or shock horror, sequences that split the pair up. Strangely the sequel removes staple elements from the predecessor such as combined parachute jumps and vehicle sections. Such sections probably wouldn't have helped the overall flow and certainly aren't the key to developing the co-op experience, but would have provided some much needed relief and variety from the monotonous shooting nevertheless. Back-to-back sequences, which find the pair tagged together and defending against 360 degrees, are kept to a brisk minimum, although largely well staged when they do prop up.

EA Montreal has added the customary new features expected from any sequel, but you get the feeling that most have been underdeveloped and not properly thought through. A new HUD feature allows you to temporarily view the route you're supposed to be heading down in a much clearer way then before and also brings the ability to scout opponents and discover their rank. The idea being that if you can grab hold of a high ranking officer the others will surrender. It's a concept that sounds good, but is never really pushed and really only played out in hostage set-pieces. The same can also be said about the mock surrender technique, which allows you to spring a surprise on the unsuspecting opponents. Again, beyond the tutorial demonstrating how to use it, the technique is woefully underused. It's probably possible to use it more, but if the game doesn't push it, what's the point?

To give some credit, The 40th Day is a considerable improvement over its predecessor. 22 months since they first burst onto our screens, Rios and Salem have undoubtedly grown up considerably and no longer irritate every time they open their mouths. If you managed to find the testosterone fuelled antics fun the first time around, you'll probably take some heart from the fact that it's all still there: you can praise and diss your partner and even play a game of Rock, Paper, Scissors. Thankfully the buddy bravado is never shoved into your face this time around, which is fortunate for those who consider such Fratboy gimmicks a little trivial when you should be saving Shanghai from destruction.

The introduction of Moral choices is also a surprising quality of the game. They work largely because of the minimal way in which EA Montreal has included them, and as such you won't find Rios or Salem's appearance changing to a more virtuous appearance adorned with Halos whenever they take the high ground and save hostages. Instead cut-scenes play out depicting certain choices surrounding an expanded set of characters that pop up throughout the game. It's not a huge deal, but EA Montreal has managed to make the outcomes particularly surprising and less morally clear then they initially seem. Such an effect helps to embellish what initially appears to be a paper thin plot and provides some reasoning behind the motives of the megalomaniac. Mirroring the themes of the plot with through gameplay is an impressive skill of certain developers this generation, which helps to subconsciously reinforce the overall proposition of Army of Two: The 40th Day in a surprisingly accomplished yet subtle manner.

The 40th Day's seven stages are over pretty quick in approximately 5-7 hours. Beyond weapon parts, collectible radios and hidden cats (!) the chance to see the alternative outcomes to the moral choices is enough to warrant a second playthrough, but that's about it. A selection of more typical multiplayer modes also make an appearance, but never seem to gel with Army of Two's concept of co-op gameplay. It's almost as though EA had to include them for the sake of it. Tacked on multiplayer, surely not!

Graphics: 77%
Sound: 75%
Gameplay: 71%
Originality: 75%
Longevity: 66%

Overall Score: 7/10

Army of Two: The 40th Day's qualities come from unusual areas. Although the Agro system underpins the overall co-op gameplay sufficiently, the lack of imagination prevents the game from pushing forwards the co-op experience. Instead there's more satisfaction gained by the subtlety that EA Montreal has brought to the series; something we never imagined ourselves to say about the antics of Rios and Salem.

http://www.totalvideogames.com/Army-Of-Two-The-40th-Day/review-14891.html

Command & Conquer 4 Review

2010-03-25T05:38:00.000-07:00

Submitted by Chris Leyton on March 22 2010 - 12:28

Big changes and flashy visuals can't avoid Kane's legacy ending on a whimper...

Considering that Tiberian Twilight marks the final installment of Kane's story in Command & Conquer, the team at EA LA certainly haven't shied away from introducing sweeping changes to the format that has more and less governed the series for the past 15 years. Typically we're big supporters of originality and there can be no doubting that Command & Conquer 4 achieves this, but in this particular case we're inclined to wish they hadn't been so drastic.

Set 10 years after the events of Kane's Wrath, Tiberian Twilight finds the world at the brink of near collapse, consumed by the ravenous effect of Tiberium and the conflicts surrounding its control. Standing on the brink of disaster, Kane contemplates the one thing previously considered unthinkable, an alliance with the GDI, forming the Tiberium Control Network to safely harness the benefits of the deadly yet powerful source of energy. Of course such an amicable agreement wouldn't exactly be the fitting conclusion to Kane's story, and so over the course of the game's single-player campaign we discover Nod separatists and corrupt officials hell-bent on bringing further conflict.

The abundance of Tiberium is a convenient means for the team at EALA to introduce the most drastic change to the format. After 15 years of sending Harvesters to fields ripe with Tiberium and dotingly watching them return safely to the refinery, EALA has decided now is the time to remove that element from the game completely. Adopting a structure similar to Relic Entertainment's Dawn of War series and Massive's World in Conflict, Tiberian Twilight replaces the concept of resources with the introduction of a cap on unit production. Smaller units cost less, but the change typically means you'll rarely have more than 10-12 units under your control. While the decision allows the game to focus immediately on the battles and action, the switch leaves Tiberian Twilight feeling quite unlike any Command & Conquer that has before it.

Resource harvesting isn't the only thing deemed superfluous by the team at EALA. The initial process of setting up a base and defences has been removed entirely. Evidently, EA LA decided such concepts, which constituted the early processes, clogged up the game and decided to streamline the experience to cut straight to the chase. Instead the changes are geared around the introduction of the Crawler, an 'all-in-one' mobile base that allows you to advance across the battlefield as the tides of the conflict change and dictate. Each stage begins with the choice of selecting between Offense, Defence and Support classes, each of which offer varying tactical options, units and techniques to choose between. This illusion of choice seems to be little more then that, and perhaps an option that's better served when playing the campaign in Co-Op. The Defensive class offers the closest Tiberian Twilight gets to base building with a limited range of turrets to place on the surrounding area and focuses on Infantry. Support seems to be largely the domain of the Co-Op, while Offensive offers the most balanced **. Although the concept has its merits, we found the overall idea lacked a sense of development and never really encouraged us to move beyond employing one class, typically the Offensive unit.

There's a number of pitfalls that Tiberian Twilight falls into as a result of these changes. The level cap imposes a tendency to just form a relatively small battalion and move this across the battlefield, completing objectives as they occur. As a result, it's a game that focuses on one conflict at a time instead of orchestrating larger, more detailed strategies. The change is also evident in maps that feel considerably smaller than previous C&C titles, and battles that are more intimate than the grand conflicts featured in previous titles. The focus on smaller unit groups and battles is further demonstrated by the camera, which sits pretty low to the action. Although this highlights the visual splendour of the game, it restricts the ability of employing larger scale tactics and heightens the sense that you're just moving between objectives with a small group of units. It also means there's an inability to tank-rush to any satisfactory effect - shocking! Simply put, Tiberian Twilight is not the Command & Conquer that we all know and love.

The whole concept of a 'persistent experience' constitutes an RPG influenced system of unlocking new units and techniques with experience gained on the battlefield and collecting Tiberium Crystals. We'd argue that it's better demonstrated through the draconian online setup that requires a 'persistent' online connection just to get the game running, even if you're intending just to play the single-player mode. It's a setup we're thoroughly opposed to, and should be noted by anybody contemplating playing a quick mission on the bus or otherwise away from an internet connection. The setup also has further drawbacks, as there's a considerable amount of material to grind through just to unlock the more advanced units and technology that comes later in the game.

Command & Conquer fans eager to discover revelations are in for further disappointment.
In terms of story, the promised conclusion to Kane's story is largely underwhelming and lacking in terms of genuine revelations; major themes are left unanswered and important characters forgotten. It's not particularly the noteworthy send-off that Kane really deserves, but something tells us Kane's ascension isn't the final word. Although the FMV sections are of a high quality, many of the new actor's are insanely irritating (the playable character's wife in particular) and the attempt to improve C&C's customary hammy overtones leaves the sections feeling as though they're trying to achieve something they're definitely not.

Ultimately, Tiberian Twilight feels like a game that has been rushed to the shelves as once Kane's end is finally revealed there's a distinct lack of content to fall back on. The lack of a Scrin campaign can be conveniently explained by the Nod/GDI alliance, but ultimately leaves the game's Nod and GDI campaigns, consisting of seven missions, largely underwhelming and over pretty quickly. Considering Tiberium Wars featured three different factions and significantly more missions, the feeling that Tiberian Twilight is a little on the brief side is an overriding feeling that's hard to shake. The Skirmish mode, typically the legs of a Command & Conquer title, offers game types of up to 5 vs 5, but only supports Domination as a game type and 10 maps to choose between. That said, multiplayer is undeniably the highlight of the game and still manages to provide an intense and immediate experience that builds upon the series' heritage.

Graphics: 84%
Sound: 80%
Gameplay: 72%
Originality: 82%
Longevity: 62%

Overall Score: 7/10

Tiberium Wars was actually a fairly decent attempt at resurrecting Westwood's series, so you have to ask why has it gone so wrong? Tiberian Twilight is little more than a mish-mash of ideas from other RTS games, and looses C&C's identity in the process. Why the studio decided to implement such drastic changes with the final chapter in Kane's story is beyond us, surely it would have been a smarter idea to introduce new concepts in the next saga.

http://www.totalvideogames.com/Command--Conquer-4-Tiberian-Twilight/review-15066.html

Just Cause 2 Review

2010-03-25T05:34:00.000-07:00

Submitted by Chris Leyton on March 24 2010 - 16:29

Avalanche Studios ticks all of the boxes where the first game failed...

With radiant sunsets, snow peaked mountains and crystal clear oceans Panau provides the idyllic holiday destination... provided you can overlook the corrupt dictatorship and violent gangs vying for power and control. It's a setting best observed not from the comfort of first class, or even slumming it up in economy, but strapped to the nose of a jumbo jet momentarily taking in the view before plunging towards the ground and pulling out the parachute at the last opportunity.

Rico Rodriguez is back in the sequel to Avalanche's surprisingly entertaining sandbox romp from 2006. Entertaining is perhaps the best way to surmise the original title, as it certainly had its fair share of problems. Released when one generation was transitioning into the next, Avalanche's attempt to bring the original to the Xbox 360 alongside the Xbox and PS2, was nothing less than ambitious but ultimately foolish. The result, a bug-ridden experience that could have quite easily put a final nail in Rico's coffin before he even had a chance to shine. Fortunately, Just Cause made enough of a splash (hurtling from a hundred or so feet, it would be hard not to) and so Avalanche has the opportunity to bring us the sequel, which builds upon the promise of the original and delivers where Rico's first outing was often found lacking.

This time around, Rico's up against his former mentor and most trusted ally, Tom Sheldon. It still feels little more than cartoon characters wavering over a paper-thin plot to give some context to the action of the game, which is a little odd considering the game has been slapped with an 18+ rating. It's the type of game that you'd imagine teenage boys would enjoy, and not necessarily the edgy, gritty setting that such a rating typically entails. But plot and characters aren't exactly the reason to play a game like Just Cause 2.

Just before the anguished screams of, 'not another sandbox game' ring out, it's worth noting that Avalanche demonstrates an understanding of the genre despite the studio's relative infancy. Sandbox games are a tough undertaking to get right and require a considerable amount of time, effort, and money, so it's no surprise that Just Cause 2 has slipped from its intended 2008 release quite considerably. But it's been worth the wait and there can be little doubt that Avalanche is showing an increasing capacity to handle the genre and leave its mark. After all, a sandbox is only as fun as the toys inside it and this one is stuffed full of carnage, insane possibilities, and plenty of things to blow up.

Learning from their previous mistakes, this time around the Swedish studio has made sure Panau's quite literally stuffed full of material worth taking the time to explore and discover. Yes it's a sandbox game and yes there's three factions vying for power, each of which provide a handful of missions for Rico to undertake as he attempts to track down Sheldon and bring the ruthless dictator Baby Panay to his knees. This certainly isn't the game to push the genre forwards, but it does at least grasp the potential hinted at by the original and deliver an experience that's hard not to find enjoyable.

The thing that Avalanche absolutely nails with Just Cause 2 is in making the trip between A and B, or between missions, much more entertaining than most other attempts in the sandbox genre. Panau's a vast game world, so ensuring travelling across it is as fun as possible is a necessity. It's a sandbox game that, like the best examples, is often more entertaining just to deviate away from the missions and do your own thing.

With missions varying from assassinations, taking hostages, to waging full-on warfare, Just Cause 2 mixes it up to a entertaining degree across the magnitude of challenges on offer. The touch of creativity and the feature that brings the facets together is the Chaos system, which underpins the entire experience. The main storyline is advanced through Agency missions, which are unlocked by completing faction missions, secondary challenges, and general destruction to Baby Panay's buildings and installations. It's a setup that lends a sense of progress no matter what you're doing and encourages exploration and variety beyond the main story arc. However, it does mean the pacing can seem a little erratic at times; the Agency missions are often few and far between and the faction missions can become a little samey after awhile. But ultimately the pace is left to the player, those wanting to rush through the game's main story arc can do so in a little over 12 hours; however there's much more longevity for those that seek out all of that Just Cause 2 has to offer.

Beyond the significant improvement to the game's structure, Avalanche has also taken the key gameplay components back to the drawing board. Fans of the original will know that just as much time is spent in the air as it is on the ground. To this extent, Rico's parachuting and grappling hook antics make a comeback in a big way.

The grappling hook is the key to gaining the most fun from Just Cause 2. It's a sandbox game that encourages you to experiment with this feature and its new found dual hook ability. Pull a guard from his feet towards you, hook two guards together for comedic effect, or tie one to the tail of a plane and quickly take him into orbit... the possibilities are virtually endless. It's also got more functional uses such as towing vehicles or pulling statues of Baby Panay crashing to the ground in scenes reminiscent of Saddam Hussein's downfall. At its most outlandish the hook can be used to tether chasing vehicles to stationary objects and send them catapulting into the air, or hooking a guard to a gas canister, putting a few bullets into the outer casing and watch it propel the unsuspecting victim into the air or hurtle clumsily along the ground. It's a dynamic that never grows tired and makes the most out of areas in the game that would otherwise be somewhat lacking.

Used in conjunction with the parachute, Avalanche has created a means of transport that actually works this time around. Hooking onto vehicles and attempting to parasail never really worked in the original and has thankfully been replaced with a system of slingshotting. It's thoroughly unbelievable but nevertheless an efficient way of getting around the islands, providing a satisfying mechanic akin to web-slinging in the Spider-Man games. The controls still take a little time to get used to, but ultimately are up to the many actions at Rico's disposal.

It's the grapple system that also makes the otherwise largely unremarkable combat more entertaining then it should be. Unfortunately the concept of a game that takes so much pleasure in action and destruction ultimately feels a tad dated. Beyond some entertaining dual weapon combinations, the run-and-gun gameplay has remained largely unchanged from the original. It suits the exaggerated nature of the game, but left us yearning for advancements we now take for granted. It could be argued that Just Cause 2 isn't a game that should be based around a cover mechanic, but we beg to differ. All too often Rico finds himself in a blaze of bullets and it's often difficult to distinguish where it's all coming from. Equally, the manual requirement of pressing a thumbstick to pull the camera closer is a little arduous; we'd rather have seen a system that pulls the camera over the shoulder automatically when aiming down the scopes. Combat isn't helped by the perfunctory enemy AI. Guards will take cover and generally not look too idiotic, but it never elevates the game beyond the arcadey, run-and-gun nature. The aged gunplay and combat is also demonstrated in the staged nature of the destruction throughout Just Cause 2. In an age when destructible environments are taken for granted the selection of canned explosions and destruction falls a little flat, although those that are scripted to blow up do collapse in pretty satisfying ways.

Being finicky, we'd also suggest there's an issue over the lack of anything worthy to spend the hard earned cash that Rico accumulates. Being able to purchase and upgrade weapons and vehicles from a Black Market operator seems like a good idea, but the fact that you're constantly running out of ammo or forgetting where you left the vehicle leaves it largely redundant. It's also not helped by a setup that requires you to purchase each item individually and watch the same cut-scene and loading section over and over again. Ultimately it's easier and cheaper just to use whatever you come across.

Graphics: 85%
Sound: 80%
Gameplay: 83%
Originality: 76%
Longevity: 80%

Overall Score: 8/10

Just Cause 2 doesn't attempt to reinvent the sandbox genre, neither does it really push it forwards. But it does present one that's chocked full of insane action and plenty of creative opportunities, and knows that ultimately it's all about having fun. It's a brash, no-brainer experience that gives everything you want from a sandbox game, but lets make sure the combat ramps up a notch in the next title.

http://www.totalvideogames.com/Just-Cause-2/review-15071.html

Need For Speed Shift Review

2010-03-15T06:31:00.000-07:00

The Need For Speed brand has become synonymous with illegal street racing over the years, but it's worth remembering that the series originally broke ground as a much purer racing experience. Arcade elements have always been part and parcel of the NFS games - even the original had police chases and traffic on its tracks - but the first games were much more about unfettered supercars competing in closed circuit races than they were customised Subaru Imprezas cruising the roads of open world cities.

And so the series returns to its spawning grounds, although this time with its focus exclusively on the legal world of motor racing. Licensed circuits are plastered throughout this title, from Silverstone and Spa Francorchamps to Laguna Seca and Brands Hatch, while the cars are blended between a wish list of factory-line production cars (a la Gran Turismo) and stripped down, racing spec variants of these original models. Make no mistake, Need For Speed has gone legit, although not without retaining the staples of car modification and drift racing that gamers now expect from an NFS title.

Candid Camera

Much like Codemasters' Race Driver: GRID, Need For Speed Shift is a much more enjoyable experience when played from the cockpit view rather than the above-and-behind camera angle that most racers lend themselves to. In fact, viewed outside of the cockpit, Shift becomes a much blander racing experience - not bad but decidedly run-of-the-mill. This isn't necessarily a criticism though, as the gameplay when viewed from inside the car is nothing short of a landmark in the production of racing games, where Slightly Mad Studios' inspired camera work has built the most adrenaline-fuelled racing sim we've ever played.

There are a number of nifty camera tricks that SMS uses to do this, such as employing motion blur at high speeds; shaking the camera up in accidents before disorienting the driver with a blurry, greyscale filter; lurching the camera angle forward under heavy breaking, and veering it to the right/left in the corners. The result is a thoroughly convincing depiction of G-forces and high impact crashes that the racing game genre has rarely seen before. It is by far and away the most impressive element of the game, without which the other standout features would fail to shine.

Of course, this all makes a lot of sense given SMS' heritage. Its involvement with the critically acclaimed GTR series of PC games and the experience drawn form this is evident throughout Shift, although EA's production values mean that it's not quite the fully authentic sim that GTR2 was - 24 hour endurance races are hardly a game selling feature here. At the same time, SMS has not forgotten its roots. Endurance race events do feature in Shift, it's just that they're denoted by 10 laps of Spa for example, while regular races are usually between 1 and 3 laps long.

Equally, the sense of progression throughout Shift is clearly where EA's associate producers have had a strong influence. Soon after starting a new career, gamers will come across the Driver Profile, which charts your performance on the track by dishing out points for either 'Aggression' or 'Precision' driving. The former includes trading paint with another driver or slip-streaming them down a straight for example, while the latter awards points for mastering the driving line through a turn or performing a clean overtaking manoeuvre. These points are then dished out via a combo meter during races, which then builds up your profile as a precise or aggressive driver accordingly and increases your Driver Level, while rewarding you with 'Badges' for certain achievements.

It's a lot like the sort of production sheen that was once added to a certain racing series by developer Criterion. EA's involvement with Burnout 3: Takedown was essentially what lifted an aspiring series of games into arguably the best arcade racer on previous-gen consoles and, as much as racing purists might scoff at how Shift's racing sim elements have been watered down in some areas, EA clearly knows what it's doing here. While the mesh between EA production and SMS development might not be quite as flush as it was with Criterion and Takedown, there's no denying the fact that this EA sheen does make Shift more accessible to a broader market of gamers, which is no bad thing (after all, this is a Need For Speed game).

Car customisation has been integrated into Shift in ways that aim to please both sim and arcade fans. Custom paint jobs can be applied to the cars you purchase, while a wide range of rims and body-kits for each model can spruce up their appearance and this will no doubt appeal to the typical Need For Speeder. Simulation fans will then enjoy the incredibly deep car setup options (which include downforce, gear ratios, tyre pressure, differential, and steering camber to name but a few), while racing liveries are available to doll factory-line cars up like GT racers, and everything from drivetrain to cockpit upgrades can be made to increase performance. The all important nitrous injections haven't been forgotten either, although admittedly their effects are a lot more subtle than in previous NFS games.

EA's influences extend beyond these more cosmetic areas and into the gameplay as well, with a range of race types that retain shades of previous NFS games and the Burnout series. Shift's events extend far beyond standard, closed circuit races with timed events such as the 'Hot Lap' and 'Time Attack' competitions, as well as two different types of eliminator events, Driver Duel's that set two cars against each other in single-lap gladiatorial battles, and the previously mentioned endurance races.

Without a doubt though, the most refreshing change of pace comes from the drift competitions, which are played out in sanctioned events across world motor racing venues. Cars modified for high revs are used and must then be guided across a series of turns. Hitting the markers and extending the drift for as long as possible is the critical skill required to ratchet up the points, so the events are not too dissimilar to their illegitimate cousins from the NFS: Underground games and their offshoots.

These events continue up through four tiers, with each tier introducing a new range of more powerful cars and a considerably steeper learning curve with this added performance. Vehicles range from common road going vehicles in tier 1 (e.g. the Ford Focus and BMW 135i), to the most powerful supercars in the world at tier 4 (e.g. the Bugatti Veyron, Mercedez-Benz SLR McLaren, and Pagani Zonda), while the likes of Ford Shelby GT500s and Lamborghini Murcielagos in-between are more than enough to keep things interesting. For a full list of the tracks and cars in the game you can click through here, but suffice to say there are more than enough to keep the game fresh and exciting all the way up to its conclusion in the Need For Speed World Tour invitational event.

It's this sense of progression and achievement in the game, coupled with a challengingly steep learning curve, which ensures that its level of appeal doesn't drop at any stage. Equally, the content held within Shift's four tiers and the NFS World Tour will keep gamers beavering away for hours. If you simply want to progress through the tiers to the World Tour as quickly as possible, then it'll take you a good 15 hours. On the other hand, if you want to win every event that's available on your way to the tour, then you can add another 10 hours on top of that. Playing the game until you've achieved every star that's available on all of the events (achieved by completing additional tasks such as mastering all corners), then you could be playing for around 35-40 hours, possibly more.

What's The Damage?

Beyond the impressive camera work mentioned at the top of this article, Shift's visual prowess varies depending on the platform. The PC version is superior to consoles by quite a margin with better motion blur effects, more detailed car models, improved lighting across the environments, and better heat hazing effects. The added details are particularly noticeable in Shift's stunningly detailed cockpits, which are probably the most accurate and well designed interiors ever seen in a racing game.

The console versions then obviously run at a lower resolution, while the textures aren't quite as smooth as they are on PC. Damage modelling is another area where the PC comes off better than consoles with more detailed panel crumpling and damage effects. Additionally, the modelling on consoles uses muddier textures and appears to be less dependent on the scale of a collision. However, SMS has previously indicated that Shift's development has been led on the PC platform, so we're inclined to take the PC version's graphics into account when considering scores.

Exactly how well this damage system is used by SMS is another question though. Gamers are offered two damage options in the difficulty menu: 'Visual Only' and 'Full'. However, when set to 'Full', the worst thing that'll ever happen to your car is that it will veer off to the left or right a bit. You can't total a car, regardless of how heavy an impact is, which seems a bit cheap for a developer that prides itself on realism. Similarly, the physics behind crashes are a bit questionable as your car has a bizarre tendency to scoop up opponents like a pie slice whenever you rear-end them, even at relatively low speeds. It's this that often leads to the more spectacular crashes in the game, such as cars going airborne or rolling across the tarmac multiple times, although it doesn't always look that convincing when it happens to be honest.

However, it's hard to think of many more criticisms than these and there are many more good things to say about it that we haven't had the time to go into great depth about here. The AI is superbly dealt with and produces opponents that are not only very aggressive, but will also make believable mistakes when you're not interfering with their race. We often saw opponents getting into tangles ahead of us, which adds another layer of realism to the races beyond what most other racing games can muster.

The online multiplayer is also well accounted for, with ranked and unranked races for up to 8 players as well as the ability to organise Driver Duel Championships (similar to the single-player event listed above) and check out your friends' fastest lap times and scores from the single-player career. The sound won't disappoint either, with engine noises that would make Jeremy Clarkson gurn, although it has to be said that the soundtrack is a touch generic. There's also the occasional voice-over from a member of your pit crew, who often does his best Murray Walker impression with a "Go, go, go!" at the start of a race before comically reminding you to "Have fun"

Graphics: 91%
Sound: 87%
Gameplay: 92%
Originality: 88%
Longevity: 90%

Overall Score: 9/10

Slightly Mad Studios has neither sold out to EA's branding nor alienated a broader market of gamers with Need For Speed Shift. It's both a genre leading racing sim and a mass market EA game at the same time, which is a particularly difficult balancing act to pull off. Shift is easily the best driving game so far this year and will certainly be in amongst the likes of Forza 3 (and possibly GT5, if it emerges) when the brake dust from 2009 settles.

Need For Speed: Undercover Review

2010-03-15T06:25:00.000-07:00

There's certain things you come to expect from video game franchises and woe betide any developer that dares to try anything new. Rare recently found themselves such victims with the decision to drop classic platforming action for vehicular gameplay in Banjo Kazooie: Nuts & Bolts. Similarly the same could be said of last year's attempt to change the Need for Speed format. Since its inception back in 1994, one element has characterised the Need for Speed series, namely the police pursuits. So the decision to focus on legal circuit racing and tuning options in last year's Need for Speed: ProStreet unsurprisingly failed to set pulses racing and light up the charts.

Following up with the customary new title in time for Christmas, EA Black Box has taken Need for Speed back to familiar territory for Undercover. Posing as the titular undercover cop, the narrative and trashy FMV cut-scenes depict your efforts to infiltrate various gangs that make up the Tri-City area, working through their ranks by competing in events and undertaking various jobs that usually involve stealing vehicles and delivering packages. Call it a guilty pleasure but we're slightly partial to Need For Speed's throwaway dialogue and laughable efforts to put a narrative to the racing action. But in many ways Underground fails to realise its true potential in this area. Under the billing "You're not good, and you're not bad", it would have been satisfying to see EA Black Box jump on the good/evil bandwagon and allow players to make choices in the game. As it stands it's little more than sporadic FMV sequences featuring embarrassingly cringe worthy stereotypes packed full of "esses" whilst Maggie Q provides the titillation.

Despite EA Black Box efforts to create a more serious racing experience with ProStreet, Need For Speed: Undercover is unmistakably a return to the high-tempo and slide-heavy drifts that characterised the series since Need For Speed Underground appeared back in 2003. It's not the most developed or defined arcade racer around, but its blistering sense of speed still manages to provide plenty of entertainment as you rise through the ranks and unlock the considerable selection of licensed motors available.

In keeping with Need For Speed's mass-market appeal and a result of the odd upgrade system (more on that later), Underground begins far too easily for anybody who knows their accelerator from their brake. We found ourselves dominating every event we entered to begin with, which in turn made things even easier due to the increased upgrade points earned. Although we can appreciate EA Black Box's attempt to create a racing game for everybody, it could be argued that they got the balance a little wrong and could put off a vast majority before the challenge begins to intensify much later in the game.

The open-world serves as the hub for the game's various events in a similar manner to previous Need For Speed's, but in turn highlights one of the slightly oddest design decisions we've seen in quite awhile. Although we're big on time-saving quick travel options that allow you to jump directly to the event instead of meander between A and B, Undercover effectively forces you to use the option because it's impossible to actually drive to the event location. All that's required is to simply tap the d-pad downwards to quickstart the nearest challenge, so the game effectively becomes little more than a clinical series of events with an open world you're never particularly encouraged to explore. This effectively makes the decision to go for an open-world pretty redundant, which in turn reduces one of Need For Speed's - the police pursuits. It's an odd design decision that continues into the actual events. Given that you're racing with an illegal criminal syndicate it seems nice of the city officials to lay down the circuit with barriers, signs, etc... Now we can suspend disbelief for just a few seconds on this, but what we can't forgive is the fact that once again it removes the concept of open-world racing from the racing challenge - Midnight Club this certainly isn't.

Despite the hiatus from last year's Need For Speed, police pursuits haven't really changed in the years since Underground. Yes the intensity and chatter over the communication does raise the exhilaration somewhat and it's still Need For Speed's most enjoyable feature, but we'd like to have seen a considerable re-invention by this stage. Cops still hound after you without any indication of line-of-sight, so the tactic is to either burst through the occasional pile of pipes and scaffolding that serve as unconvincing pursuit breakers, or drive fast enough to escape and reach a hiding spot. After five years of much the same, surely now's the time for EA Black Box take police pursuits to the next level.

As an undercover cop you've got to impress the local gangs before they'll trust in you. Your reputation as a Wheelman increases with each successful event, in turn unlocking new challenges as your trust with the crims increases. Depending on whether you successfully complete an event or dominate it points in various attributes become available, which again highlights an area that feels particularly at odds. It's not entirely unlike an RPG where your character attributes increase with experience, but it's inclusion in Undercover is a little strange to say the least. It seems to suggest that it's your skill as a driver that increases, but the categories are all vehicle related, such as a 'Forced Induction' bonus. It's bizarre to say the least, but does work in a twisted kind of logic.

As part of the criminal scene you'll also have to convince the underground that you're genuine by randomly smashing up traffic or property to incur a 'Cost To State'. Although this will increase the criminal syndicate's trust the downside is the increased heat you'll face from the law. Finally Undercover also rewards you for driving with style and pulling off Heroic Moves, which fill the 'In The Zone' meter for enhanced use of the Speedbreaker and Nitrous. Beyond the typical close scrapes and driving against oncoming traffic, a selection of specific 'heroic moves' also ties in with the system and rewards you for performing screaming 360s and j-turns. All of these mechanics work together well, and whilst there's nothing that we haven't necessarily seen in a racing game before, it does at least add a sufficient dynamic to the racing action.

The open-world Tri-Cities area that Underground takes place in is vast and varied. EA Black Box typically never disappoints when it comes to creative fictional gameworlds. Whether it's the intersections of the three cities, the countryside in between, the highways or the many shortcuts on offer, the Tri-Cities area provides the perfect backdrop for Need For Speed: Undercover except for one thing - traffic. Yes like Burnout Paradise before it, Need For Speed: Undercover is strangely devoid of any traffic at whatever stage in the day.

Like much of Underground even the multiplayer fails to really provide anything new for NFS fans. The customary race events all feature, along with the inclusion of an all-new, but thoroughly predictable Cops n' Robbers. It's essentially capture the flag, pitting two teams of four players against one another as the robbers try to pick up stolen cash and deliver it to a drop off point whilst the cops try to stop them. Don't expect Need For Speed: Underground to be a firm fixture in Xbox Live or PlayStation Network 'most played' lists for that long.

Graphics: 88%
Sound: 82%
Gameplay: 80%
Originality: 60%
Longevity: 60%

Overall Score: 7/10

Between the excellent Midnight Club LA and the slightly disappointing Burnout Paradise, Need For Speed: Undercover unfavourably finds itself amongst some stiff competition. Although Undercover does provide satisfactory racing action, it fails to add literally anything new to the format and is really beginning to show its age. Hopefully, for the already-confirmed Need For Speed: XIII, EA Black Box will be taking the entire concept back to the drawing board and bringing something a little more fresh to the table.

MotorStorm Pacific Rift Review

2010-03-15T06:21:00.000-07:00

By and large, the original MotorStorm was warmly received by critics when it was released as a PlayStation 3 launch title in Europe. Reviews generally hugged an 8 out of 10 rating for a game that was scored highly as much for its potential as anything else. You see, there were multiple flaws in the game that may not have been quite so easily overlooked if MotorStorm hadn't been the best of a bad bunch of launch titles for the PS3. Instead, visual features such as the terrain deformation that accumulated from one lap to another were the highlights of the PS3's initial range of titles, making MotorStorm's shortcomings a little more forgivable.

These shortcomings included a fairly drab single-player campaign, no split-screen multiplayer in a game that was crying out for it, online multiplayer that was unreliable at first (later to be rectified), and a complete lack of additional content (even a time trial mode, although one was later added with DLC) to keep gamers interested when the career option became dull. It was a bare bones racer and while those bones were certainly sturdy, the lack of meat that gamers could chew off them meant that MotorStorm became tedious quicker than it was engrossing.

Meat On The Bones

The fundamental challenge for MotorStorm: Pacific Rift was to add to the sturdy framework of the first game with lavish new modes and race types as well as a career mode that took advantage of this variation. Here, unfortunately, the game has failed once again. There are a few new ideas in there other than those that were in the original, with the prime examples including Eliminator and Speed events that can be unlocked by posting a fast race time or keeping to a crash limit in some of the regular races, which adds a fairly rudimentary carrot on a stick for gamers to chase.

Eliminator races were actually in the first game, with Evolution Studios adding online Eliminators in a post-release update, making Speed events the most original offering in Pacific Rift. These take the basic time trial concept and run with it, directing players through a specific route with the use of 30-odd tight checkpoint gates dotted around a lap. While we're always a fan of classic arcade style checkpoints here at TVG, it still doesn't solve MotorStorm's most pressing issue. The Speed events are an old and crinkly concept in racing games and they simply don't give Pacific Rift the panache it needs to rise beyond a basic driving experience.

As with the first game, it's the vehicles and circuits that offer the most variation in Pacific Rift's gameplay. Evolution Studios' decision to swap the dusty, desert canyons of the first game for the geologically manic terrains of Hawaii in Pacific Rift has been a wise one, albeit a choice that has come with some trade-offs. Although there are a wider range of terrains for gamers to negotiate and master between the four elemental tours in the single-player campaign (Earth, Air, Water, and Fire), this also means that Evolution's pioneering terrain deformation technology from the first game is less prevalent in Pacific Rift. The feature comes into play on circuits with muddy or sandy sections, which Pacific Rift certainly makes ample use of across various beach and jungle areas but there's also a hell of a lot of smouldering, rocky circuitry in the game as well (what with all the volcanic activity going on).

Obviously, these rocky terrains don't carve away under vehicles' tyres, which makes the track deformation tech fairly redundant in these areas, although Evolution has added in some new elements of strategy to make up for this. For example, while driving over pools of magma your vehicle will understandably catch fire, which has the effect of sending your boost limit into the heavens if you release some nitro into the engine. Counter balancing this are areas of low lying water or purpose built MotorStorm showers that cool down your engine, although puddles will also slow your vehicle down considerably (particularly smaller cars and bikes). It's a neat piece of gameplay balancing that at least manages to add a slice of freshness to this sequel.

As far as vehicles are concerned, the same seven classes from the first game have returned with the addition of eighth class, the monster trucks. As usual, each class offers up varying amounts of manoeuvrability, grip, speed, and sturdiness. Put another way, if you chose a Monster Truck then it'll dig into the mud agreeably and savage any other vehicles that so much as look at it, although there are trade-offs in the form of near pedestrian acceleration and the handling of a glacier. On the other extreme of the scale, bikes are nimbler than Darcey Bussell and accelerate faster than a whippet but they are prone to precarious slides across the mud.

Once again, Evolution has tailored the tracks to this range of classes, offering short cuts and alternative routes that benefit certain vehicles more than others. Track sections with deep puddles favour the big rigs, mudpluggers, and monster trucks, while Evolution has also carved out areas dense with trees or rickety buildings, making them perfect for bikes and ATVs. Generally speaking, a choice of two routes will be presented, with each one benefitting a side of the vehicle scale. Rally cars, buggies, and racing trucks are the agreeable middle ground, with no huge advantages but no sizeable drawbacks either.

New Surroundings, Same Old Appeal

If anything, the new surroundings in Pacific Rift add more significance to your vehicle choice because a more varied environment has allowed Evolution to design tracks that can pander to vehicle flaws and strengths more explicitly. Make no mistake; despite our criticisms in the lack of different race events that lead to a flat single-player game, MotorStorm has not lost any of its charm from the first game. It's still as addictive as the original and if anything, Evolution's changes to the formula have been beneficial in this sequel. We do have a few minor quibbles in this area, such as the game being overly fussy with vehicle and object collisions. You'll often get frustrated that your racing truck has crumpled at the foot of an insignificant post or that your rider has been vaulted from their bike for nudging the back of a buggy, but these moments of despair fail to cloud what is otherwise an enjoyable racer.

The entertainment continues over PSN with rock solid servers that make for races with either very little or no lag at all. A rank-up system has been employed with gold, silver, and bronze levels of experience and specific tiers within each level ensuring that ranking-up takes a fair degree of effort. Other than that there are the usual online race options, allowing hosts to specify everything from the amount of laps to the car classes permitted for each race and with up to twelve player slots being available, a fairly crowded grid can be achieved. A similar Time Attack with online leaderboards that came to the first game with DLC is included, while multiplayer split-screen is also on the bill this time around.

Pacific Rift adds visual appeal to the first game's graphics with additions such as endearing water effects and sharper vehicle models. The ripples that circle away from wheels as they plough through puddles are pretty impressive (if the spray is a little flakey), while the effect of water splashing up onto your screen is reminiscent of Crysis. Vehicles start off a race shinier and more angelic than in MotorStorm 1, while the race itself will add layers of dirt, scorched bodywork, or dust with ample realism depending on the type of circuit you're racing on. As was the case with its predecessor, Pacific Rift's crashes are more impressive than anything else you'll see outside of Burnout Paradise, although we do have a few reservations about the slightly unconvincing descents into lava that we experienced on some wayward jumps. Accompanying Pacific Rift is a fittingly hardcore soundtrack considering the subject material of near suicidal racing. Machine Head's 'Davidian' and a somewhat obscure techno reworking of Nirvana's 'Swap Meet' are the highlights.

Graphics: 88%
Sound: 90%
Gameplay: 84%
Originality: 62%
Longevity: 74%

Overall Score: 7/10

MotorStorm Pacific Rift retains the same charms that MotorStorm offered but, as with the original game, there's just not enough variation in the single-player campaign because the race modes on offer are fairly rudimentary. In fact, it's the tracks and vehicles that mix up the gameplay more than anything else, just not enough to stop the experience from getting repetitive.

PGR4 Review

2010-03-15T06:19:00.001-07:00

Following Activision's surprising recent acquisition of the talented UK studio, Bizarre Creations' fourth title in the popular PGR series is something of a bittersweet experience. Undeniably the highlight of the series and a return to the splendour of PGR2, the irresistible success of PGR4 is somewhat countered by the fact it's going to be the last true title in the series before it's farmed of to another studio.
While we wait to see whom Microsoft has in store (odds on Turn 10) for the somewhat inevitable PGR5, the last title from Bizarre stays predictably close to the winning formula established since the 2003 release of PGR2. The same compelling blend between arcade racer and something slightly more serious; coupled with a clever kudos system, a rewarding career mode, and exciting online action ensures PGR continues to stand out in a crowd of heavyweight opponents.
Without the pressures of a system launch to rush for, PGR4 features a significantly expanded set of cities and vehicles compared to its predecessor. Joining London, Las Vegas, Tokyo, New York City and Nurburgring is Shanghai, St. Petersburg, Macau, and Quebec, whilst the removal of the 170mph+ restriction opens up the list of vehicles considerably.

PGR4 All Year Round

PGR4's most immediate quality is the variety and quick-paced nature of the career mode. Based around the calendar, with various events becoming available on certain days of the month, PGR4 replaces the typically slow and repetitive, race-after-race grind, of previous versions (and racers in general) with something quick, varied, and deeply satisfying. Beginning at the bottom of the leaderboard, the career mode challenges players to rise through the four ranks of Amateur, Pro, Hotshot, and Master on the way to the top. With many of PGR3's events returning alongside a handful of new types, PGR4 continues the series' legacy of providing the variety and instant gratification required from an arcade racer.
Geared around a championship structure with points awarded based on the combination of position and kudos points scored on the track, the change brings an end to choices of bronze, silver, gold and platinum difficulty and the need to constantly repeat failed events. Each championship pits the player against three similarly placed rivals across a series of events, instilling a sense of personality that was missing in previous titles and a more pronounced sense of rivalry.
Throughout the year, Invitational and Major Tournaments expand upon the standard selection of events. Invitational events are the key to unlocking some of the unique vehicles found in the game by competing in some of the more creative challenges PGR4 has to offer, such as 'Electric vs. Petrol' that pits the groundbreaking Tesla Roadster against a Ferrari Testarossa. Major Tournaments initially require a qualifying lap to enter, but provide vast kudos rewards if you can emerge victorious.

Kudos For The Bikes & Bad Weather

With the final attempt at stylish racing perfection and in-line with the streamlined approach adopted for PGR4, Bizarre Creations have once again tinkered with the kudos system. Replacing the likes of the 360 and the Overtake Draft with the useful combo-stringing High Speed technique, PGR4 ditches the unnecessarily complex Combo Bonus for Kudos Stars to string together techniques and rack up the kudos points. Represented by a ring that increases on a 1-5 point scale as the Kudos points roll in, the change is easier to understand and compliments the actual racing action more naturally than before.
The appearance of bikes is one of PGR4's most striking new features. Not so much in their inclusion, but the fact it's two-wheels takes on four in most cases, a mix that is brought to the screen with forceful impact and a satisfyingly bad attitude. Although the overall implementation is unlikely to concern slightly more serious two-wheeled racers such as MotoGP and Polyphony's poorly received Tourist Trophy, the attitude of PGR coupled with the well-tuned balance between cars and bikes creates an adrenaline-pumping match.
With a range of unique kudos tricks such as the obligatory wheelies and endos, racing on a bike is made that little more enjoyable with the range of gestures at the touch of the B button. Nothing characterises PGR4 more than watching a biker pass by and waving his fist in fury from the dramatic in-car view, although pulling the splits whilst bursting past the finishing line comes pretty close.
The trademark PGR handling coupled with the dramatic sense of weight transfer continues to create a visceral driving experience that few can rival, but PGR fans probably need little reminding of this fact given it's become the staple ingredient of the series to date. Although bike handling feels suitably different to the cars, it's purposely not as intricate as the more serious bike sims available.
Another casualty of PGR3's rushed development, weather makes a welcome and dramatic comeback with PGR4. Splashing across the windscreen whilst the wipers are spurred into action, reducing visibility to just in front of the bonnet, or sliding across a plane of ice; weather is not only brought to the series with stunning visual quality and considerable gameplay impact, but also elevates the feature due to its dynamic nature. Opening the possibilities to an endless combination of possibilities, PGR4 ramps the difficulty by changing the weather frequently mid-race but done with such a high level of quality and subtlety that you'll often finish a race in the rain but forgotten that it had started dry.

Online Career Hits The Curb

Extra vehicles, tracks, and other goodies appear in Marketplace-friendly packs unlocked with kudos points at the PGR Shop. Grouping multiple cars, bikes, tracks, and modes provides a more rewarding sense of progress and a faster pace more suitable to an arcade racer, along with the ultimate challenge for the GamerScore obsessed to acquire the 'Buy An Achievement' Gamer Pic for one million kudos points.
Establishing a strong reputation on Xbox Live since PGR2 launched the online service several years ago, PGR4 looks to continues the trend with multiplayer modes that will keep PGR4 in your 360 for months to come. Replacing the convoluted on/offline career format, PGR4 makes it easy enough to get a game going with your mates on Race, Eliminator, Cat & Dog, and the all-new unlockable Bulldog mode. Ranked matches cover a range of single and team events and championships, using the TrueSkill based matchmaking and party setup similar to Halo 3. Providing PGR4 achieves the popularity of previous versions, Team Championship and Bulldog should be firm fixtures on the Xbox Live Most Played lists for some time to come.
Away from the online and career, the arcade mode provides 10 chapters of six bike and car challenges. With the option of platinum, gold, silver, and bronze medals dictating the difficulty of the challenge, the arcade mode feels a lost closer to previous PGRs and adds a further layer of long-term replay value to a game that's already heavy with content.

Graphics: 93%
Sound: 88%
Gameplay: 92%
Originality: 86%
Longevity: 90%

Overall Score: 9/10

Drawing close parallels to the improvements made by PGR2 upon its predecessor, PGR4 is a considerable improvement to the rushed PGR3. PGR4 goes the extra mile with the inclusion of dynamic weather and bikes, it refines everything key element to the point of near-perfection, includes the low-end vehicles that fans cried out for, and most significantly injects a considerable boost of content. A fitting end to the series, but we somehow doubt that's going to happen.

The Movies Review

2010-03-10T06:41:00.001-08:00

Facing criticism in some quarters over the long-awaited release of Black & White 2, some could see The Movies as Lionheadâ??s last chance of redemption in a fiercely competitive videogame world. However thereâ??s little doubt the team knew the full potential of The Movies shortly after Peter Molyneux first thought of the idea back in 2003; thankfully theyâ??ve taken the time to fully realise the concept in its entirety, resulting in one of the most enthralling videogame experiences around.
In a nutshell The Movies can best be described as Theme Park and The Sims with a considerable dose of Adobe Premiere. The Movies challenges players to establish a successful movie studio, from the dawn of Hollywood in the 1920â??s through to the present day and beyond.
In typical Molyneux tradition players have to build upon their vacant lot the various tools to begin making movies; a Stage School provides the means to employ actors, directors and extras; a Production Office allows you to release the movies youâ??ve made, request financial information and reviews whilst the Casting Office gets the movie off the ground, assigning the relevant roles to rehearse and eventually begin shooting.
These are merely the basics when it comes to the tycoon aspects of The Movies, thereâ??s plenty more to keep your interest sustained throughout the years of cinematography. Actors for example are complicated people that not only have relationships with fellow stars to consider, but also various whims to cater to such as salaries, trailers, entourages and their crucially important image to look after. Each character has experience within the five genres of movies that are available (Sci-Fi, Action, Horror, Comedy, Romance), which increases based upon successful performances in a particular field of movies. A balance between Stress and Boredom governs the main characters under your control, drive them too hard and youâ??ll find them turning to drink or comfort eating whilst those whoâ??ve gone a considerable time without any action will quickly start a tantrum. The level of management is just about spot-on, thereâ??s nothing too fiddly to worry about but at the same time everything has importance, i.e. itâ??s good to ensure your co-stars get along; you should try and ease the frustrations of your director if you wish to see the movie come out on time and if you want to raise awareness ahead of a big release why not plant the paparazzi by your lead star.
Often the easiest way to please a disgruntled actor is to send them for a makeover or perhaps cosmetic surgery as the years roll by. Stars, movies and the lot itself are rated out of five stars dependant on a variety of factors, which in turn influences the flow of new employees and more importantly your performance at the award ceremonies. Not only do awards bring accolade amongst your peers but also specific bonuses, such as being able to pay your stars and staff half their salary and get away with it or boost interest amongst the moviegoers for your movies regardless of their quality.
One of the greatest aspects with The Movies is the sense of reward that progress brings, and along with it a constant supply of new content that keeps the game fresh. A timeline appropriately displayed at the top of the screen governs the entire experience from the 1920â??s to the near-future. Tied into this are historic events told in typical Lionhead tradition, which in turn have an influence on the public interest towards certain genres. The march of time naturally reaps new technological advances which come in the form of Research Packs, pulling your actors out of dodgy costumes, into latex and ultimately CG; evolving black & white technology into digital film and turning silent movies into surround sound treats for the ears. A laboratory with a group of scientists can help to speed forward these advances, ideal for gaining the upper hand over a rival studio lot with the latest cutting-edge technology.
However ultimately a studio is only as good as the movies it releases, which in turn forms the vast majority of a playerâ??s income and their chance of success. Creating a movie requires a number of steps; firstly the script needs to be written either automatically via scriptwriters or later in the game by the player themselves. With a script in hand itâ??s time to cast your actors, directors, crew and extras before heading to the set and begin shooting.
Creating films can initially be a complex and slightly disappointing affair, however a little patience and perseverance soon becomes rewarding with the Advanced Movie-Maker. Essentially the game contains hundreds of little snippets with various character animations which youâ??re free to edit and compile onto a timeline, dropping actors into the scene, along with extras and removing any that shouldnâ??t make the final cut. The vast number of snippets are grouped into different classifications such as â??Introductionâ?, â??Violenceâ? or â??Incidentâ?, players simply have to select a scene and a set to begin - such examples of the snippets range from establishing â??Staticâ? set shots to â??Three People Sitting and Talkingâ?; a â??Vampire Biteâ? to a â??Chase Up Stairsâ?. To begin with some of the restrictions can be a little limiting such as having the co-star of your zombie-busting lesbian duo walk like a man, however you soon learn to work around these - the skill in movie-making is to sculpt your creations around the restrictions.
People wishing to create a rival to Peter Jacksonâ??s Lord of the Rings trilogy will likely be in for a disappointment (even though it would be amusing to try), instead itâ??s better to think gag, sketch, Looney Tunes funny 5-minutes when it comes to what youâ??re creating â?“ although thatâ??s not to say the game doesnâ??t give you the tools and the canvas to create substantially more sophisticated flicks. The introduction of the Post Production room within the game provides a further layer of gloss, cutting scenes and adding transitions to fully realise the true potential of a classic in the making. In turn this becomes essential to cutting out some of the actions that happen in a snippet which you donâ??t want to make the final cut. Perhaps the most rewarding aspect is the ability to record lines and add them to your characters through the gameâ??s excellent lip-synch technology; what amounts to glorified cut-scenes for The Sims take on all-new dimensions with the ability to add proper dialogue to your creations.
To begin with itâ??s likely your first few attempts will be a mishmash of continuity errors, actors in the wrong costumes and perhaps the most surreal attempts at cinema youâ??ve ever seen in your life, however developing your skill becomes part of the appeal within The Movies and as such youâ??ll spend more and more time creating movies then playing the actual game. Thereâ??s a great sense of development to The Movies, the game opens up immensely as your knowledge grows and skill in movie-making rises.
Sets can be dressed with a huge range of objects that become available throughout the game, whilst important props can also be changed such as the time-aged classic jape of swapping a gun for a banana. Different configurations of the script provide the player with increasingly sophisticated scene breakdowns, because certain things are expected in a Romance to a Sci-Fi for example and the success of the movie is largely based around hitting these accurately.
Thereâ??s a clear and much needed distinction between the game and the advanced movie-maker; thankfully time in the game stops whilst youâ??re putting the touches to your next masterpiece, although itâ??s wise to remain cautious of creating too many epics due to the excessive times and costs. Despite the clear distinction thereâ??s an excellent correlation between the movie and your success within the game; a huge number of parameters come into play such as the relationships between your stars, the maintenance of the sets, image, looks and fashion â?“ itâ??s a fickle, fickle world and youâ??re in the centre of it allâ?¦
Most importantly the gameâ??s gradual learning curve, handy tutorials and simple interface is immediately accessible, yet thereâ??s still plenty to learn and discover when it comes to the subtleties of filmmaking 30 hours later.
The Movies is packed full of the typical charm and little details weâ??ve come to expect from a Lionhead title; the relentless march of time is authentically replicated through an evolving soundtrack; costumes change throughout the years and advertising boards championing the good of Chrysler and The Hollywood Reporter also reflect the present period in time. Thereâ??s a good sense of variety to the visual style of the game, however more importantly itâ??s a game that can be appreciated by virtually everybody with a relatively low-spec configuration needed to get the game running.
The final element comes to taking The Movies online and allowing other wannabe directors to check out your creations. Lionhead have setup a sophisticated online structure to compliment the game, which easily allows you to upload your movies before a worldwide audience and win acclaim. Popular movies earn their creators virtual credits, which can be used to download new content including sets, props and costumes.

Graphics: 92%
Sound: 88%
Gameplay: 95%
Originality: 98%
Longevity: 96%

Overall Score: 10/10

Admittedly I’ve sat and pondered the overall score for far too long (8hrs 49m to date) since the TVG score system thoughtfully left it dangling right in the middle of a 9 and 10; questioned whether this is a game that will keep you coming back, whether or not the subject material has widespread appeal, but every time I’ve found myself countering each argument and booting up the game again.

Given its content The Movies isn’t an absolutely essential title for everybody - it’s hard to imagine die-hard FPS fans swapping F.E.A.R or Quake IV for a clapper-board – however it is a refreshing, enjoyable and rewarding experience for those willing to give it a go, an easy candidate for the year’s Greatest Game.

Super Mario Galaxy Review

2010-03-10T06:40:00.000-08:00

The first 'true' Super Mario title on Wii, and the first Super Mario platformer on a Nintendo home console since the lacklustre Super Mario Sunshine on GameCube in 2002 (though some would argue that Super Paper Mario fitted the bill very well earlier in 2007), Super Mario Galaxy finally lands in Europe with a fanfare of advertisements and rousing success in both Japan and the United States. It's been a long time since Nintendo heralded the dawn of a new age with Mario 64 back in 1996, with the pint-sized one putting his fingers in so many pies since then that it looked like brand Mario was irreversibly watered down only a couple of years ago.
But a lot can change, and since then Nintendo has undergone something of a renaissance, first with Nintendo DS and then with Wii, once again returning the Kyoto company back into the industry's stratosphere. The Big N however always needed a positive platforming turn from its mascot however, something that Miyamoto and his team have been working very hard in the last couple of years. A year after Wii launched, the studio's output, Super Mario Galaxy, has always promised to deliver on fan expectations and innovations since it was first unveiled at E3 2006 - and it doesn't take much time to realise that they've done that on both fronts.

But our princess is in another castle

Right from the outset Nintendo ensures that fans of the twenty two year old Super Mario franchise will find themselves on largely familiar ground. After receiving an invitation from Princess Peach to attend the Star Festival, a centennial event where the Toads of the Mushroom Kingdom gather together falling stars to form 'Power Stars', Mario finds himself catapulted into deepest darkest space, and the Princess kidnapped by Bowser. But all is not lost, as Mario finds himself in the company of 'star children' called Lumas and an enigmatic woman called Rosalina, who travel the universe on their 'Comet Observatory'. Powered by a bunch of 'Grand Stars', now stolen by Bowser and the source of his newfound intergalactic ambitions, Mario is tasked with travelling the known galaxies, tracking down enough Power Stars to go deeper into space, and recover the Grand Stars from Bowser and his offspring...and rescue Peach in the process, of course.
Each of the Grand Stars power up the Observatory in stages, unlocking new sections such as the spaceship's Bedroom and Kitchen - allowing Mario to fly off into some of the strangest looking galaxies and planets devised in video gaming. Every galaxy is filled with between one and six levels, depending on whether Luigi has discovered the secret whereabouts of Power Star on an already visited area of the galaxy, or if a comet is in the vicinity - more on those shortly. But if you thought the change of perspective from 2D to 3D in Super Paper Mario was original and refreshing, just wait until you get your mitts on Super Mario Galaxy. Poor level design has rarely been an accusation that could be thrown any Super Mario title, and Galaxy is no different, offering an astounding variety and mix of designs. Though themed with the sort of environments long since associated with the Super Mario franchise, from quicksand infested deserts (with pyramids to boot) to haunted houses and grassy piranha plant strewn plains, Galaxy's creativity does go beyond mere replication. Inspired by the 'Mario 128' experiment, Miyamoto-san melds low gravity with spherical planetoids to produce micro circumnavigation that would make Phileas Fogg envious. Mario leaps between them with the help of Star Slings and Pull Stars, which more often than not are broken into five fragments and have to be found before resorting to their true helpful states. Not only a puzzle dynamic, using the reformed stars also help to create an epic feel to Galaxy in a way that other recent platformers, such as the recent PS3 outing of Ratchet & Clank, fail to produce. Playing with gravity is taken beyond just moving between neighbouring bits of floating rock however; Super Mario Galaxy also features Gravity Arrows that change the direction of gravity within single levels. With all these mechanics working individually or in various combinations, Super Mario Galaxy is real head spinner, with tumbling walls and puzzles that can take a minute or two to figure out - though they never become frustrating or hold up the pack adventure built into every imprint of the game disk.
Bottom bouncing of course makes a return to Galaxy, but Mario is also aided this time around with Star Bits, star dust, which can be used as a projectile to daze enemies. Quite handily, they're also loved as treats by the Lumas, especially the hungry ones, which turn into new galaxies to explore when they've had their fill. It's also quite handy that an extra life is added for every 50 collected, in near age-old tradition for the franchise. Thanks to a helping Luma, Mario can also daze enemies with a spin attack activated by a quick flick of the Wii-remote (or nunchuk if you prefer), quickly followed up by a quick punch to finish them off. The spin can also be used in conjunction with jumps to cover higher or longer distances, or used to loosen or tighten screws in the game's endlessly brilliant sequence of puzzles. Not to be outdone by the new features, Galaxy also includes a fresh selection of superpowers for the plumber to contend with, including Ice Mario, Spring Mario, and the always-reliable "old as Super Mario himself power" (though now temporary) Fire Mario. The game also sees the introduction of Bee Mario, following the tradition that has already seen the plumber turn into a Frog and Raccoon, enabling players to clamber up vertical walls of honeycomb and endowing Mario with the ability to fly for a short time. None of the powers are put to waste at any point of the game however, with each used during the appropriately designed levels, whether that's getting to otherwise unreachable heights as Spring Mario, or skating across cold water in an Iceman style as Ice Mario.
Adding a further sliver of variety to the Galaxy experience, as if there was any grain of doubt that the gameplay would sink into a mire of repetition, is the use of comets that affect galaxies as they pass through their orbit. These 'Prankster Comets' affect the galaxies in a number of ways, from the Speedy Comets that limited the amount of time Mario has to find the Power Star (in good ol' Super Mario fashion) to Cosmic Comets (where Mario has to race against a 'cosmic' version of himself), and Daredevil Comets (which reduces Mario to a single segment of life). Another way of collecting the number of Power Stars necessary to travelling to the centre of the universe and rescuing Princess Peach, the comets also act as Galaxy's own interpretation of the Star Roads, used in past instalments of the franchise. Often more challenging that a lot of the main missions, the Comets throw in an extra layer of difficulty for players who require the chance to lose a few lives in the process of completing the game (or collecting all 120 Power Stars).

A Super Mario game of Galactic Proportions

Following in the footsteps of Metroid Prime 3: Corruption, the control system developed for Galaxy manages to weave both a sense of the familiar and the new into a satisfyingly intuitive experience. Deft flicks of the Wii-remote are used throughout the game to activate Mario's spin attacks, together with the pointer to collect Star Bits, with the accelerometers also used to balance on top of balls, spin up Sproutle vines to access higher areas, and direct the Ray during Ray Surfing races. Both Corruption and Galaxy act as guiding lights for third-party developers to follow, and show that Nintendo may just be thinking about their traditional fan base more, after all.
Beyond the mechanics of the puzzles and a typical plot that finally takes Mario to one of the few environments left for him to encounter, Galaxy also sets a benchmark for Wii visuals. Fluid and full of little details including the glow of starlight shining off the plumber when he's deep into a space walk and use of lens flares in a way that would make a NASA home movie jealous, Super Mario Galaxy just goes to show that slick presentation doesn't have to rely on parallel processors or trillions of floating point calculations per second to deliver a jaw-dropping experience.
Nintendo has evidently pushed a lot into ensuring that the production values of Super Mario Galaxy are the highest ever for any of their platforms, and that's going beyond the original gameplay and best looking visuals on Wii. For the first time ever, a 50-piece orchestra has been assembled to record the score, offering not only new versions of some classic Mario tunes, but creating a warmth, atmosphere, and a sense of adventure that won't fail to astound. The synth work of the past has been left firmly in the dark, with Galaxy's score at times generating the sort of electricity that could be used to power a small town. In addition to all that, extra details like synching up musical sound effects to the background score - for instance when Mario uses the Star Sling to fly to other planets in a galaxy - create a extra depth to the audio that fits so well it's difficult to detect unless you listen for it.
For all the superlatives, the praise, and the near worship levels of commendation, Super Mario Galaxy does have the tiniest speck of imperfection. The inclusion of co-operative play is perhaps the weakest element in the whole game, with the second player relegated to collecting Star Bits and helping Mario to jump higher. That said, Nintendo deftly avoids too much of a ear-bashing by describing Super Mario Galaxy as 'primarily a solo player game' within the pages of the game's manual. What the co-op does highlight however is just how much a 'Super Mario Bros' and not just a 'Super Mario' title would be welcomed by the fan base - let's just hope that is what Miyamoto will have up his sleeve next time.

Graphics: 94%
Sound: 96%
Gameplay: 96%
Originality: 92%
Longevity: 96%

Overall Score: 10/10

A decade on from Mario 64 and Miyamoto delivers another landmark title, one that almost grips the term 'instant classic' with both hands tightly right from the off. Innovative level design, original gameplay, the best graphics and soundtrack on Wii to date, and the return to form of the first true superstar of videogames (sorry Pac-Man) means that Galaxy will no doubt be looked back upon in years to come with the same level of veneration as Mario 64 is today.

LittleBigPlanet Review

2010-03-10T06:39:00.000-08:00

Uncharted 2: Among Thieves Review

2010-03-10T06:36:00.000-08:00

With the exception of one poor stealth section, we're struggling to find fault with a game that is undeniably the new standard for all future third-person action/adventure games to follow and a perfect example of how to deliver a sequel.

The follow-up to Nathan Drake's 2007 adventure to discover the lost fortunes of El Dorado finds the treasure hunter/small time thief/loveable rogue switching his targets to Marco Polo and the lost city of Shambhala. The creators of Crash Bandicoot and Jak & Daxter are evidently enjoying their time with the PS3, in the process creating one of the first games that we can confidently claim is only possible on the format. Uncharted 2 displays a command over production and direction that is unsurpassed, in many ways Uncharted 2 is the 'next-gen' title we've been waiting for, and we're not just referring to the stunning visuals.

Much of the accomplishment stems from the Hollywood "quality". It's easy to imagine the treasure-hunting adventure being brought to the big screen with Nicholas Cage in the lead role, but then again, Naughty Dog have done a magnificent job of outmatching Hollywood in the first place. Drake's latest adventure takes us on a journey between Istanbul and Tibet, as he races against the psychopathic warlord Zorin Lazarevic and his army to retrieve the fabled Cintamani Stone. The quality displayed throughout the script, voice acting and overall direction gives Uncharted 2 a movie-like experience with characters that you can genuinely feel a sense of attachment. It's a game that will have everybody else who doesn't have the pad kicking back on the sofa, eating popcorn and watching on eagerly.

Each and every one of the 25 levels (except the Istanbul heist) features a staggering array of scripted events (big and small) to maintain Uncharted 2's silver screen façade, and ensure there's rarely a sense of the mindless walking between A and B characteristic that typically defines the genre. Large and magnificent events are balanced with smaller, smarter, more reactive-based events. As an example, lots of games feature scenery details such as swimming pools, but we struggle to think of many that will trigger an impromptu conversation between the two characters and a game of 'Marco Polo' when you decide to (Trophy Hunters tip#1) jump in trivially for a quick dip.

On top of the events and the scene-setting layered animations, Nate and whoever is tagging along will chat throughout the stage, reacting to specific proceedings and helping to fill the rare occasions when you're walking between events. It all helps to keep Uncharted 2 feeling a little bit richer and more believable - finally 'this-gen' - than most games in this generation. Naughty Dog also gets our supreme admiration for the way in which they've used the camera. Uncharted 2 rolls captivatingly with dramatic motion through each of the 25 stages (except the Istanbul heist), and we've got to put a lot of that down to the fact that Naughty Dog hasn't been content to just stick a staid camera behind and slightly above Drake. On the numerous occasions when Drake finds himself desperately fleeing from uncontrollable trucks hell-bent on squishing him into the tarmac, the camera switches direction and has the hero running towards the screen - it's not entirely unlike Naughty Dog's beginnings with the Crash Bandicoot series.

So Uncharted 2 can deliver the story and presentation, but it wouldn't be worth our attempts to justify inventing superlatives to describe its brilliance (Supamazintastic, Unbelawesogasmic), if it wasn't for the manner in which Naughty Dog has incorporated this quality into the actual gameplay. Just when we thought the third-person action/adventure had run out of ideas, Uncharted 2 proves that all it needs is wonderful production on the established concepts to revitalise the genre. It's no wonder that Eidos has decided now is the time for a Tomb Raider reboot.

Gameplay is peppered with scripted events, which are seamlessly tied to the cut-scenes, making it difficult to determine whether you're meant to be playing or watching. Truly, Uncharted 2 is one of the most gameplay-centric, cinematic video games ever created and does so without having to resort to cheap QTE's or overly long cut-scenes. Such a plaudit is typically overused (a fault we'll happily admit), but its description in this case is perfectly justified. It's largely the way in which this effortless fluidity builds upon the movie qualities that maintains the pulse-pounding tempo throughout (except for the Istanbul heist), but it's also Naughty Dog's skill in creating enjoyable video games. Uncharted 2 doesn't bog you down with meticulous planning before a jump, doesn't make its puzzles overly elaborate (and always offers a hint) and puts the emphasis squarely on the action.

Combat generally forms the key component of the game with platforming and puzzles following behind. With a considerable selection of weapons on offer, the gunplay initially seems solid if a little routine, but it's the AI that turns it into a success. Members of Lazarevic's army may not be "intelligent" but they certainly know how to keep Nate on his toes and the gunplay dynamic. The covering system is a little bit like Gears of War in that it allows you to easily duck behind objects and seamlessly transition between them, but Uncharted 2 feels just that little bit more enjoyable and varied. The resulting combination never resorts to the 'whack-a-mole' syndrome frequently faced by covering systems in shooters. The melee combat system uses only one button to punch and one button to counter, but the rhythmic based approach and varied attacks are many times more satisfying then the vast majority of button-bashers.

All of this is layered upon with the new ability to play the game from a stealth like poise. Hiding behind objects and swiftly transitioning between them, before sneaking up on an unsuspecting guard and breaking his neck is a worthwhile addition to Drake's repertoire. Nate can also hang from ledges and pull guards over the banister to their doom below. There is one exception to this, which if you hadn't already guessed, is the dreadful (in comparison) heist mission in an Istanbul museum early on in the game. The clinical nature in which this particular mission gives an instant failure when Nathan is spotted in some contentious circumstances is a rare blot on Uncharted 2's otherwise magnificent landscape. It also highlights some iffy patrolling AI on behalf of the guards, who won't spot Nate despite standing right next to him. It could have been a great mission to inject some pure stealth elements into the overall mechanics, but as it is, it's left as a poorly executed afterthought.

Although the balance of combat, big scripted events, puzzles and platforming is largely faultless and key to keeping everything feeling so varied and compelling, we'd like to have seen one or two more puzzles if we had to find a fault. The puzzles that do appear are of a generally high standard and likely to cause a few head-scratching moments, but we'd liked to have seen a few more, grander puzzles that require Nate to check out his journal for clues.

Globe-trotting across the 25 stages offer a considerable length of between 10-12 hours, but it's the fact that there isn't a single minute of padding that makes the game a genuine 10 rated title. From the moment Uncharted 2 boots up it's impossible to put down, the pacing and tempo is timed to perfection and injects enough variety with exhilarating on-rails shooting sections, cryptic puzzles and intense action. Perhaps if we were being a tad cynical we'd say that the final couple of stages have a habit of dragging on a tad in comparison to the rest of the game and that the final showdown with Lazarevic is a little anti-climatic and a bit of a cliché. But that's nit-picking of the highest order.

Even after the single-player campaign is over there's an inclination to play it all over again, which is something we can't say about the vast majority of games. But the addition of online multiplayer modes is likely to keep Uncharted 2 sitting in PS3's for a long time. We're slightly disappointed that the game doesn't offer a genuine co-op mode considering that many of the stages feature at least one other character alongside Nate. Instead there are a selection of one-off maps that up to three players can enjoy. The competitive multiplayer modes however build upon the enjoyable gameplay mechanics, with an impressive list of eight game types covering the classic multiplayer modes (Deathmatch, Elimination, King of the Hill, etc...) along with a Machinima mode that allows you to record and playback the action.

Graphics: 98%
Sound: 98%
Gameplay: 95%
Originality: 90%
Longevity: 94%

Overall Score: 10/10

Uncharted 2 is a magnificent example of how this generation can infuse movie production quality with enjoyable gameplay and maintain a sense of fluidity throughout the feature presentation. The sheer craft on display throughout every single moment deserves every accolade it receives; truly Naughty Dog has delivered a generation-defining experience that is worthy of buying/borrowing/stealing a PS3.

Dragon Age: Origins Review

2010-03-10T06:22:00.000-08:00

After courting with the consoles in more recent times and applying their collective thumbprint to Sci-Fi themed RPGs in galaxies far, far away (along with a brief bout with martial arts), BioWare returns to the more familiar stamping ground of dwarfs and elves with the long anticipated release of Dragon Age: Origins.

Set in a traditional world of dark fantasy, Dragon Age: Originss finds the realms of Ferelden in peril as the threat of the Blight covers the land at the hands of the powerful Archdemon. As one of the last of the Grey Wardens, an ancient order of guardians, the challenge is to unite the shattered lands, restore peace and slay the corrupted dragon - simple enough? Despite the clichéd stereotypes you'd expect from a dark fantasy setting, BioWare has done well to avoid these with plot arcs that feel genuinely fresh and absorbing. It's probably not as diverse as CD Projekt's The Witcher, another RPG based on BioWare technology, but between the main character's attempts to unify the various factions and indulging in the back story of the various party members that join the adventure there's enough intrigue to keep you going through the 50+ hours on offer.

Immediately the fact that Dragon Age has been targeted towards a PC audience is apparent. The ability to zoom the camera right out to an isometric view more akin to classic RPGs such as the Baldurs Gate series may be a whimsical trait, but the fact that the PC version heavily supports user created content is one fact that shouldn't go amiss along with the more traditional interface. TVG hasn't received the console versions of the game, but can't imagine that the Hotbar and general interface will translate too well - this is certainly a game designed around a keyboard and mouse.

But fundamentally, despite the change in setting and the more PC experience, this is a BioWare RPG that exhibits the components of choice and consequence through dialogue decisions that runs through the core of everything the talented Canadian studio creates. Albeit one that doesn't sacrifice depth or the interface for its console siblings. Having said this, Dragon Age does differ quite substantially from the start. Your choice of character, class, and profession will dictate the way in which the game starts and the way in which other characters will relate to you. The choice between human, elf or dwarf may seem a little limited, but the impact this has shouldn't be understated, as BioWare have somehow managed to create an experience that thoroughly rewards multiple plays, each of which feel distinctly different from the other in the way that other characters will react and subtle areas of the plot unfold.

Alignment isn't so much of an option and isn't necessarily tracked in a 'good/evil' manner akin to the likes of KOTOR or Mass Effect. Nevertheless, there's a strong sense of choice and consequence, such as making the decision to help the depleted militia of a small village fend of nightly attacks from the undead, or leave it to fall and come to plunder the riches afterwards. Like KOTOR and Mass Effect before it, getting to know and understand the various characters that make up your party is a worthwhile exercise. There aren't many games that make dialogue choices a necessity, but somehow BioWare constantly manage to create believable characters that provide enough intrigue to make it all worthwhile. You'll also miss out on various side missions and perks if you decide to ignore this aspect, so do so at your peril!

Further evidence of the game's slightly more sophisticated experience than more recent BioWare titles is evidenced by the more tactical nuances of the party system. Combat is similar to most PC RPGs, with actions linked to a Hotbar and the various classes providing a wide range of techniques, covering a warrior's powerful might to a mage's mastery of magic. Learning the individualities of each character that comes into the fold is paramount to success, particularly if you're playing on the higher difficulty level. To this extent, the game offers Tactics slots, which allows you to sculpt the way in which each character will perform according to the rules you determine. A stronger and deeper skill-tree compliments this sense of individuality, providing the means to shape each of the party characters into very different roles.

Ultimately it's BioWare's panache that shapes the entire experience. An early voyage into the dream-like world of the Fade, a realm that exists between life and death, provides a puzzle quality not typical for an RPG. Encounters with 'boss' characters are a genuine highlight throughout the entire course of the adventure, and provide some moments where you're genuinely playing on the edge.

But there were a few things that slightly niggled at our overall enjoyment. Our first encounter against a monstrous ogre seemed like an insurmountable challenge, particularly when the only party member remaining was a pretty feeble Mage. Running around, desperately trying to find the space to use a health potion, we somehow managed to tuck into a bit of the environment that proved to be a wall of invisibility. The ogre couldn't do anything, as we chucked feeble spells at him and eventually (after a very long time) emerged victorious. It's a little glitch and nothing that's going to detract from the overall enjoyment, but we were a little surprised that it wasn't highlighted during the testing stage.

We'd also say that the game can at times lack a sense of drive and direction. Dragon Age: Origins is a wonderfully open game for you to explore and shape as you so choose, but it does in turn create situations where you're not entirely sure about the correct way forwards, instead exploring each location to cross each one of the list until you've finally discovered where you're supposed to be heading.

It should also be noted that Dragon Age: Origins is a tough game unless you choose to slide the difficulty down dynamically during the game. Due to the way in which the game scales adversaries around you, you never get to a point where you feel as though you can wade through areas without a challenge. Don't get me wrong, this is a good thing particularly given its stance as a more PC centric RPG experience. It's also worth remembering that Dragon Age is a game that will last, with anything between 50-80 hours of gameplay depending upon how many of the side missions you choose to take on.

Graphics: 84%
Sound: 91%
Gameplay: 86%
Originality: 82%
Longevity: 94%

Overall Score: 8/10

Dragon Age: Origins is yet another worthy title in BioWare's stunning catalogue. A richer, deeper experience that satisfies a more demanding PC audience, BioWare has once again showed its command over the genre.

Modern Warfare 2 Review

2010-03-10T06:19:00.000-08:00

This is the strength with which Modern Warfare has called players to duty, and we've no doubt that Modern Warfare 2 will successfully convert this momentum into mesmerising sales figures over the coming months (this year's Christmas number one is a foregone conclusion really - you may as well place your bets now). But there's a hefty question mark over the content in MW2 at this point. An elephant was placed into a very crowded room with the leaked footage of a controversial level from the game last month. Even the near-unilaterally unflappable TVG editorial team was slightly shocked by this at the time, but we'll save our thoughts on this until the end of the review.
We're sure that you're much more concerned by whether or not MW2 engages players like the original did in 2007; whether it's lost any of its charm in the hype and build-up surrounding the title. Thankfully, Infinity Ward's Midas touch is in good working order. We can say with confidence that if you liked the original game, then you certainly won't be disappointed by the sequel.
If, on the other hand, you've been completely oblivious to all things Modern Warfare up until now, then your FPS horizons are about to expand significantly. The MW series is by no means a milestone in the genre, although it's certainly the benchmark for first-person sohoters on the current crop of consoles.

Like all good FPS developers such as Valve and DICE, Infinity Ward has a distinctive style that not only sets itself apart from others, but has subsequently been imitated in many games since the studio came to light with the original Call of Duty in 2003. Everything from the developer's trademark tutorial levels (traditionally set in military obstacle courses or training runs), to its 'feathering' system that subtly auto-locks onto nearby targets and encourages players to constantly pop in and out of the 'down the barrel' view, are all present and accounted for in Modern Warfare 2. Likewise, the innovative multiplayer setup of perks, custom classes, and killstreak rewards from the studio's last game have been loyally implemented once again in MW2, although this time with considerable expansions in all the key areas (e.g. many more killstreak rewards, such as a tactical nuke after 25 kills).

In terms of the adversarial multiplayer and campaign though, the bricks and mortar of both modes remain largely intact in MW2 from what they were two years ago. Infinity Ward hasn't made any radical changes here, although it has certainly upped the ante where appropriate. This gives gamers a challenge that may well be very familiar but is nonetheless injected with a large dose of adrenalin to keep the action ticking along at the lightning pace and rock-solid framerate that Infinity Ward demands of its games. MW2's story, for example, retains the kind of plot twists and superb characters that its predecessor boasted, although this time it's decidedly more Hollywood in its presentation. Perhaps this is partly down to the employment of Hans Zimmer for the game's musical score and Keith Davis as one of the voice parts, or perhaps not. Either way, where the first MW presented a believable depiction of our near future, MW2 takes these story threads to excesses that encourage players to simply munch more popcorn and enjoy the ride rather than analyse it too much.

There's still a firm point to the story though - denoted by its 'For The Record' title - which makes a stark point about the harsh reality of warfare (another Infinity Ward trademark) and what really goes on behind the moronic news reports that we digest on a daily basis. Brilliant characters such as 'Soap' MacTavish are integral to this (who gamers played as in MW1 and now play next to in MW2 - how's that for subversion of the FPS genre?), although we were left very uncertain about the motivations behind a newcomer to the scene called General Shepherd. Without spoiling anything, the reasoning behind his actions towards the end of the game isn't made entirely clear and does sully an otherwise sterling performance from the MW2 cast, made believable by the skilled penmanship of Infinity Ward scribe, Jesse Stern.

Of course, it's not only characters and storyline that make MW2 stand out from all the FPS pap out there. Visuals are once again superbly depicted by Infinity Ward, demonstrating the same kind of technical ability that was present in the last game, although through a list of new locations that keep you marvelling throughout (everything from a Russian Gulag to blizzard blasted mountain tops). Gameplay is similarly varied throughout the campaign, serving up a rollercoaster ride that blends effortlessly between overclocked set-pieces, novel scene setters, and well orchestrated vehicles sections. Fighting militia through civilian infested Rio de Janeiro favelas, mountain climbing with ice axes, and motor boating down a white water river are but a few examples of this kind of variation.

However, another trademark of Infinity Ward's games is that they're quite short for titles that are so highly rated. The first Modern Warfare clocks in at about 6 hours on the regular difficulty setting and this sequel is no different. A strong argument in defence of this is that the MW campaigns provide the finest six hours you're likely to experience in a modern FPS and, if Infinity Ward were to stretch out the campaign's length just to bolster content, then it would dilute the experience and make it less gratifying. We're inclined to agree with this to an extent and if the studio keeps up this level of gameplay in future, then we'll continue to forgive the short lengths of its campaigns. After all, we know countless gamers who've replayed the campaign on the two hardest difficulty settings because they like it so much, so perhaps the high quality and replay value of MW2's single-player compensates for depriving gamers of four or five more hours.

If that isn't adequate compensation, then the new Spec Ops mode should ease the criticisms a bit. The mode corals over 20 missions for players to run through either by going solo, or co-operatively via split-screen or online. Most of these 'Ops' have been drawn from sections of levels from the main MW2 campaign, although you'll also find some asset recycling in the form of levels from the original MW too. When a team/player completes one of these levels, they're rated on their performance with a three star system (depending on the time taken and difficulty setting etc.), which opens up an addictive level of replay value to the gameplay. Similarly to the main campaign, there's no lack of variation in these mission types as well, whether you're racing snowmobiles or attempting to get through a misty, snow covered forest without being seen by dog handling patrols of Russian soldiers.

About That Elephant...

If you're not up to date with the controversy surrounding Modern Warfare 2's fourth level, then here's a quick summary (Warning: potential spoilers):

The level starts with you, as a covert CIA operative, in a lift with four armed Russian dissidents (one of which is Makarov, a principal villain in MW2). This lift opens into the customs lobby of a Russian airport where the four gunmen open fire into a crowd of people. They continue on into the airport, indiscriminately killing civilians as they go, and eventually escape (after a tussle with armed police) via a dummy ambulance implanted in the terminal. You are shot and killed by Makarov as you get to the ambulance though (and left at the terminal), as he knows that you're in the CIA and has been using you so that he can frame America for the terrorist attack.

It's a gritty scene to say the least and you'd have to be psychopathic not to be disturbed, at least slightly, by the scenes. Some will compare these scenes to games such as GTA, arguing that it's no different to going on a rampage in Liberty City and kill hordes of innocent civilians. However, the key difference here is that Rockstar never scripts the prescribed mass killing of innocents into its missions. Players have to choose to veer away from the scripted campaign in GTA games and perform these actions of their own accord.

Conversely, Infinity Ward is scripting these sorts of events into Modern Warfare 2. If you play the level, then non-playable characters will kill a large number of innocent civilians and infer that you should do the same. While Infinity Ward isn't condoning these kinds of actions by any stretch of the imagination, it is nonetheless inviting you to partake in them virtually, which is a new watershed in videogames. You are warned at least three times before playing the level that you might be disturbed and the section can be skipped. Similarly, it's possible to run through the level without shooting a single civilian (only armed police at the end), but the lowered watershed remains nonetheless - the game has obviously now been certified for distribution by the UK, US, and even notoriously harsh Australian classification boards (despite protests).

Whether or not this is morally correct is not for us, as games journalists, to decide. That is down to classification boards and ultimately the public. What we will say is that the level does put the game's story into context. It's a story that investigates how our view of history is ordained by the clandestine operations of military forces and organisations. Within that context, this controversial level is essentially the plot axis around which Modern Warfare 2's story swings. Without it, the story makes very little sense whatsoever and so, viewed from this perspective, the level's inclusion is warranted for the gravitas that it holds within the plot.

Graphics: 93%
Sound: 97%
Gameplay: 95%
Originality: 82%
Longevity: 98%

Overall Score: 9/10

This really is as good as it gets in terms of FPS games on the current crop of consoles. Modern Warfare 2 ticks all of the right boxes: varied gameplay, immersive story, engaging gunplay, superb multiplayer, and the list goes on... If we're being really nitpicky, then we might suggest that there aren't many innovative features in the game. However, MW2's Spec Ops mode is fresh enough to ensure that the overall package isn't a stale one, while the long-term appeal of adversarial multiplayer will stretch out until the next Infinity Ward release with ease.

Darksiders Review

2010-03-10T06:16:00.000-08:00

For a game that exhibits no shame in parading its influences, Vigil Studios debut title Darksiders hits the mark with an engaging balance between hard-hitting action and taxing puzzles. Originally touted as God of War meets The Legend of Zelda, Darksiders' illusions of grandeur would usually fly past unnoticed in the typical blast of hyperbole. Strangely, in a nutshell that description absolutely fits. A little more surprising is the fact that Darksiders actually lives up to the high expectations and quality of such influences and just about manages to forge its own identity.
The story revolves around War, one of the four horsemen of the apocalypse waiting for the destruction of the Seven Seals to signal the end of an uneasy truce between the kingdoms of Heaven and Hell. When the signal arrives, War steps unaccompanied into action and mistakenly brings about the end of the world of Man. Seeking revenge on those responsible for the deception and to restore his honour, War sets off to track down and take the hearts from the four members of the Chosen.
Each member of The Chosen is unsurprisingly a gigantic boss lurking at the heart of each of the game's four primary stages. Based upon a careful balance of puzzles and platforms, Darksiders creates a strong sense of exploration through the multi-layered puzzles working together like cogs in a machine. Armed with the knowledge that an item to assist further progress also lies at the heart of each stage, Darksiders draws upon the same qualities of the Zelda series with compelling and cunning design. Admittedly it never really expands beyond Zelda's boomerang and grappling hook puzzles, but the vast majority (with the exception of stage three) are of a good enough standard to make trawling through the many floors an enjoyable and absorbing experience. Just in case it needed a further classic to cite as an influence, later stages in the game even manage to draw inspiration from Valve's Portal to surprisingly good effect; you can imagine the pitch: "It's God of War meets Zelda meets Portal - what's not to love?"
Puzzles and exploration are complimented with fierce and ferocious combat that shares more in common with God of War. Pace and fluidity underpin the combat system effectively, although the relative ease on the Normal difficulty setting is an issue that means the same basic combos are sufficient to get through the majority of the battles. Despite the three primary weapons offering a fair selection of unlockable and upgradable moves, Darksiders' relative ease coupled with enemies that don't require individual strategies to overcome offers very little incentive to explore additional techniques. The same can also be said about the small selection of Wrath abilities on offer; it seems War's brutal efficiency makes other techniques at his disposal virtually pointless. Nevertheless with a protagonist like War, Vigil Studios has managed to keep the combat fresh with its powerful and dramatic nature, despite the fact it's little more than bashing a couple of buttons. A fast and responsive auto-lock system again pays homage to Zelda, which effortlessly brings combat on a wide scale down to cinematic individual battles. The God of War series has continuously managed to keep combat exhilarating and engrossing despite its hack n slash repetition. Because of the difficulty issue Darksiders doesn't quite manage to reach such heights, but somehow still manages to make itself exciting despite the game's 15+ hours length.

Vigil Studios approach also manages to keep things varied and interesting. War's selection of weapons and moves expand with experience, providing a considerable amount of depth and variety despite the aforementioned issue. Some of the guns War gets his hands upon take the game's pace to extreme levels, which provides an exciting change in the tempo of the action. Sections that put War onto of his trusted steed, Ruin, also work well, particularly because of the strengths of the auto-aim system and also providing a much needed speedier form of transport, particularly when the game throws a little padding at you towards the end. It's this change in pace that ensures the flow throughout Darksiders rarely becomes a chore, never becoming too slow and laboured with puzzles but at the same time never becoming excessively arduous by chucking too much action at you. Vigil Studios have demonstarted a keen eye for what works and managed to gett he balance virtually spot on.

A final mention must also been made of Darksiders boss battles. Again the influence comes largely from the Zelda series, embracing a circular arena style that forces you to adopt varying strategies with War's increasing arsenal of items. Like much of Darksiders it's hard to get too excited by a good bit of design that the Zelda series has been employing for the past twenty years, but it's nice to know that a satisfyingly demanding battle awaits the end of each stage.

Graphics: 82%
Sound: 85%
Gameplay: 90%
Originality: 80%
Longevity: 84%

Overall Score: 8/10

Beyond Darksiders action aficionados also have SEGA's Bayonetta and EA's Dante's Inferno to look forward to at the start of 2010, however Vigil Studios and THQ title manages to stand on its own with an inspired blend of its influences. A surprisingly decent attempt despite its issues. We look forward to seeing what the reunited four horsemen can do in the inevitable sequel.

FIFA 10 Review

2010-03-09T08:34:00.000-08:00

Under the careful gaze of David Rutter, EA Canada transformed FIFA from mid-table mediocrity into genuine champions with last year's FIFA 09. No longer instantly considered inferior to PES, the idea of seeing where FIFA could continue to improve is something we would never imagine admitting to barely a few years ago. Created under the mantra of '30% innovation/70% evolution', FIFA 10 sets out to enhance its predecessor's impressive command over controls, player movement, and matchday experience, while serving up a handful of new gameplay features and modes.
The bewildering amount of content that FIFA 10 offers can't be faulted. Being able to play as a specific player in 'Be-A-Pro' makes a welcome return from FIFA 09, as you attempt to rise through the ranks of the club's reserves and become an international star. Admittedly, it's all largely familiar, but there are a number of worthy additions expected from the annual update. The ability to create your own player down to the smallest, customary EA detail is made a little easier with the ability to upload a photo of your face and add it on to your player. But it's the fact that your virtual player can gain experience by playing in various offline modes (and the Arena) and earn accomplishments, which in turn enhance his playing stats and unlock goodies (untucking your shirt, long sleeves,...) that gives the concept a purpose it never previously had. Your virtual player can then also take it online and join the 10 vs. 10 Pro Club Championship, where players compete together in clubs from 11 regional leagues. The chance to become a Virtual Legend and top world scoring ranks, becoming a sought after transfer target in the process, makes this an alluring prospect once the servers become active.
With 'more then 50 major improvements', the Manager Mode is where the bulk of the offline game stems from. Although we didn't spot each of these improvements, the more natural way in which players develop and the more lifelike grind of the transfer market gives the mode the touch of realism that it's always lacked while results appear to be much more genuine. Interactive Leagues, Exhibitions, and the customary selection of Tournaments round off the selection and should provide enough substance to keep even the most fanatical football fan happy until next season. If EA is to be believed, then over 350 million online matches of FIFA 09 has enabled the team to iron out the flaws and offer the definitive online experience in FIFA 10. Unfortunately, the servers were not active at the time of writing, but the addition of a multitude of new custom filters should at least bring an end to everybody playing as Man United.

On the pitch, it's largely the same case of subtle evolutions over massive back-of-the box bullet point features. Once again, the grasp over player individualities, ball physics, and movement is enjoyable and the first touch control and right thumbstick skill moves are still endlessly gratifying. Excessive bouts of FIFA 09 would draw attention to its few foibles. The AI - although unquestionably good - tended to stick with the same routines, half-line goals (and other cheap techniques) were easy once you knew how, and control over long ball passes that didn't turn into floaters was erratic at best. FIFA 10 makes genuine improvements in all of these areas. In particular, the variety in teammate and opponents' movement and play is immediately noticeable, which makes for less predictable and more genuine matches. A greater level of control over the curve and pace of the long ball is certainly evident, although this opens up an issue that we believe could become a cheap glitch. We've scored directly from a corner on several occasions because of the added ability to put more curve on the ball; this isn't necessarily a bad thing, but watching the otherwise flawless keeper watch in disbelief every time concerns us that this could be a flaw to exploit when you're a goal down in a crucial online match. Generally, FIFA 09 achieved a considerable sense of fluidity and tight controls on the pitch, but it's fair to say FIFA 10 takes it to another level. The improved match dynamics and player movement emphasise the individual skills of each player more profoundly than before. The keeper AI has also been looked at closely, although the scrutiny appears to have come at the cost of last year's occasional superhuman reflexes to provide something a little closer to reality - although thankfully that doesn't mean Ben Foster like slip-ups.

Players attempting to wrestle control of the ball do so with much more variety and many more animations. However, it's not just an aesthetic change as it now feels more like a genuine scuffle which can be influenced. As a result of these changes, FIFA 10 gives the attacking player a greater chance of retaining the ball and making a purposeful run, which is further aided by the introduction of the Skilled Dribbling command. This is the big new gameplay feature for us, which allows you to bring the ball under close control by pressing both shoulder triggers together. It provides a link between controlling a pass before launching into a dribble; facing a defender, and using the skills to skip right past him or tease him into a rash challenge. The ability to dribble with 360 degrees of control seems groundbreaking at first, but is a little misleading. It doesn't provide the Cristiano Ronaldo-drowned-in-suncream-like fluidity that we were initially expecting, but it does bring a subtle layer of added control that increasingly becomes evident and important - particularly if you go back to FIFA 09.

Then there are the little changes and trimmings. The slide tackle has become more effective and feels as though you have a greater level of command, giving a skilful defender more opportunity to perform a last-ditch goal saving tackle that's not automatically adjudicated as a foul. Being able to create your own set pieces is a great feature and allows for a surprising level of control and options, as you guide each player involved, by making individual runs and recording them. Taking a quick free kick is also a neat addition to the match, and provides a real advantage by catching the opponents unaware.

Unfortunately, despite the universal praise we have to knock FIFA 10 down for the complete lack of attention paid to the commentary. Once again, Martin Tyler and Andy Gray provide the punditry, but anybody who has played FIFA 09 will instantly spot the same lines being used again from last year's outing. It's not that it's particularly bad, but if football commentary wants to continue to improve beyond the two-part dialogue between the pair - which it certainly can - then you feel Rutter has to be willing to take a few more risks and show a little more innovation than evolution. Otherwise FIFA 10 is exemplary in the sound and overall presentation. Players call 'man on' and 'down the line'; announcers are heard over the Tannoy and crowds get behind the team with authentic chants. Visuals are once again beyond any competition, with stunningly detailed player models, sublime animation and a nice added depth-blur on close-up scenes.

Graphics: 93%
Sound: 90%
Gameplay: 95%
Originality: 90%
Longevity: 100%

Overall Score: 10/10

Overall FIFA 10 plays a much more varied, fluid, and believable game of football, which easily sets a new standard in the genre. We spent a fair amount of time between matches wondering what it takes for a football game to get a 10 and we're inclined to believe Rutter and his team have actually achieved it this year. It's a marked improvement over last year's 9 rating and undoubtedly provides the finest videogame take on football so far.

GTA IV: The Ballad of Gay Tony Review

2010-03-09T08:31:00.000-08:00

The final chapter in The Episodes of Liberty City (well the ones that Microsoft paid for) begins with a bang and refuses to let up. Concluding plotlines that began with 2008's GTA IV and developed through The Lost & Damned, The Ballad of Gay Tony introduces us to the world of nightclub impresario Tony "Gay Tony" Prince and his assistant Luis Lopez.

To a certain extent the events of GTA IV and The Lost & Damned have already established the duo. The central storyline of the blood diamonds, which came over to Liberty City along with Niko Bellic on The Platypus, is brought to a conclusion with a masterful approach and a sharp ending. We won't spoil the surprise, but it seems there's a moral in the tale for Liberty City's cast of nihilistic characters.

The focus on the glitzy (if not exactly glamorous) night-clubs and the lifestyle starkly contrasts the dark and grimy undertones of The Lost & Damned. The main plotline revolves around Luis' attempts to retrieve the bag of diamonds that were stolen from his boss, first revealed in GTA IV, expanded in The Lost & Damned and finally concluded in the events of The Ballad of Gay Tony. The crossover of the three plots arcs centres upon the deal with the Jewish Mafia in The Libertonian. We've previously seen it from the perspective of Niko Bellic and Johnny Klebitz, and now get to see it from Luis' viewpoint as he hi-jacks the deal. The way in which Rockstar has integrated the 'Episodes' into the GTA IV canon is nothing short of masterful. Like The Lost & Damned before it, such crossovers aren't blatantly dished out in an overt manner, but carefully delivered to ensure such moments have a genuinely satisfying effect. It's like a Guy Ritchie film, but with the substance to match the style and a little more intelligence. It's difficult to envision any other video game franchise having the depth and richness of its characters and universe to provide such a canvas.

But of course The Ballad of Gay Tony is a video game, and looking beyond its wealth of rich characters, elaborate plot-arcs, and clever scripts, it's reassuring to note that Rockstar North has decided to loosen the reigns a little when it comes to the more creative nature of the missions and the cast of flamboyant characters. Outlandish and over-the-top appear to be the themes running throughout the 27 missions on offer. There are too many missions that are worth noting, but examples of the most extreme include destroying a super-sized yacht, stealing a N.O.O.S.E tank which is being airlifted across the skies of Liberty City, and taking swings at an unfortunate chap strapped onto the front of a golf cart. The introduction of a parachute and base jumping highlights the shift away from the realism of GTA IV, and such a fan-favourite is superbly implemented across a handful of the main missions.

Cast as the son of a wealthy sheikh with aspirations to build the biggest skyscraper in Liberty City, the self-proclaimed British-Iranian comedian Omid Djalili as Yusuf Amir grabs the centre stage having briefly appeared alongside Playboy X in GTA IV. Of course the loose women and abundance of narcotics soon gets in his way, which leads to Yusuf providing the background behind some of the most memorable and entertaining missions. It all helps to put the fun firmly back into GTA. Arguably in the mindset to create a masterpiece, GTA IV got a little too caught up in trying to be realistic. Whether it's leaping off the tower of Liberty City's tallest skyscraper or indulging a sadistic whim with sticky bombs, The Ballad of Gay Tony contrasts the balance of gameplay that GTA IV and The Lost & Damned provided. The ability to replay missions and earn high scores under a range of different criteria compliments the switch in the style of mission challenges and provides a motive to replaying missions, something that GTA has occasionally lacked.

We noted from our playtest that The Ballad of Gay Tony places considerably less emphasis on the chore of making money and buying weapons. We never needed to visit an Ammu-Nation store and were constantly surprised by just how many weapons were at our disposal. Luis gets his hands on the deadly AA-12 Combat Shotgun early on in the game, and this is easily enough firepower to see you through the game, which will last between 8 and 10 hours excluding the side missions. It's fatal at short distances and equally lethal at range. Perhaps its effectiveness outbalances the game's challenge a little, but you get the feeling that Rockstar North was keen to put the focus squarely on having fun and the game is played at a much faster tempo as a result.

The Ballad of Gay Tony also introduces a series of new side missions that are amongst some of the best we've seen from the series, thankfully putting the tedium of bowling and darts to rest. Beyond the base jumping challenges which require you to land as closely to a specific target as possible, Luis' other job as a nightclub manager entail him ejecting anybody who's causing too much trouble and catering to the needs of the club's celebrity clientele. A mission that details Luis' mother's troubles with a loan-shark opens up a series of cage-fighting mini-games, in which you can participate or bet on the outcomes. The golf driving range can be revisited to compete in a series of swings to see who gets closest to the hole, while you can also drive around Liberty City and bust drug deals to earn the stash and cash. Multi-vehicle races that involve parachute jumps, speedboats and fast cars are the most enjoyable however, combining GTA's strongest elements into pulse-pounding races that are a genuine highlight.

It also seems that Rockstar North hasn't shied away from controversy with the final chapter. Luis is certainly a ladies man and happy to get his rocks off at any opportunity in scenes that leave little to the imagination. Now we're not morally opposed to seeing a GTA protagonist enjoying the company of a slightly strange looking female characters, but seeing bodies hurtling towards the ground from a skyscraper, with a city-line inspired by New York City, could perhaps be a little close to the bone for some.

The multiplayer modes also benefit from various tweaks and changes. Beyond the fun that parachutes bring (along with the new weapons and vehicles) the introduction of kill-streak and assisted kill bonuses helps to develop the experience into something that packs a little more substance.

Like The Lost & Damned before it, The Ballad of Gay Tony is available for 1600 Microsoft Points via the Xbox Live Marketplace. If you didn't catch The Lost & Damned the first time around, or perhaps unexplainably haven't had the pleasure of GTA IV yet, then we'd urge you to check out the 'Episodes From Liberty City' disc, which bundles both the downloadable titles together into an attractive box that doesn't require a copy of the original GTA IV to play.

Graphics: 95%
Sound: 98%
Gameplay: 95%
Originality: 90%
Longevity: 88%

Overall Score: 10/10

The star of GTA IV (and subsequent episodes) is undoubtedly Liberty City itself. The depiction of a living, breathing city was gobsmacking in 2008 and hasn't diminished since. It provided the canvas for Rockstar North to create a rich story, which began with Niko Bellic and they've been able to develop and weave the stories of Johnny Klebitz and now Luis Lopez with consummate effect. We just hope there's still more scope for further episodes in Liberty City.

Final Fantasy XIII Review

2010-03-09T08:22:00.000-08:00

“Whether we are going to continue to internally create this type of game remains to be seen," Square-Enix President Youchi Wada signified to the gaming populace following the Japanese launch of Final Fantasy XIII. For a series that relies on a few accustomed incentives to hide its otherwise steadfast determination to remain evolutionary stagnant, the burdens of a lengthy development period, a costly budget, along with increased uncertainty about the relevance of the JRPG are evident in a game that feels like a crossroads for the venerable series.

In attempting to make concessions towards an audience outside of its dwindling native market, it seems as though Yoshinori Kitase and co have sacrificed the very qualities that made the series. In short, Final Fantasy XIII is so preoccupied with a fast pace and high intensity that it's virtually lost all of the charm and reason it was there in the first place. More so than any other game in the series, Final Fantasy XIII begs the question of whether it really wants to be a game.

Throwing together an unlikely yet habitual group of characters - an arrogant hero, an angst-ridden kid, a disconsolate solider - Final Fantasy XIII finds each unsurprisingly fighting for their own reasons but united against a common threat. The eternal battle between the neighbouring worlds of Cocoon and Pulse and the themes of enemies unknown and misunderstood sits well with issues of the present day, while the exploration of the uncertainty under the control of a seemingly benevolent race of supreme beings provides an intriguing underlying motive.

One facet of JRPGs, Final Fantasy in particular, behind its wide appeal in the West rested with the high production values and epic stories. In comparison with other games of the time, Final Fantasy VII offered an insight into how games could become more significant. Today such factors are less noteworthy, largely because they have become the standard. At times, for somebody not accustomed to JRPGs, the hammy dialogue and the overly grandiose musical score can be excruciatingly cringeworthy. If Disney had been a Japanese company you get the feeling this is probably what they would have made; saccharine sweet characters made even more sickly with lines that beg for the mute button! The caveat is that it's a factor which polarises opinions in such a manner that there should still be an audience who loves every minute of the stretched 35+ hours.

The first statement of Final Fantasy XIII's intent to experiment is evident by control being restricted to a singular character during combat. Characters are thrown together in parties of up to three, although it's not until the latter stages of the game (approximately 25 hours in) that Final Fantasy XIII provides any choice over the makeup. From a purist point of view, the decision to restrict control to a singular character and leave the AI to handle the rest seems sacrilegious, but is arguably the only feasible manner to handle the new combat system.

Understanding the widespread desire amongst JRPG developers to bring more immediacy to turn-based combat, Final Fantasy XIII's ATB system is both refined and fundamentally flawed. It's a concept designed around the notion that the plodding pace of turn-based combat is a deterring reason amongst today's obsession with action. Employing the customary menu system which houses a variety of physical and magic attacks, items and techniques, the setup seems familiar at first but quickly reveals itself to be little more than a deceptive illusion. It's an attempt to blend the tactics of a turn-based setup with the immediacy of real-time combat. There's rarely a break in the action, which is typically fast, fluid, and employs the stylish camera angles we'd expect from Square-Enix's debut entry for their flagship series on this generation. Unfortunately the woes of such a setup are soon noticed.

The problem lies with the efficiency of the auto-system, which as the name implies, leaves little more then pressing the A button to let it automatically select the most appropriate attacks to employ . You can of course manually select what techniques you'd like to perform (and there is occasionally an advantage to doing so), however the sheer pace of battles in Final Fantasy XIII leaves this a largely redundant option. As it stands, combat is left as little more then bashing the A button on the Auto-Select option each time.

Depth comes from the stagger system, a gauge which fills whenever successful combos land, which in turn leads to a state that makes the enemy more vulnerable and prone to increased damage for a short duration. This compliments the Paradigm Shift dynamic, which essentially works in a similar manner to the Job setup in previous Final Fantasy games. Some roles are designed to inflict the most damage, others are to reach the stagger point quickly, along with those to replenish a character's health or conjure positive and negative effects. Planning the correct combination of roles for different situations and switching between them during battles is the only dynamic that provides any genuine satisfaction to the combat, and it's to some testimony that it manages to keep the game mildly entertaining during its thinly spread yet lengthy duration.

Despite its qualities, the ATB system isn't enough on its own to suffer through the 30-40 hours of relentless battles that Final Fantasy XIII insists on throwing at you. At times there's a desire to avoid battles just to reach the end of a chapter, which obviously causes problems later in the game with characters that aren't sufficiently developed and the associated necessity to backtrack just to level up. More importantly it begs further questions: if this is what amounts to the game, what are we actually doing beyond advancing to the next cut-scene if we're actively trying to avoid it? Because of the predictable 'epicness' of the cut-scenes and the ATB's lack of involvement, Final Fantasy XIII largely leaves little more than the feeling it's grudgingly letting you play along; that interactivity and gameplay are secondary factors to making sure those three discs (or one Blu-ray) are stuffed full of cinematics.

Character development is handled via the Crystarium setup, which is effectively little more than a graphical revamp of a traditional skill tree. Using Crystarium Points gained in battle to move between what appears to be planets of a solar system, the setup allows a little choice in the way each character evolves across the varying roles. Beyond this, other staple elements of the series (and the RPG in general) are either strangely absent or changed beyond recognition. With a Medic in the team there's rarely a need to resort to a Potion or two. More bizarrely the successful conclusion of each battle means each character's health is fully replenished, while death is barely punished with checkpoints set before the preceding battle. The combination of this and a surprisingly frequent number of save points eradicates any challenge beyond the inherent problem of not levelling up sufficiently. It can be a chore to say the least, particularly when the crucial technique of surprising the opponent and gaining the upper hand is handled with a poorly implemented field of view dynamic on the main map. Without any towns to meaningfully explore and shops to peruse, save points also provide the means to purchase new weapons and items along with upgrades, but they're merely perfunctory in their inclusion. There's little wonder found in discovering new weapons or equipment, while the option to upgrade feels like an unavoidable chore as opposed to something that binds you closer to the experience.

It's a strange thing that Final Fantasy XIII insists on completing so many of the incessant battles that it throws at you, as otherwise it's a game that demands you to hurtle through it at a relentless pace. Again it seems like a concession towards a wider audience. The game's initial 25 hours offer little more than corridors to advance relentlessly forwards through and comes at the sacrifice of a sense of exploration and developing any knowledge of the worlds of Cocoon, Pulse and their inhabitants. The complete lack of any lull in pace only serves to heighten the game's crippling sense of repetition; it never provides the time or scope to take things more leisurely and enjoy the experience. The flow of Final Fantasy XIII feels like a design from a time long since gone. Battle after battle, followed inevitably with a boss-battle and then epic cut-scene feels disjointed and certainly never manages to emulate the cohesive blend that titles such as Uncharted 2 have left a distinct impression of the elegant fluidity expected from this generation.

Strangely for a game that packs nothing more than tight corridors for the first 20 hours, Final Fantasy XIII changes its intentions dramatically during the latter half of the game. With the party finding itself on the sinister world of Pulse the gameplay and environment shifts quite dramatically, a change mirrored with big, open expanses filled with rampaging creatures. It's hard to understand the decision behind the contrast; whether Final Fantasy XIII started out as the experience Pulse demonstrates, or whether it was added at a later stage in recognition of the game's initially overpowering linearity. Arriving on Pulse also marks the first time that the game offers any respite and variety to the constant onslaught of battles. A variety of side missions provide the challenge of tracking down specific creatures - and admittedly defeating them in battles. It's little more than a nod to another Japanese curiosity, Monster Hunter, and nothing to get overly exited about, but it does at least provide a break from Final Fantasy XIII's sheer monotony of battles, bosses and epic cut-scenes.

Graphics: 94%
Sound: 91%
Gameplay: 70%
Originality: 81%
Longevity: 76%

Overall Score: 7/10

Somehow the qualities of the Paradigm system in conjunction with the ATB setup managed to offer just enough incentive to drag ourselves through the 30-40 hours that Final Fantasy XIII insists on delivering, but it's never really a pleasurable experience. By eliminating many of the factors that we've come to expect Square-Enix has delivered a Final Fantasy XIII that is different, but also desperately attempts to cling on to some elements of the past purely to maintain conventions. Unfortunately, the biggest criticism is the fact that you're left with a feeling of playing for the sake of it, rather than savoring it.

Football Manager 2010 Review

2010-03-09T04:28:00.000-08:00

Sports Interactive has done it again. The London based studio has been tinkering with Football Manager's interface for the second time in as many years. Last time this happened, in FM08, the sensation was something like going into your local supermarket only to find that the floor plan had been completely rearranged. This year, it's more like going to your usual place of work one morning to discover that the cubicle layout has been replaced by an open-plan office setup with empty spaces where racks of files used to be and a smiley faced young secretary in place of the withering old lady who looked like her next cigarette could be her last.

Football Manager's continual efforts to modernise have this time come at the expense of the game's navigational sidebar, which has been a staple of the series for decades, providing easy access to your team's squad interface, competition info, and manager options to name but a few. Navigating to these parts of the game is now catered for by tabs across the top of the interface, providing a setup that looks more like a Microsoft Office program than it does the FMs of old. Still, Sports Interactive has been gradually moving the interface in this direction for a few years now, so the transition is actually easier to get used to than you might initially think.

Joining these changes to the basic interface is an all-new setup for team tactics, which borrows from the Touchline Shouts feature of FM Live to produce a complete overhaul of the old tactics system. The new setup is confusing and frustrating at first - tactical sliders have been thrown out in favour of a team "philosophy" and "starting strategy", while the stalwart system of commanding player runs on the right mouse button is also a thing of the past. Replacing it is a system of micro-management for each player, which asks the manager whether their striker is a "complete forward" or "goal poacher", if their midfielder is of the "box to box" or "ball winning" archetypes, or whether a particular central defender should drop into cover while the other has the freedom to move forward.

Some of these man management options were possible in the old system (in some form at least), although it's worth acknowledging that the new tactics system brings a wealth of new options to the table as well. For those gamers who really can't stand the change though, there's always the option to turn off the new system and revert back, although doing this comes at the expense of the new Touchline Shouts feature. This goes hand in hand with the starting strategy we mentioned earlier, and allows you to make slight changes from within FM's 3D match engine while a game is playing out.

There are a wide variety of options from the list of shouts, from the likes of "exploit the flanks" to "push higher up" and "get stuck in". All of them will tweak your style of play slightly but perhaps in more subtle ways than was previously possible, allowing you to apply finer strokes than was possible with the old tactics system. All of this benefits a particular type of FM player - the sort of manager who hasn't indulged himself in the deeper side of FM's micro-management options until now. If you're the type of player who sets the team formation and strategy of your side at the start of a season, and then won't change them unless you're forced to by injuries, then we're talking about you.

FM2010 dishes out a much more streamlined entry into these areas of micro-management, encouraging players to tailor their tactics around each team they face rather than sticking with the same old routines. This is also the case with FM2010's backroom staff, the assistant manager of which will now arrange regular meetings for you to attend that coral all of the relevant staff issues and present them as simple yes or no answers for you to sign-off on. When you couple this with the improvements made to the tactical side of the game, it's fair to say that FM's interface is more user-friendly at its deeper levels this year. Even if it might raise a few eyebrows from seasoned players at first, it'll most definitely please more basic players of the game by easing them into the game's more complicated areas.

The headlining new addition to the series this year is the Match Analysis Tool, which provides a breakdown of how your team - and specific players within that team - have performed during a game. From a simple top-down pitch diagram, it's possible to view the range of passes, shots, and runs that a player has made during a game, where they've made them from, and how successful they were when they did. The tool is very similar in style to Champ Man's ProZone tool, which has been in the series for a few years now and we're inclined to think that Football Manager's tool doesn't quite have the level of statistical depth that ProZone has reached, although it's still a welcome addition to the FM series nonetheless.

And then there's the all-important 3D match engine, which added so much to last year's game but, in hindsight (once we'd played over 30 hours of FM2009 in the weeks following its release), also took so much away. Annoying glitches, such as inactive goalkeepers during penalties, players that dawdled for long periods at set-pieces, and a tendency for players to take excessive amounts of over-optimistic long shots, didn't help the long-term appeal of an engine that was still very much in its infancy. This year, player animations have seen the most sizeable improvement overall. With Champ Man taking such huge strides forward with its match engine this year, it was important for Football Manager to compete on the same level and it has certainly achieved this in FM2010.

Player animations are perhaps not quite as detailed as their Champ Man counterparts, although FM's 3D engine is animated in a more refined form for the most part. FM2010 avoids the overly floppy legs of players when shooting or hyper-acute dribbling turns that were sometimes suffered in Champ Man's 2010's engine, although it's got to be said that there are marked similarities between the two engines as well. In an interview with TVG earlier this year, Champ Man's General Manager, Roy Meredith revealed that one of the lead animators on their team was poached by Sports Interactive at some point along the line this year, which is no doubt a sizeable factor in the marked improvement to FM's engine. However, there's still evidence of teething problems with it as well.

When we've been playing through FM2010 matches, we've noticed that most opposition sides will regularly send up only three or four attackers for a corner. Conversely, when we had a corner ourselves, our team would send up six or seven players, which is the standard amount for a corner (with the fullbacks and a defensive midfielder hanging back). Hopefully this is the sort of problem that can be rectified with patches because we'd hate to see the improvements of this year's engine be marred by simple errors, which was arguably the game's main problem last year. Nonetheless, while FM's engine may not be as detailed and dynamic as Champ Man's this year, it's more simplistic animation arguably makes it perform more solidly in some key areas (such as in-and-around-the-box when the action gets dense).

Although Sports Interactive has added Touchline Shouts and the Match Analysis Tool this year, we can't help but think that the series is still crying out for more innovation. Perhaps we wouldn't be saying this if Champ Man hadn't done such a sterling job of delivering new ideas and features in this year's game. Maybe we're being a bit unfair on a series that's always taken the wise path of gradual evolution over revolutionary back-of-the-box features. Still, Champ Man has raised the bar this year with features such as creating your own set-pieces and Eidos has certainly placed the ball firmly in Sports Interactive's court for next year's round of games. As always though, Football Manager's superior database and transfer market still make it the most well-founded footie management sim available.

Football Manager Handheld 2010

It's still the best solution for Football Manager addicts who simply have to play the game at every available opportunity, and it's still a good source for on-the-go scouting of FM's database that you can then apply to the main game when you get home. However, there's no avoiding the fact that FM Handheld still plays suspiciously like a Championship Manager game from the turn of the century.

The PSP's lack of internal memory, processing power, and RAM are the main factors that will limit the FM Handheld series from ever becoming a substantial complement to its much bigger brother on PC. Thinly veiled gameplay that seems to react more to your decisions like a random throw of the dice than a complex set of stats, as well as sweet-spot formation settings that encourage a rinse-and-repeat action from one game to the next, make FM Handheld's formula thoroughly outdated (albeit one that retains the classic addiction levels of late nineties/early noughties Champ Man sessions).

This year's instalment remains largely the same as last year's game, although you will find slight improvements here and there. Player comparison screens have been implemented, while scouting and coach reports have been more tightly bound into the game, but Sports Interactive's claims that the AI of its 2D match engine is much improved are vastly overstated. The engine (which still doesn't run continuously and is only available at specified goal scoring opportunities) will still throw up crazy anomalies, such as a striker only having the keeper to beat and then passing the ball 20 yards back to a teammate. Similarly, goal scoring opportunities tend to be formulaic with set-piece templates that crop up overly frequently and players that simply stop moving on the pitch once they've passed the ball on.

In a few words, if you simply have to play Football Manager at any given opportunity (or you own a PSP but not a PC) then FM handheld 2010 might be worth a punt. Otherwise, stick to the main PC game.

Graphics: 78%
Sound: 44%
Gameplay: 96%
Originality: 87%
Longevity: 100%

Overall Score: 9/10

Football Manager's new Touchline Shouts feature and Match Analysis Tool may not quite match the razzle-dazzle of Champ Man's new additions this year, but a streamlined new interface that invites gamers into the depths of FM's management options and a more refined match engine ensure that FM2010 keeps up the pace of improvement that we've come to expect of Sports Interactive's benchmark series.

Assassin's Creed II Review

2010-03-09T04:25:00.000-08:00

Despite a compelling premise and stunning visuals, TVG wasn't the biggest fan of the original Assassin's Creed. Set during the Holy Crusades, the concept of a medieval hitman schooled in the art of free-running should have provided the perfect backdrop for the studio behind Splinter Cell and Prince of Persia to deliver a groundbreaking experience. Ultimately we got a lesson in monotonous rinse-and-repeat gameplay and the dangers of making a game too 'accessible'. It didn't help that the game was billed as something akin to the second coming, despite its appropriate setting.

Thankfully the publicity seems to have been curtailed this time around and the pre-release hype has been tastefully subdued in comparison. The result only serves to magnify the sheer improvements that Ubisoft Montreal has managed to bring to Assassin's Creed II; a true gulf in quality and scope that demonstrates what a sequel should offer. We'd have understood Ubisoft Montreal settling for a few improvements and a different setting for the sequel though; after all it's hard to argue with more than 8 million sales for a new IP. Nothing can really prepare you for the lengths to which the team has taken in delivering an improved and vastly superior sequel. Ubisoft Montreal has taken things back to the drawing board to achieve this, strengthening every core aspect of the series and making up for the original's considerable inadequacies.

Picking up directly where events left off in the original, Assassin's Creed II follows the events of Ezio Auditore da Firenze, a 15th century charmer from Renaissance Italy and the latest character in a long line of assassins that ultimately leads up to Desmond Miles in the near future. We'll skirt around details surrounding the plot and characters, as there are plenty of surprises packed into the game and it would be taking a considerable chunk out of the game's overall enjoyment (plus Ubisoft would probably nail our private parts to the cross). Suffice to say the plot continues the tale of the Desmond's attempt to stop Abstergo's plans, a time-honoured story that involves the Knights Templar, the Mayan prophecies surrounding the end of the world, and a New World Order with much more conviction than Dan Brown could ever muster.

Firstly, Assassin's Creed II is the stealth game that the first one aspired to be, but clearly wasn't. It's not a pure stealth experience along the lines of Hitman or Thief before it, but it makes considerable strides forward for a game that shared more in common with a Benny Hill skit and took the edge and gravitas out of being a Templar-killing hitman. Central to this is the improved blending system, which allows Ezio to disappear into a veil of secrecy provided by crowds of people. Nudging people to one side as he slips into a group, Assassin's Creed II presents the concept of stealth via crowds with a stylish certainty way beyond what its predecessor achieved. It helps to bring an end to the incessantly mundane technique of running along rooftops until a convenient hay bail appeared that typified the original. Assassin's Creed II still employs these safe areas, but their use is largely restricted to carefully scripted stealth scenarios. Easing the ability to slip away unnoticed is the chance to hire groups of courtesans, thieves and warriors, who assist Ezio by distracting guards with their charm, mischief and brute strength. Giving each group a valid sense of purpose along with a set of advantages - thieves can free-run, courtesans provide cover, and warriors can fight - ensures that these form a very apt technique in Ezio's book of tricks.

Ezio's heightened abilities and increased options are complimented with a more refined patrol and alert system. Charting Ezio's current level of notoriety within each individual location, the system behind Ezio remaining undetected and guards attempting to identify him is a much more natural and enjoyable setup. It's no longer as twitchy or erratic as the first game, and won't kick off an alert the moment you decide to run or just happen to look at somebody the wrong way, while Ezio can help to reduce this by removing wanted posters, bribing officials and intimidating witnesses of his acts. The game also benefits from the introduction of different types of opponents, such as tougher brutes and those that can detect Ezio even when he's concealed in a hiding spot or amongst people.

Although it was hard to fault the original game's free-running system, the slightly more cynically inclined could point towards a setup that sucked away any need to be skilful, and largely came down to holding buttons and pointing in the right way. The system is largely similar, but its use is more effective and is developed with the unlockable skill of being able to make leaps towards grapple holds slightly out of Ezio's reach. The setup is promoted in the Assassins Tombs, hidden locations which provide environmental puzzles closer in scope and challenge to another Ubisoft Montreal title, Prince of Persia. Not only do these provide a challenge which requires a more skilful approach but also a reward worth discovering!

Combat has also seen a number of improvements through a wider selection of weapons and additional moves such as stealing an opponent's weapon and using it against them. It was satisfying enough in the original and largely remains the same; although as a deadly assassin, getting caught up in crowded battles shouldn't be too high on the agenda. If we had to criticise, we'd say combat becomes a little too easy, particularly once Ezio's health and armour upgrades have been unlocked and the effectiveness of the counter attack is a little too overstated. But these are minor quibbles in a setup that on the whole compliments the overall tone of the action.

So Ubisoft Montreal has refined and developed the key components, but the improvements don't end there. In recognition that the biggest fault lied with the lack of variety, the team has decided to reset the overall design and flow of the game, bringing something that is genuinely absorbing throughout its captivating 20+ hours. Assassinating targets remains the principle objective, but the way in which Ezio goes about it makes Altair look like a bumbling desk sergeant in comparison. The missions featured in the game benefit from the care of being crafted and created individually, layering different challenges atop of one another to ensure there's variety before culminating in the assassination that marks each sequence. No longer is it merely just a case of eavesdropping, pick-pocketing, interrogating, assassinating, move-on mediocrity; Assassin's Creed II genuinely feels like a more rewarding experience this time around.

Variety isn't restricted to just the design of the levels. Finding hidden Glyphs throughout Italy's various regions unlock a range of satisfyingly challenging puzzles, each of which revolve around the key plot themes running throughout the plot. They offer a challenge that is a considerable departure from the main gameplay, but it's the reward of mini video clips, parts of a mysterious video sequence, which provides the impetus. Typically collecting things is a pretty naff way of extending a game's length (feathers?), but in this case Assassin's Creed II manages to provide something that compels you to search and discover to unravel the mystery. Beyond this are 30 codex pages to collect to help uncover what it all means - just take a word of advice and make sure to collect these along the way!

Classic video game elements also embellish the overall experience. They may be small things, but the ability to loot bodies, buy weapons, armour, and health adds to the overall experience with a sense of reward and progress. Money is also key to the Montenegro Villa, which becomes a hub of sorts for Ezio fairly early on in the game. Beginning in a state of disrepair, Ezio can invest money to open up shops and local amenities, which in turn provides a regular form of income through taxes and an increased population. Leonardo Da Vinci makes a frequent appearance throughout the course of the game, inventing new devices for Ezio and helping to decipher the codex pages that Ezio discovers. Items such as Da Vinci's flying machine are kept to a careful minimum, but it's his inventions such as poisoned blades, smoke bombs and a pistol upgrade that gives a further sense of reward to the proceedings and opens up various means to go about Ezio's daily business.

As a result of these additions and considerable improvements, progress through the 14 different DNA Sequences is enticing and entertaining throughout. Strangely a plot device leaves two of these sequences inaccessible, which can only hint towards future DLC addressing these 'missing' levels/memories. But despite this, Assassin's Creed II is still a heavyweight in the content stakes. Focussing on the main narrative offers roughly 20 hours of gameplay, but adding Glyphs, Assassin's Tombs, and the range of side missions such as races increase this total considerably. Assassin's Creed II is a game with plenty of substance and manages to keep this enthralling throughout.

Graphics: 95%
Sound: 96%
Gameplay: 93%
Originality: 88%
Longevity: 95%

Overall Score: 9/10

We have to take our feather caps and ruffs off to Ubisoft Montreal. We've been quite cautious in our coverage of the game, believing that the original's flawed design had too many pitfalls to overcome. However they've done it. Perhaps the ultimate testimony is the fact that it left us longing for another sequel, something the original certainly never achieved.

Bayonetta Review

2010-03-09T04:23:00.002-08:00

There’s a reason why Bayonetta offers players a veritable menagerie of ‘Torture’ and ‘Punish’ special moves while also presenting the kinkiest looking witch we’ve ever seen as a protagonist. These sadomasochistic themes aren’t merely glancing references to dark magic, nor are they a cheap ploy to lure adolescent boys into buying a game by dangling an increasingly scantily clad (depending on how skilful you get with the combos) lead character in front of them. Of course, these factors do play a small part – there’s no denying that – but the allusions to sadomasochism are part of a much more complex and subtle ballet in the game’s design by legendary Director, Hideki Kamiya.

Kamiya cut his teeth directing the original Devil May Cry and Resident Evil 2 at Capcom, the lineage of which are clear in this second title from Platinum Games. We’re going to stick our neck on the block and suggest that there is no harder game on current-gen consoles than Bayonetta. It’s a game that seems to throw as many boss battles at the player as it does regular combat set-pieces. You’ll be battling what you’d assume to be the concluding boss of one chapter, only to find out that there’s another one to defeat straight after. Upon that chapter’s completion you’ll breathe a huge sigh of relief, thinking that there’ll be a couple of puzzle sections and some tame set-pieces at the start of the next chapter before you’re thrown back in at the deep-end. Not so... the next chapter instantly pits you against two of the same boss type that you just fought against, only simultaneously this time around.

Bayonetta will bind you, gag you, chain you to a rack and then ratchet up the excruciation until you just can’t take anymore. Then, when you think the pain is finally over, it’ll start lashing you with a Cat o’ Nine Tails before picking the nails from your fingertips with a pair of pliers. It is unbelievably cruel in its difficulty, make no mistake, but this is also what draws gamers to it – true gamers that is. Gamers who play a round of Mega Man as if they’re brushing their teeth in the morning, or who wouldn’t hesitate for a second in setting the difficulty to ‘Veteran’ on their first playthrough of Modern Warfare 2. This type of gamer will be in their element and will beg for the harsh mistress that is Bayonetta to deal out the punishment harder and faster, never satisfied until every corner of the game is 100% bested. In fact, this type of gamer might just fall in love.

If it were a chilli, Bayonetta would be a Dorset Naga, but you get the point already – it’s very hard. There are Very Easy and Easy settings with an ‘Automatic’ feature reminiscent of the ‘One-Button’ controls in Forza 3, but we get the impression that these settings have been forced on the game by marketing people, scared that Bayonetta’s admirable elitism will alienate the lucrative casual market. We strongly advise booting-up the game on Normal and, if you’re a real glutton for punishment, then you may as well play through the whole campaign to unlock Hard. Amazingly, there’s even a ‘Non-Stop Infinite Climax’ difficulty level beyond Hard, which ranks amongst the likes of Deus Ex’s ‘Realistic’ as the best name for an elite difficulty setting in any game, ever.

Of course, there is a skill to making a game both this hard and enjoyable at the same time. Any developer can spawn an army of enemies in one set-piece. It might make a game hard but, at the same time, it’s usually dull as ditch water. What Kamiya proved back in 2001 with Devil May Cry and is now reiterating with Bayonetta, is that he’s a master of ratcheting up the difficulty from one climax to another, across one boss to the next and into a flurry of mini-bosses, each of which requires a specific combat technique to defeat. Bayonetta is unrelenting in this sense and never leaves the game tired with repetition or cheap design ploys. The combat not only moves at breakneck speed, but break-all-the-vertebrae-in-your-spinal-column speed, to build a fever pitch unlike any other hack ‘n slash game out there.

Features such as the ingeniously simple idea of linking bullet-time (or, in this case, ‘Witch Time’) with the game’s blocking system – so that avoiding enemy attacks at the last possible moment awards you with a short window to attack enemies in slow-mo (a critical technique for most of the combat situations) – are proof that Kamiya is an old dog who’s thoroughly capable of mastering new tricks. The range of attack combos, although set-out in an old-school fashion, are nonetheless as intuitive as any other system, while the variation in enemy attack styles ensures that you’ll have to mix-up your combo usage to stand a chance of staying alive. Features such as the ‘Torture’ moves also provide welcome moments of violent eye candy between the hyper-fast action, although all of this pales in comparison to the nigh-on sublime direction.

The level of hands-on camera direction that Kamiya and his team have applied during combat is key to the game’s truly riotous action. Whether Bayonetta is flailing through space in a huge clock, decapitating a two-headed dragon (which, confusingly, also has a talking cherub face in its belly), or summoning a gigantic eight-eyed parrot from her illustrious hair, Platinum Games always makes sure that the camera positioning is both varied and apt. Some Uncharted 2-esque quick-time events, which tend towards free movement rather than restrictive button prompts, are also on-hand to make sure that this pace doesn’t dip whenever Bayonetta isn’t busy sticking her katana sword into a gaggle of unruly angels.

It’s perhaps testament to this heavily directed combat that the camera seems so clumsy when it’s left to its own devices during puzzle sections. Nevertheless, some fiddling around in the options can remedy this camera clumsiness during the rare moments of calm between battles. Given the obvious parallels to Capcom’s Devil May Cry series, it’s certainly not a huge surprise that these puzzles don’t take centre stage in Bayonetta. Their role is one of light relief and you do get the feeling that Platinum Games hasn’t put quite as much thought into them as the puzzles that you’d find in the likes of Sony Santa Monica’s God of War series or Ubisoft’s Prince of Persia trilogy. For the first half of the game at least, Bayonetta is a bit of a one trick pony in the puzzle stakes, although the ante is upped a little as you unlock more techniques and features later on in the proceedings.

And the proceedings go on for a satisfyingly long time as well. Any gamer who isn't superhumanly talented with a gamepad can expect to spend at least 15 hours on the main campaign, although a length of around 20 hours is perhaps more accurate for the average player. Platinum Games has also plied the game with a menagerie of different unlockables that can be purchased by collecting halos (dropped by each defeated angel), although a lot of these unlockables are out of reach with the amount of halos you can expect to gain from a single playthrough on the Normal difficulty. Persevering with Hard and Non-Stop Infinite Climax will unlock these new weapons, techniques, and items etc., making the insane levels of difficulty beyond Normal feasible at least and thereby tying an impressive level of replay value into the game.

Graphics: 92%
Sound: 90%
Gameplay: 93%
Originality: 85%
Longevity: 90%

Overall Score: 9/10

Bayonetta is nothing short of a hardcore gaming masterpiece. As he originally did nearly a decade ago with Devil May Cry, Hideki Kamiya has once again set the bar impressively high with the combat in Bayonetta, coaxing the likes of God of War III to come and have a go if it thinks it's hard enough. While the game is a little short on ideas when it comes to its puzzles, the fact that Bayonetta holds up a mirror image of its sadistic lead character in the punishing gameplay itself is enough to keep us coming back again and again.