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Review: Prototype 2

Prototype 2 -- 1
April 28, 2012 By In Featured, PC, Playstation 3, Reviews, Xbox 360

Traditionally when the mainstream media picks a game to focus on over video game violence, they usually choose the likes of Grand Theft Auto or Call of Duty. The most popular titles are put on the chopping block, whether they deserve the harsh criticism or not. For the most part, the criticism is not warranted. When I think of a game to focus on in this scenario, a game like Prototype 2 comes to the forefront. With its brutal violence, constant use of abrasive language, and largely hidden sexual nature, Prototype 2 is not a game for everyone. Whether you feel these characteristics are necessary for artistic expression will unfortunately be a huge judge of whether you enjoy your experience with this game.

From the get-go, Prototype 2 makes it clear that this is an adult game. The opening cut scene establishes a harsh reality in New York Zero, the game’s devastating take on The Big Apple. With infection spreading and a father on a tour duty, helpless to protect his family, the game sets a scene that it never really follows through on. Once our serviceman and main character James Heller discovers his family has been murdered by the “Mercer Virus” and unexpectedly infected by Alex Mercer himself, Heller storms into a world of destruction, killing anything and everything that stand in the way of finishing off the game’s villain. It is through this tour of destruction that the game takes a disturbing turn.

Instead of following through on this emotional opening and offering a compelling story of revenge, Prototype 2 instead becomes a cesspool of vulgarity and failed jokes. Sure, there is a ton of revenge, but it is all linked together by awful bits of story. Heller’s foul mouth is never silenced and the chauvinistic military tough-guys that litter the game spout colourful comments that will make even the most hardened veteran cringe. This relentless storm stands out more than it should for a game of this caliber.  Hearing an NPC soldier say something along the lines of “Hey, those infected women are pretty hot if you put a bag over their heads” made my stomach turn. Why would a game with so much potential stoop so low dialog-wise? Its at this point that it becomes clear the game is more interested in creating a distorted sense of “grit” than telling a worthwhile story.

To be fair, the cut scenes are rather well done and do add quite a bit to the game. Certain characters and their adventures along side Heller — such as Father Guerra — also show a glimmer of story telling ability from the developers. It’s unfortunate though that this is all overshadowed by a pile of immature responses and awful one-liners. Overall, the less-than stellar story of the game can be chalked-up to James Heller being a misguided character. Going from caring military father to deranged, vulgarity-spewing maniac was just a bad decision. The game could have been much grittier if Heller’s actions held more weight from him being an average father forced to avenge his family using newly developed, super-human powers. Instead, they simply pushed the character over the edge and created an average, unstable video game “tough guy”.

Fortunately, Prototype 2 is able to pick itself back up with its outstanding gameplay. There is no denying that Radical Entertainment knows how to make an open world game that is both expansive and enjoyable. Jumping, sprinting, and gliding across NYZ as James Heller is always a great experience. Exploration is complimented with a limited amount of collectibles that give the player something extra to do without bogging the gameplay down with hundreds of rudimentary pickups. At times all the jumping is stopped by a slight glitch or two, but none were game-breaking in my experience. A few jumps here or there will usually get you out of any glitchy situation.

Combat in the game is another stand-out. Fast and fluid is the name of this game. Mowing down enemies with Heller’s various abilities and power ups is undeniably fun. You would have to be a bitter stuck-up to not get at least the slightest bit of entertainment from viciously obliterating the troops, scientists, and pedestrians that populate NYZ. This violence is where the game shines and should have been the developer’s focus for creating a grimy scenario, instead of the heavy doses of intense language and questionable quotes. After slicing, dicing, smashing, and consuming thousands of NPCs, I have only one complaint: things can get very hectic. For the most part, these hectic scenarios are what make the game. However, there is nothing more frustrating in the game than trying to focus your attack on one enemy and having your target change without warning due to a crowding of enemies. If another Prototype game is in the works, Radical will have to either limit the amount of enemies, or, in my opinion, the much better solution of improving the aim focus system.

At the core of Prototype 2 is the game’s missions. Although there is an entire city — with three zones — to explore, the game is nothing without its missions. Unfortunately the majority of these missions are not so hot. Most missions offer something compelling through promotion of a new ability or something totally unique, which is awesome. What’s not so awesome is that the game relies far too heavily on its consumption system. With every NPC, the player has the option of having Heller consume them and take their memories, abilities, weapons, and appearance. This is a great way to create a few mission situations. However, the game uses it for just about every mission scenario. At some point in nearly every mission Heller is tasked with finding a particular NPC type, consuming one, and entering some form of building or laboratory. What’s interesting at first quickly becomes tiresome through overuse. The game has a lot of interesting ideas floating through the missions, but the constant use of consumption severely overshadows what’s great with what’s bad.

Graphically, the game is superb. The city of NYZ really comes alive as Heller trashes it. The amount of enemies on the screen and heavy action with no frame rate slowdown is amazing. There are a few graphical hitches here and there, specifically with Heller falling through environments. But for the most part the game stays strong in the graphical department. It won’t blow you away with its visuals, but the game does a fine job of creating a believable city then destroying it, all with a steady frame rate.

Another strong point for the game is its use of audio. Although Heller’s language will make you cringe most of the time, his voice acting is quite well done, as with all the NPCs in the game. While exploring there are times background music will pop-in, but none of it is ever distracting. It’s nice when it comes in and often leaves you wondering why it doesn’t come in more often. Solid audio all around.

Once all of the missions have been completed, the game does offer some replay value. It will take a while to fully upgrade Heller and his abilities. Various events and sidemissions spread across the game will also help keep players entertained. Those looking for additional replay value will find plenty more in the game’s RADNET service, which comes free with new purchases of the game. Although there are a healthy serving of sidemissions and additional content, I feel that it is lacking a bit for an open world game. But to be fair, the game is already a little cluttered as-is. Those looking to spend just as long after the credits role collecting various items and maxing out Heller may be a little disappointed. But for the average player, Prototype 2 offers the right amount of replay value.

It is unfortunate that a game like Prototype 2 is overshadowed by a misguided main character, lackluster story, and repetitious missions. With fantastic, action-packed gameplay, outstanding visuals, and solid audio, the game could have been amazing. Instead, the game will likely wallow in mediocrity, all capitalized by its preventable downfalls. Radical has many lessons to learn from this game. Those looking for a great open-world title may want to look elsewhere. Those a little more daring should definitely give this title a chance. It definitely is far from great, but there are some solid concepts for the developers to build on and enough entertaining content to keep most gamers going through the game’s six hour story and possibly even beyond.

Pros:

  • Fantastic, action-packed gameplay
  • Interesting mission concepts and objectives
  • Outstanding visuals
  • Solid audio

Cons:

  • Misguided main character who opens the door to abrasive violence and vulgarity
  • Lacklustre story
  • Repetitious mission scenarios

Score: 7/10

Review: Yesterday

yesterday_artwork
April 4, 2012 By In Featured, PC, Reviews

The prospect of playing another point-and-click adventure game elicits more snores than cheers from me. I’ll admit, I’ve enjoyed a handful, but there’s always that wall lingering, hindering your progress more often than you’d like. That’s why I’m surprised I enjoyed Péndulo Studios’ Yesterday as much as I did. Although that wall still haunted me from time to time, there’s so much done right that any usual frustrations melted away. Yesterday exemplifies the lessons learned from adventure games past, marrying smart design choices with an engaging narrative.

Most adventure games these days are light-hearted affairs, but Yesterday deals with delightfully morbid situations. It makes this quite clear, as your first task is to investigate the recent killing spree of homeless men, all burned to death. After nearly escaping death from two “colorful” bums, the game flash- forwards to the present, where we’re introduced to our new protagonist, John Yesterday. Though his name suggests otherwise, John can’t remember yesterday – or any part of his life for that matter. It’s from here his globe-trotting adventure begins, as each past detail is filled with each puzzle solved. I’d love to delve into more details, but the experience is so much more fulfilling going in blind.

It would easy to fall and make Yesterday a mundane and predictable tale, but Péndulo deftly weaved a genuinely interesting story. Perhaps it was the Tarantino-like sequencing, where past events spring up early and often, but I was invested in discovering the mysteries surrounding John. I’m a sucker for evil, religious cults as well, which Yesterday has in full force. You uncover many a macabre factoid, dealing with torture, murder, and other fiendish acts. That said, the material is handled tastefully – people are murdered but it’s never gratuitous. In fact, there’s almost no blood at all. Some characters are shot and killed, leaving only a black hole in their skin as evidence.

Thankfully, Yesterday’s gameplay compliments the story, rather than dragging it down. Veterans of point-and-click games will be right as home; it’s as traditional as it gets. However, Péndulo has added several modern touches to speed along progress. Instead of pixel-hunting areas, you can simply click to have the game highlight the available hot-spots. Interactive objects aren’t always noticeable, making this an invaluable tool. You also no longer have to wait as your character slowly trots to a doorway – he will “phase” in and out, teleporting to whatever item you clicked on. It sounds insignificant, but small touches like this keep the game’s pace lively. A guaranteed progression killer is to craft puzzles too obtuse or abstract, but Yesterday strikes the right balance. If you happen to get stuck (happens to the best of us!), there’s a fantastic hint system built in. They avoid telling you exactly what to do, and give you that final nudge you need to proceed. You can’t spam hints though, as it requires you to click around before refilling the icon. Admittedly, I’m a stubborn person, resolving to never ask for help, but using a hint here and there will greatly improve your experience. There’s nothing worse than blindly trying to combine items in your inventory, hoping someone out there will have pity on you and let something trigger.

Though the subject matter can dip into serious themes, the game’s writing is delightfully witty. Using sarcasm and dark humor, it elicited several chuckles – I had forgotten how impactful a good script can be. Although the voice work isn’t up to Uncharted standards, it’s still ahead of the curve, with actors giving believable performances. It’s unfortunate that there wasn’t proper lip-synching applied though. Characters come off like jabbering Muppets, as their mouths randomly move to mimic as if speaking, not unlike Star Fox .The rest of the game’s presentation is great, which makes this stand out all the more.

If there’s any real knock I have with Yesterday, it’s that it sticks too close to adventure game tropes. There’s nothing here that you haven’t seen or done elsewhere. Granted it’s done well, but it doesn’t deliver any new twists or surprises. The game is also a bit short, clocking in around 3 hours on your first play-through. However, just like the argument with Portal, there’s something to be said for a game not overstaying its welcome. The story doesn’t lose focus, and wraps up mostly satisfactorily.

Yesterday quickly won me over with its high production values, serious themes, and excellent writing. It’s not often that I recommend a point-and-click adventure game, especially to gamers outside of that wheelhouse, but this is the best I’ve played in a while. Although it can’t seem to break from the genre’s roots, it adds small flourishes of modern game design, chipping away at the staid formula. Péndulo should be proud; Yesterday has a bright tomorrow.

Pros:

  • Engaging narrative
  • Excellent, witty writing
  • High production values
  • Offers touches to cut down tedium

Cons:

  • Sticks too closely to point-and-click tropes
  • No lip-synching
  • $30 for 3 hours is an iffy value proposition

SCORE: 8/10

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Yesterday was provided for review by the publisher. The game was completed in roughly 3 hours. Yesterday is currently available for PC with Mac and iPad versions planned. It retails for $29.99 and is available through Steam.

 

Review: Resident Evil: Operation Raccoon City

RE_ORC
March 26, 2012 By In Featured, PC, Playstation 3, Reviews, Xbox 360

It’s no secret that Capcom wants Resident Evil to be Call of Duty. So, while some took the announcement of the squad-based third-person shooter Resident Evil: Operation Raccoon City as a return to the Outbreak experiment, many others saw hiring SOCOM developers Slant Six as an obvious step in the process of turning the once reigning horror franchise into a military shooter. Once people got a look at the four-player cooperative campaign though, Left 4 Dead became the obvious reference point. It turns out that RE:ORC borrows liberally from all of these things, but it’s also its own strange beast.

The premise is an alternate timeline, non-canonical take on Resident Evil 2‘s iconic Raccoon City outbreak, with the main campaign following the exploits of the Umbrella Security Service that has been sent in to cover up the evil corporation’s biological research. Of course, things go wrong, and a zombie outbreak erupts. It’s up to you and your ragtag team to destroy incriminating evidence, kill invading U.S. Spec Ops soldiers, and to avoid joining the ranks of the undead yourself. The big draw for fans is clearly the privilege of experiencing the series’ high point from the viewpoint of the bad guys, with cameos from everyone from Leon to Nemesis.

In practice, the game plays a lot like a third-person Left 4 Dead, albeit it with the more tactical approach you’d expect from Slant Six. Specifically, the playable characters each represent a certain class, i.e. “Medic” or “Sniper,” and you need to coordinate your abilities to survive. In fact, it wouldn’t be too much of a stretch to say the game more or less utilizes Team Fortress 2‘s class framework, simply just giving  names to “Heavy” and “Scout.” The Valve comparisons don’t stop there though, as an enemy type is introduced that looks like an Alien facehugger, but quickly shows itself to be more like Half-Life‘s headcrab, latching onto scientists and causing them to attack you.

As long as you aren’t bothered by all of the similarities to other properties, there is fun to be had with Operation Raccoon City. The story takes you from the labs of Dr. Birkin through the streets of one of horror’s most beloved towns, stopping to at least nod at most plot points from Resident Evil 2 and 3. The campaign is pretty short, at just about 6 hours across seven missions, but downloadable content coming in the near future promises to add another storyline from the Spec Ops perspective. Ultimately, the single-player is interesting, but unremarkable in the current TPS climate… as long as you play online.

As previously stated, the game is squad-based, which means that any of the four slots not filled by an online player will be controlled by a bot. There is no other way to say this: teammate A.I. is laughably atrocious. Your squad-mates will do everything in their power to halt your progress through the game, including (but not limited to), standing impassably in doorways, relentlessly blocking your line of fire, refusing to heal you and themselves, and getting stuck in the environment, thus forcing you to go ahead alone in a game balanced for cooperation. Do not buy this game if you do not have the ability to play online.

In its defense, Operation Raccoon City does have quite a bit of value for those that put time into its multiplayer components. You gain experience and unlock new weapons and abilities for your characters, which you can then take online in a variety of modes. The modes are pretty self-explanatory, including Team Attack, Survival, and Deathmatch, but “Heroes Mode” is particularly interesting, allowing you to take control of the protagonists from Resident Evil history like Chris Redfield and Jill Valentine. The DLC “Nemesis Mode” is exclusive to the Xbox 360, and combines deathmatch with the ability to control the titular hulking monster.

The great thing about the multiplayer is that it allows the unique features of the game to really shine. For example, being shot will make your character bleed, attracting zombies to your position. This makes wounding foes just as important as killing them, as you can use the impartial zombies as a tool against the opposing team. Furthermore, zombies can infect players, turning them into zombies if they aren’t treated with an item unique to one class and occasional drops. This adds an element to the title that sets it apart from Left 4 Dead and other online shooters.

Unfortunately, there are a few wrinkles that temper the positives. Even without the dead-weight computer allies, there are a number of glaring technical issues with the game that aren’t going away any time soon. First and foremost is the embarrassing amount of bugs that need to patched as soon as possible. As of the time of this writing, there are 16 pages of reported bugs in Capcom-Unity’s official thread, which is apparently meant to act as a majority of the game’s testing. The fact is that Capcom released an unfinished game, and is now using early adopters as testers.

You can always go to the above link to read the entire litany of issues, but for completion’s sake I will go over the ones I personally encountered in my time with the game. The most common was glitched animations, as characters skipped frames and occasionally teleported into position. Similarly, there were multiple occasions in which character models clipped through the environment, or just plain got stuck in a wall. Event flag activation is also strangely spotty, with doors that sometimes don’t open, events that don’t trigger, and elevators that refuse to leave. I also encountered occasional lag when online, but, as always, that could just as easily be beyond anyone’s control.

Some of the apparently cut corners are visible in other areas as well. The game is never downright ugly, but there are a noticeable lack of details in many areas other than the main characters. The blood effects for defeated enemies are a strange case, as there is entirely too much of it when most foes drop, and it boils away in a strange animation that doesn’t have any canonical precedent. Melee animations are awkward and stiff as well, although some of the instant kill animations are cool. Ultimately, there are just a lot of areas–from the grenade effects to the voice acting–that just cry out for a bigger budget and more development time.

I think it’s clear by now that Resident Evil: Operation Raccoon City has a lot of problems. From the glitches to the content that is still in development, it’s easy to see that Slant Six just wasn’t done with the game when it was forced out the door. But for what  it’s worth, the retail product is fun when it works, and offers a lot for fans of the series willing to accept another non-horror entry in the decreasingly scary world Capcom has built. Given a best-case scenario, the developers will be able to iron out the worst of the bugs still infesting the game and deliver enough DLC to justify the price of entry to a mostly online experience.

Pros:

  • Fun with friends
  • Interesting alternate take on series lore

Cons:

  • Buggy
  • Brain-dead A.I.
  • Short campaign

Score: 6/10

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This game was purchased for review and played to completion in about 6 hours. Another 6 hours were spent with the multiplayer. The title was played on PS3, but is also available for Xbox 360. It will release on May 18th, 2012 for PC.

Review: Deep Black: Reloaded

deep black reloaded_cover
March 11, 2012 By In Featured, PC, PC, Reviews

I’m not envious of the folks at Biart Company, developers of Deep Black: Reloaded. Third person shooters are hitting an unprecedented level of polish this generation, with Gears of War 3 and Dead Space 2 especially setting the bar. With DB:R, Biart touts the game’s underwater scenarios as its signature flavor (not to mention its budget price), but too many issues sink the promising elements. Despite the triumph of making underwater combat fun for once, DB:R is plagued numerous issues which prevent its rise above mediocrity.

DB:R opens with a simple cinematic that sets up the major players involved in the title. It’s nothing more than quick biographies set across quick cuts, but it’s an economical way of informing the player. Set in 2047, most governments are gone and replaced with mega-corporations.  You command the role of Syrus Pierce, an operative of CHARON, a beautifully complicated acronym for “Chief Amphibious Reconnaissance Operational Network.” You’re tasked with infiltrating a base owned by terrorist group Al-Azrad, giving Syrus a chance to extract vengeance from old-wrongdoings. Within the first act, you find that your mission falls into the category of “not what it seems.” The pieces are in place for a decent, if not predictable, near-future-political-thriller, but the narrative doesn’t paint a convincing enough picture. The VO work ranges from average to unintentionally silly. The various cut-scenes look like they were scripted straight out of 2001, with stiff character animation and generic camera work. And while it doesn’t shine, the story has the decency to include a satisfying ending that tastefully teases out future possibilities for the series. It’s just a shame it wasn’t better, because the game desperately needs bright spots.

Considering the dominance of Unreal Engine, it’s unusual to see a small developer to create their own. DB:R uses Biart’s biEngine to power the game, and it’s nothing if not competent. The visuals won’t impress, but they’re generally appealing. Character models look presentable and textures are sharp with great lighting effects. The engine handles land to water combat very well, and along with the occasional wide-open arena. A few instances challenged the efficiency of biEngine, especially when large enemies made an appearance. The frame-rate would drop, and character animation would chop up badly. I don’t have the most powerful rig around, but it could max out Dead Space 2 and Arkham City with no issue. Thankfully, despite performance hiccups, the game wasn’t made harder because of them.

If there’s any element that excels, it’s the sound design. Weapon effects give loud and sharp reports and explosions are speaker-filling. The game only features a handful of music tracks, but they’re somewhat catchy and fun to listen to, even though they’re often tense, classical-sounding arrangements. As mentioned before, the VO work contains some ridiculous back-and-forths (i.e. “This is the culo that launched 1000 ships”), not to mention bizarre death sounds. It always makes me smile when an enemy sounds like he angrily stubbed his toe, despite the fact that he took a bullet to the head.

Since DB:R is a third-person shooter, all it really needs is satisfying combat mechanics to make up for narrative short-comings. Unfortunately, that is largely absent too. Movement on land is stiff and slow. The game allows you to take cover, though it’s no where near as fluid as a Gears game. You’re given a decent selection of weapons, ranging from rifles and shotguns to mini-guns and rocket launchers. The game’s signature appeal is the strong focus on underwater combat, with around a third of the game’s campaign taking place in watery depths. Oddly, this is the only game (perhaps ever) where I was despondent about having to head back onto land. Not only can you easily move easily within 360° of space while underwater, but your amphibious armor is equipped with a jet boost allowing for fast movement. You can still take cover while submerged, and your reticule locks onto enemies. You can even use your harpoon to pull unwitting soldiers from the surface into the water, ending them as a bloody, gargling mess. Even though most of the game takes place on land, its best moments are spent underwater.

These elements work well enough, and the game provides no shortage of tense shoot-outs. But unlike GoW or even Dead Space, the overall polish and fluidity of movement is lacking. Snapping into cover works inconsistently, while character movement is ridiculously slow when creeping in cover. I learned very quickly that progression means deliberate, slow movement. There’s simply no way to reenact the beefy gymnastics seen in GoW. I would almost be okay with that if the game wasn’t so obtusely difficult. Even on Normal, all enemies are sharpshooters, with mid-game grunts able to take you down in a handful of shots. Far too often, encounters are impossible on the first try, as enemies will wreck you unless you’re in the right place at the right time. The game eschews traditional melee combat for a QTE when an enemy gets close. Tapping ‘F’ has Pierce perform a violent, instant takedown that looks cool but leaves you completely open to gunfire. All too often, I was killed by far-off enemies, because one solider decided he had to get a really good look at me.

On the plus side, the game integrates the Xbox 360 controller well, and even features support for the Razer Hydra motion controller. For those of you who have it, there’s also support for nVidia 3D Vision. The game includes multiplayer with regular Deathmatch and Team Deathmatch. However, I never came across another person playing it, and no one ever joined my lobby. Given the rest of the game, it’s safe to say this would have been a fun distraction at best.

There’s a promising core within DB:R, but it’s marred by numerous issues. While there are a few, genuinely interesting experiences, there’s dozens of others that will infuriate you because of the difficulty. The game is definitely above average when it comes to visuals and audio, but the gameplay just isn’t up to snuff. And while the story wraps itself up, it’s not engaging enough to make you ignore the other shortcomings. There’s genuine promise here, but unfortunately, it did not deliver.

Pros:

  • Competent shooting mechanics
  • Lengthy campaign
  • Underwater combat made fun
  • Some genuinely exciting boss fights
  • Budget price

Cons:

  • Wildly imbalanced difficulty
  • Omniscient A.I.
  • Flaky movement mechanics
  • Sub-par cinematics
  • Performance issues in large areas

SCORE: 5/10

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Deep Black: Reloaded was provided for review by the publisher. The game was completed in roughly 15 hours. Multiplayer was not accounted for in this review. Deep Black: Reloaded will release on XBLA and PSN later this summer.

 

Review: Mass Effect 3

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March 9, 2012 By In PC, Playstation 3, Reviews, Xbox 360

Mass Effect 3 has so much weight in expectations on its shoulders. Leading up to this point, the previous games have done their job in cultivating a rabid but harsh fan base. Everyone has their own opinion on what BioWare should be doing with their most iconic franchise and just like any other great piece of entertaining fiction, it simply will not please everyone. Like Mass Effect 2 to the original, it takes a different approach in design that will no doubt have fans in an uproar. Mass Effect 3 may come off as predictable to some, maybe even arbitrary in spots. – you will not find yourself in disbelief or surprise around any corner you take. Whether or not you view that as a negative or positive thing may tell you how much you’ll enjoy this third game. New players will likely find themselves scratching their heads over much of the story, contrary to what EA may say. Despite not doing a great job of pulling newcomers in, players who have completed the previous games will likely find Mass Effect 3 to be a rewarding experience.

There are some good lookin' environments, again.

The galaxy is at war and this time the heart of the war is located on Earth. The Reapers are invading, and in true, heroic form Shepard is forced to abandon his home world in order to pursue a greater solution. The way you go about this is by uniting the galaxy’s intelligent and capable life. Usually you’ll find yourself in the middle of ancient squabbles between species while doing so, unfortunately many of the ways that you’re allowed to handle these situations can be very short sighted; more like you’re throwing over-sized darts at a dartboard from 40 feet away than carefully placing your shots. The broad-strokes approach is understandable given the time-frame Shepard supposedly has to work in while his/her home world is being completely destroyed, but suspension of disbelief can fail if you over analyze some of the solutions all parties deem acceptable.

Largely, these types of things are what you’ll be doing in Mass Effect 3. Your goal is to build a team on a much larger scale this time, and you’ll encounter some old friends along the way. Mass Effect 3 being true to form, who you encounter and under what context is completely up to your choices in previous games. It’s in this continuity that the heart of Mass Effect remains intact and beating at a healthy rhythm. Sometimes these old friends will be able to join your efforts in uniting the galaxy, and sometimes they’ll have their own business to take care of. The love and care that these specific story threads receive is unmatched by most other writing in the game, and while that’s great news for those of us who adore observing these characters develop over the course of the last two games, it can leave a sour taste when the writing takes a disjointed turn in other important areas.

Flashlights! For whatever reason.

The uneven writing isn’t the only aspect of Mass Effect 3 that has the potential to leave a poor impression – side quests have seen better days. You acquire a good majority of side quests by simply eavesdropping on conversations while on the ever-changing Citadel. People will be having conversations with one another or even on their space cell phones and like an altruistic stalking lunatic, Shepard will then be able to go out and acquire or fix whatever the quest has for him/her.  The way the quests themselves are handled is as shallow as how they are acquired. At times you may already have whatever it is the person needs as you overhear them, but the game doesn’t have an inventory system. Keeping track of such things lies squarely upon your shoulders. If you don’t have the item or information in question, you’ll typically find it by doing the main quests in the story. Other times you’ll be scanning planets haphazardly while the galaxy is under siege.

That leads me to one of the main issues I have with this game. You may expect to feel a sense of urgency while the Reapers are ravaging the galaxy near and far.  This is not the case in most circumstances (one circumstance withholding). It left me disconnected with the story and the world, so much so that I ended up ignoring the urgency of the one single mission in the game that demands it. Unbeknownst to me, I received a less than favorable outcome for that blunder. Aside from this one instance the game never pressured me to be punctual.

Kaiden is better than space grand wizard Ashley.

There is no mining for minerals in Mass Effect 3, but you can still scan the galaxy and discover hidden resources. Some of these resources will be fuel, some will be credits and the others go directly into the war effort. You’ll find alliance warships and the like which go into your “war assets” bag. Each time you complete a quest, you’ll usually be given some sort of war asset to add to the rest. These assets exist strictly in icon form and will add to your Effective Military Strength progress bar, a new addition that will give you an idea of how successful you will be against the Reapers should you choose to engage them. I didn’t find this system particularly interesting. It’s almost as if someone pulled back the curtain on treadmill game design and put a nice big progress bar center stage.

The combat mechanics are more polished this time around, and objects used for cover are more organic. Weapon mods have made a return, allowing you to quickly slap them on before any mission for extra stats or capabilities. The squad system remains in-tact and friendly AI gets in the way less than earlier games, but it’s still not ideal. The guns finally feel right and have a satisfying pop to them. Leveling works the same way it always has, but this time you start at level 30 if you import a level 30 Mass Effect 2 save. There is a higher level cap in this game, however skipping ahead 30 levels made combat engagements too easy.

You got your Battlefield 3 in my… seriously?

Mass Effect 3 has multiplayer support in the form of a four player co-operative, horde-style mode. You’ll team up with other players and fight waves of enemies in a single locale. I enjoyed my time with the co-op and I think it’s decently executed. You’ll find much of what you’d expect out of a horde inspired mode, ammo caches are strewn about and there is plenty of cover to hide behind. The leveling system found in the single player carries over into the multiplayer which does add depth. There are also different races with their own ability templates to play as. The bronze, silver and gold challenge levels provide more difficulty but enemy spawn locations are static. The predictability of enemy spawns can make the multiplayer boring after a few rounds on each map, but the sheer difficulty that gold challenges provide drew me in. Surprisingly, single-player is also affected by your multiplayer success. As you complete each wave, you add to the “Galactic Readiness” multiplier found in the single-player campaign. This multiplier will take the war assets you’ve acquired and make them even stronger, allowing you to see the third ending of the game if you wish. You do not have to play the multiplayer at all to see this ending but doing so can make it easier on you if you do not wish to complete all of the optional tasks in the campaign.

The whole of Mass Effect 3 is good, fun and interesting to explore and see. The shortcomings and underdeveloped ideas will provide contrast against the well-polished and well-developed areas of the game, and this led me to disconnect with the game world at times. I played the PC version and had a relatively good experience with it although the textures and models look absolutely no different from that of which you’ll find in the console versions. Along with the lack of high-res textures is a lack of game pad support, and I did encounter some very weird bugs. During some key cut-scenes character models completely disappeared, character poses broke in hilarious ways mid-conversation and even had some dialogue cut out completely.

If you are invested in the Mass Effect universe, you’ll want to see how it all ends. If you’re new to Mass Effect, you may not want to start here as the most meaningful parts of the game are how certain parts of the story end, and Mass Effect 3 does not give you much history of the Mass Effect fiction. The dialogue found within is on point, but many plot threads are ignored during the final sequence of the game. Mass Effect 3 is a good game with an ending that left me unsatisfied.

Pros:

  • The story is always moving forward
  • Strong voice acting with some exceptions
  • Interesting use of multiplayer to affect single-player
  • Gun-play is at its best
  • Most of the new characters are interesting

 

Cons:

  • Scanning planets gets dull
  • Glitches and bugs can ruin some important moments
  • Some choices are meaningless in the big picture
  • Co-op could use a little more character
  • Some important plot threads are ignored during the ending
  • Most side quests are poorly done; lack of inventory can make them a chore
  • No loyalty mission equivalent
  • Certain efforts to humanize Shepard are hokey

Score: 8/10

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This game was purchased for PC on Origin for review. It took roughly 21 hours to complete Mass Effect 3 including all side quests. Mass Effect 3 is also available for the Xbox 360 and PS3.

Review: Street Fighter X Tekken

SFxT
March 7, 2012 By In Featured, PC, Playstation 3, Reviews, Xbox 360

If I could sum up Street Fighter X Tekken in one word, it’d be “audacious.”  Everything from the concept, to the huge roster, to Capcom’s questionable business practices involving the game are all indicative of the impressive audacity of one of modern gaming’s most controversial companies. But was all the storm and stress surrounding this release warranted, or did Yoshinori Ono pull out another flawless victory? Let’s equip our gems and dive into the game to see for ourselves.

The whole concept of the Street Fighter/Tekken crossover is that both companies would each make a version of a game which reflects their series’ unique mechanics and aesthetic.  Since this is Capcom’s iteration, it makes sense that SFxT retains Street Fighter IV‘s beautiful watercolor art style, and the translation of Tekken characters into said style is almost entirely successful. However, the actual fighting engine is different from Capcom’s last few fighting games in a number of important ways  that need to be explored.

First of all, Namco’s characters have been given ways to deal with the many projectile attacks of the SF cast, including feints, low dashes, and projectiles of their own. This does even the playing field a bit, but it feels like the Tekken side is only playing catch-up to the other half of the roster. In fact, a good percentage of online matches I found were populated almost entirely by Street Fighter characters, usually Ryu, Ken, or Akuma. Yoshimitsu seems to be the only Tekken character that pops up with consistent frequency. Nevertheless, even getting 38 disparate characters (more if you get the PS3 version) anywhere near balanced is an impressive feat.

Secondly, the game is entirely tag-based. Unlike Marvel vs. Capcom 3 though, if one of your characters is K.O.’d you lose the whole round, so switching out fighters to regain health is a much more crucial strategy in this game, leading to a different overall feel. Combos are more reliant on tagging partners in mid-chain, so you’ll need to learn to master the timing for this mechanic, which is difficult at first. Tagging in costs super meter however, so you’ll need to be much more cognizant of it than in games which just use it for just dishing out damage. Ultimately, the result is that Street Fighter X Tekken feels like its own unique product, rather than Street Fighter with some Tekken characters thrown in.

Unfortunately, one of the pitfalls of reviewing a potentially competitive fighting game is that you have to take into account its appeal to both casual and tournament players. This is where some of the more controversial elements of this title come into play, so I will try to give some perspective as to how much these issues should affect the buying decisions of both parties. Of course, as the game makes the tournament rounds and/or Capcom releases patches, specific details may change, so please be aware that the following analysis is based on the “Day 1″ retail version of the game.

Starting from easily the most contentious point, SFxT introduces what is known as the “Gem System.” Simply put, the Gem System allows you to equip a limited amount of conditional upgrades to your combatants, granting them boosts like increased damage or auto-blocking. In theory, this allows players to customize their fighter, making, say, their Rolento a little different from their friend’s. In practice, it’s an unnecessary distraction. Fighting style, speed, and damage output already fluctuates quite a bit between characters, so the addition of these gems feels unneeded. It’s telling that you can’t turn off the system, because the designers knew that most players would have just chosen to forego it altogether, given the option. And, if I may nitpick, the bright, colorful flashing that accompanies gem activation in battle is annoying and mars the game’s otherwise gorgeous presentation.

As far as tournament applicability goes, it doesn’t appear that the fighting game community is embracing them. Some of the more popular competitive streaming tournaments are choosing not to equip them already, at least in part because of the increased preparation time in between rounds. In fact, it appears that Capcom may just patch in a “Tournament Mode” in the future that disables gems to allow for controversy-free tournament play. That’s to say nothing of the planned gem DLC, which has been widely disparaged as a “Pay to Win” option that will unbalance online play. Only time will tell how much future releases actually affect the game’s community though.

If there is an upside to the gems, it’s in their ability to ease new-comers in with assist gems like “Easy Input” and “Auto Throw Escape.” Another newbie-friendly feature is the ”Quick Combo,” which allows players to pull off more advanced maneuvers with a simplified input. Even this is overshadowed by controversy though, as Capcom may have plans to monetize this as well. This likely won’t affect higher-level players, so consider this aspect if you stand on principle against these sort of practices.

There are quite a few more specific details that can be examined, including launchers, juggles, cross rushes, super charges, cross cancels, switch cancels, cross assaults, cross arts, super arts, and more, but the niche individuals who would benefit from a more thorough analysis of these mechanics have likely been aware of them since well before retail release. Let it suffice to say that all of these individual components of the combat come together to create a satisfying, cohesive whole. With enough practice, Street Fighter X Tekken becomes a rewarding game to play, and with the aforementioned inherent differences between characters, there is quite a bit of strategy involved. On a technical level, this game is top tier.

This quality extends into pretty much every aspect of the game. MvC3‘s disappointing arcade mode ending comics have been replaced with actual video endings, the addition of “Scramble Mode” allows you and three friends to play simultaneously against one another in 2-on-2 matches, and the game’s tutorial is narrated by Dan Hibiki. While there isn’t a story mode, the feature set here is robust enough to offset this. Also, it must be noted that the stage designs are some of the most elaborate in fighting game history, featuring fully animated background events that span the length of a match. I’ve come to expect nothing less from the geniuses in the Street Fighter art department.

The only strange omission is the ability for Xbox 360 players to team up on one account and play online, which is a feature supported on PS3. Officially, Capcom says that this is because of online architecture differences between Microsoft and Sony, but it’s interesting to note that such differences didn’t stop Mortal Kombat from implementing the feature across both platforms. This isn’t a huge blemish on the title, but if the PS3-exclusive characters didn’t convince you, then perhaps this should be enough to push you towards Sony’s console.

Lastly, Street Fighter X Tekken’s online implementation is a step forward in some ways, and a step backward in others. The addition of a Replay Channel addresses a rather large complaint about the excision of Spectator Mode from MvC3 after its inclusion in Super Street Fighter IV. On the other hand, the netcode seems to be a step down from these other products, as lag and other such issues are more prevalent than acceptable on launch. Also, there is an occasional error that causes a delay between animation and sound effects, or even a complete loss of sound. It’s a shame too, because the game’s soundtrack and effects are just as top-notch as the art. Of course, barring a massive corporate fumble, these issues should be minimized or resolved within the coming months.

When assigning a grade to a product that is both so hyped and maligned it’s hard to know what should influence the score. Are Capcom’s business practices regarding a game detrimental to the software as a whole? Does “Pay to Win” DLC cheapen the retail purchase? In the end, I decided that as long as I have informed you about the possible ramifications of supporting misleading corporate PR and on-disc DLC, then you can decide for yourself whether or not you want to support these practices. As it is, be warned that the Xbox 360 version of SFxT does not have the same functionality as its PS3 counterpart, and although both contain the same characters in the program files, many of them are locked off until you pay for them later as downloadable content.

Despite all of the extraneous monetization and console-specific inequalities, Street Fighter X Tekken is a fun fighting game that has carved out its own identity. If you’re a fan of both franchises, you won’t want to pass up this spectacle. Personally, I would wait for the release of the PS Vita version of the game though, as it will launch at a $40 price point, with all characters included, while the the console and PC versions start off higher and will only get more expensive if you want every fighter possible. It’s unfortunate that such raw mathematics have to come into play in a review, but it’s an unfortunate part of the industry lately. Either way, the bar has been set for Namco, so hopefully they can learn from Capcom’s missteps and deliver an even more impressive version of one of this generation’s most exciting crossovers.

Pros:

  • Unique feel
  • Large cast
  • Amazing art and sound design

Cons:

  • Unnecessary ”Gem System”
  • DLC Shenanigans
  • Uneven online experience

Score: 7/10

_____________________________________________________________________________________________________________________________________________________________________________

This game was rented for review and played for about 15 hours, including all modes. Some time was also spent playing the game prior to review at a Sony press conference and at E3. The title was reviewed on PS3, but is also available for Xbox 360. It will be be available for Microsoft Windows on May 11th, 2012 and for PS Vita sometime this Fall.

Review: Shank 2

Shank2_cover
February 10, 2012 By In Featured, PC, Playstation 3, Reviews, Xbox 360

There are few genres as overly-represented as the action genre. Through decades of constant iteration, it takes significant craft and vision to make one fun or especially memorable. After gracing us with Shank 2, Klei Entertainment has proven they have the chops to hang with the big boys. Their first effort was a great success, but Shank 2 has improved on its predecessor in nearly every way.

When the main character is named “Shank”, you don’t expect a cerebral…anything. At best, you’re looking for a decent thread to justify why you’re dismembering dozens of dudes. Unfortunately, the story is too light on the exposition. Shank 2 starts with a bus-hijacking and quickly takes you through a bizarre, almost disjointed series of levels and bosses. Amusing, but violent, cut-scenes are interspersed between levels, showing Shank either acting gruff or completely flipping out on everyone. Frankly, I can live with that. The first game had a much stronger story, focused on revenge and redemption with clear-cut motives. Yet, it wasn’t a better game for it. Levels often dragged, and the game wore out its welcome too soon. Shank 2 cuts down on the filler dramatically. Gone are the extended platforming sequences, copy/paste boss fights, and any reminders of the awful final level of the original game. Engagements are generally larger in scope and more exciting for it. I just wish the narrative kept up with the other improvements. The leaner story isn’t a good impetus to keep playing, but the combat sure as hell is.

If story is the frosting, than the combat is the moist, delicious cake. Shank 2 improves on the already-great mechanics of the original title. The first time you unleash your dual shanks into foes is an unparalleled feeling.  Combat moves faster than before, while giving you increased fluidity between heavy and light attacks. Mix in gunplay and grabs, and you have a formidable swath of moves at your disposal. Grabs can lead to throws or an impromptu human shield. Pop-ups can to air combos, ending with a pin, while you gun down incoming enemies. Flexibility is a huge aspect, and discovering options within options really shows you how deep combat gets. New to this game is the ability to counter attacks. If an enemy is hurt enough, an exclamation point will appear above him as he attacks. Hit RT/R2 at that time, and you’ll perform a gruesomely rewarding execution. Dodging has been moved to the right stick, freeing the shoulder button for the dramatic (and satisfying) pounce attack. Going back to the original feels like punishment; the combat improvements in Shanks 2 are immediately noticeable.

The original Shank was visually arresting, and it’s no different here. The 2D visuals are as crisp as ever, combined with silky-smooth animation. The frame-rate will occasionally stutter, but never as a detriment to the gameplay. Locales are much more interesting this time around, straying away from the “Desperado”-themed desert. Unfortunately, they’re still mostly forgettable. I was too busy causing utter mayhem to really notice much anyway.

Weapon count and overall customizability hasn’t changed dramatically, but the options are overall more significant. You will always start with your trusty shanks as your light attack, acting as a fast, offensive opener and combo extender. However, your heavy weapon and projectile choices greatly change your play style. The typical speed vs. power paradigm shows up here, but Klei went the extra mile to make the changes deeper. Some weapons receive damage bonuses depending on the enemy type, which means you’re never given a cakewalk. Unfortunately you can’t change weapons on the fly anymore, though dying allows you to change your load-out. It’s the same problem Bastion had; it’s a small nuisance, but a nuisance nonetheless. Costume unlocks are back as well, and again it’s deeper than before. Each “character” has special stats bonuses or penalties, which can dramatically change your play style. The game’s combat engine is flexible enough to support these sorts of tweaks without breaking the experience. Also, any game that references the seminal “Hobo with a Shotgun” is a win in my book.

You may weep to hear that the co-op campaign is M.I.A. here. But, they replaced it with something better. No, seriously. Hear me out – it’s way better. Klei heard the complaints from the first game about how dull the co-op campaign was, and gave us something far better with an online-enabled Survival Mode. Conceptually, it’s not staking new ground; just try to survive through the waves of enemies. Not only can you run out of lives, but you must also protect 3 points from being bombed. Along with earning cash to buy items between rounds, this sounds a lot like Counter-Strike. And it kind of is, with the addition of murdering handfuls of guys stylishly on your way to disarming bombs. Stages also have traps you can activate, whose effects you aren’t immune to. I witnessed this all too well, as my teammates couldn’t seem to understand the mechanics of a trap door, killing me in the process. Luckily, I wasn’t totally screwed as teammates can revive each other for free. The caveat is that you need to stand still over the body, leaving you wide open. If they manage to hold RB for a solid 5 seconds or so, you’ll spring back with half health. I was initially skeptical with this mode, but it won me over. Putting “Horde Mode” in the world of Shank made something in my brain smile widely.

I was expecting an excellent experience with Shank 2 and Klei delivered. The combat updates are very welcome, allowing incredibly smooth methods of dispatching resistance in the most violent way possible. Shank 2 offers more replayability than before, with dozens of costumes to unlock and in-game medals to earn. And although the co-op campaign is gone, Survival Mode is a worthy replacement by every stretch. I wish the campaign’s story was stronger (or even made sense), and the ability to switch weapons on-the-fly was still intact. Ultimately, they are small problems on an otherwise fantastic package.

Pros:

  • Revamped combat mechanics
  • Online-enabled Survival Mode
  • Lots of unlockables and in-game achievements
  • Gorgeous visuals

Cons:

  • Disposable campaign narrative
  • Removed ability to switch weapons at will
  • Slight frame-rate hiccups

Score: 9/10

Review: The Binding of Isaac

The Binding of Isaac -- 1
January 9, 2012 By In Featured, PC, Reviews

When a game is released under the name of a Biblical story and is billed as a Legend of Zelda clone, it immediately turns heads. Throw in the fact that it is made by one of the creators of last year’s Indie hit Super Meat Boy and you’ve got a combination that can’t go wrong. After spending some hours adventuring through The Binding of Isaac, I can happily say that very few things have gone. Edmund McMillen’s The Binding of Isaac is one of those diamond in the rough indie games that everyone should play.

The game tells the story of a child named Isaac who goes through a questionably troubled childhood. After being subjected to ridicule from his peers and receiving the cold shoulder from his mother, Isaac is eventually stripped of all of his belongings after his mother receives a calling from a higher power. After being persuaded further by this higher power, Isaac’s mother attempts to sacrifice the boy. Luckily, Isaac finds and enters a trap door in his room and escapes to the basement below. However, as you will quickly discover, Isaac is only lucky if he can survive the horrors that await him in this basement.

As Isaac travels through the basement and beyond in his attempt to flee his mother, you will become acquainted with the rogue-like, Legend of Zelda-inspired gameplay of The Binding of Isaac. Each randomly-generated area is split into multiple rooms filled with enemies that Isaac must defeat. His weapon: a stream of his own tears. However, veteran players won’t be using simply tears for long as there are certain rooms in each area that feature special items and upgrades. Everything from chocolate milk bubble weapons to pills that give Isaac “bad gas” are available as possible items to collect in these rooms. However, a lack of description for all of the items is a little disappointing. Isaac must also collect keys to open more rooms, including item shops and arcades as he traverses the various areas. Once Isaac has passed through a few rooms and has collected his item, he moves onto fighting the area’s boss enemy. Although, due to the game’s random nature, it is entirely possible for Isaac to go straight to the area’s boss without having to venture to the item area.

The most surprising aspect of The Binding of Isaac is how addicting the gameplay is, even for those who aren’t usually fans of rogue-like games. I believe that the addicting nature of The Binding of Isaac stems from just how accessible the game is. Although the is incredibly punishing and insanely difficult, it takes only minutes to understand the fundamental aspects of the game and to begin adventuring the basement. The pace at which The Binding of Isaac develops a plot to when players actually begin controlling Isaac is very quick and is something a lot of AAA games could learn from.

I can’t publish a review of this game without highlighting some of the great ideas and comedy that are hidden deep within The Binding of Isaac. Some of my most memorable moments with this game didn’t come from the gameplay, but the hidden little jokes and references that litter the game. For example, every time Isaacc dies, a last journal entry appears on screen. This entry shows the enemy that killed him, features a message to his mother that is trying to kill him, and lists all of the items he collected, which are said to go to his cat Guppy. Other times when collecting items Isaac would come across pills that he would take. These did things such as give him a “bad trip” that removed a heart and even went so far as to make him retarded. There are also growth hormones that make Isaac’s brain grow alarmingly large. When combined, Isaac’s look is something that you can’t help but crack a smile at. It may be a little adult and a bit offensive, but the humor in The Binding of Isaac is top notch.

Graphically, The Binding of Isaac is simple, yet sleek. The menu at the top is simple and retro as it brings back fond memories of the original Legend of Zelda on the Nintendo Entertainment System. The cutscenes that appear at the beginning of each area share this simple, yet sleek look. Although Isaac and the game’s enemies clearly look hand-drawn, the style just works. There was never a moment where I was disappointed by the look of a character. A tone is set by the use of colour in the game. Brown, black, red, pink, and blue are used constantly . While at first it may be disappointing that a hand-drawn game isn’t a little more vibrant, it quickly becomes clear why the colours were chosen. The blood-splattered and soiled rooms along with the menacing blue and red zombie children do a great job of making the player feel for Isaac as he ventures from room-to-room.

With everything being randomly-generated and multiple rooms being locked or hidden away, The Binding of Isaac is chock-full of replay value. It is easy to lose a few hours in each sit-down with The Binding of Isaac as once you start, you won’t want to stop until you have explored every area and have unlocked every secret.

The Binding of Isaac is an ingeniously addicting rogue-like that is sure to attract gamers of all types. With a great but limited story, fantastic Legend of Zelda-inspired gameplay, and more random references and content than can be listed here, The Binding of Isaac is an indie title you would be silly to miss. Sure, the game could use some descriptions for all of the various items you will collect, but that is only a small misstep in an otherwise surprisingly great game.

Pros:

  • Quick, yet meaningful plot
  • Addicting gameplay
  • Full of content
  • Tons of replayability
Cons:
  • No item descriptions
  • Lack of difficulty options

Score: 9/10

Review: Minecraft

minecraft-logo
November 30, 2011 By In PC, Reviews

Minecraft is dangerous. You can sit down to a new randomly generated world for a quick session only to snap out of the creative haze many hours later to realize you’ve forgotten to eat, sleep, and go to the bathroom. There’s always just one more tunnel to carve, one more resource to harvest, one more tool to forge, or one more to-scale replica of the Star Trek Enterprise to re-create block by block. The ability to exercise limitless freedom and mold the game’s retro fantasy world to your liking is powerfully addictive, and this indie-developed sandbox phenomenon holds a staggering level of depth. Some of the game’s elements still feel rough and unfinished, but nevertheless, once Minecraft sinks its hooks into you, it won’t let go.

Though it initially lacks any tangible plot or specific direction to follow, the real beauty of Minecraft lies in the fact that neither is needed. You get out of the game what you choose to put into it, which allows you to pursue the aspects that most appeal to you. Survival mode is where the experience comes closest to resembling a game in a traditional sense. Dropped into a lovely but primitive-looking 3D world, you’re free to explore, build, and adventure as you see fit. Unique biomes like thick forests, swamps, mountain ranges, deserts, and icy tundras hold many resources to harvest, and the jagged landscape itself is your key to survival in these first tenuous steps of the adventure. You start out empty-handed and danger-prone, but carving out the land yields tons of resources needed to generate food, craft weapons and armor, and form crucial tools. Building a shelter with stone, wood, and other blocks is also important; nightfall ushers in the arrival of meandering killer creatures that range from the exploding creepers and mumbling zombies to the enigmatic endermen and arrow-flinging skeletons. There’s a cool natural flow to the day/night cycle that encourages you to shift gears between fiddling around on the surface and hunkering down or heading below ground.

The complex crafting system at the heart of Minecraft’s open-ended gameplay is a huge part of what makes the game so enjoyable, and it adds to the thrill of exploration. Laying down raw materials and other resources you’ve collected in certain combinations along the crafting grid lets you produce everything from practical adventuring tools and structural building elements to clever decorations for your mega fortresses. Some basic items, like torches and pickaxes, are needed for navigating below ground and mining key resources. More elaborate items, like enchanting tables that let you imbue weapons with buffs and powered mine carts that can be used to ferry materials across great expanses of track, require rarer materials to craft. Scouring both the surface and subterranean realms for the elements needed to craft these “recipes” is hard work, but it’s rewarding.

Toiling away for hours to finally uncover that elusive component you’ve been searching for can unlock a whole new range of crafting possibilities, and there are more than 200 recipes to make. The big issue for newcomers is that figuring out recipes is a completely unintuitive process. There’s nothing in the game in the way of tutorials or even a basic explanation of possible item combinations and what they do. Thankfully, Minecraft players have posted a tremendous amount of detailed information online to help the uninitiated learn the ropes, but it’s a major shortcoming of the game that you have to venture outside of it to learn new crafting combinations. There’s a hefty learning curve to get past when you start out, though it’s not a total fun dampener. It’s less of an inconvenience once you get a feel for it, and the sheer volume and variety in the things you can craft more than make up for it.

Regardless of which mode you play, one of Minecraft’s biggest draws is the way it encourages rampant creativity. The gameworld is constructed very much like a giant Lego set, and you can destroy, tinker, or add to the environment in any way you see fit. At first, placing simple soil and stone blocks to erect a crude shelter to keep out the nocturnal hordes feels satisfying, but as you uncover the means to craft torches, doors, stairways, panes of glass, bookshelves, and tons of other abode-centric items, the door to endless building possibilities suddenly flings open. It’s possible to sink full days into building elaborate flying megafortresses, underwater castles, skyscraper-like towers of doom, and complex labyrinths–and that’s just the beginning. Using red stone, pistons, trap doors, and other unique items culled from recipes, you can construct everything from elaborate Rube Goldberg machines to massive lava-spewing pixel art statues of your favorite game characters. Bending the gameworld to your creative will can be a glorious time-sink on its own, and the level of flexibility is mind-boggling.

With unlimited blocks, instant access to every item, one-hit destruction, and the ability to fly at will, playing God in Creative mode offers a more relaxed way to build and play. At the opposite end of the spectrum, Hardcore mode hikes up the difficulty and gives you just a single life with which to work. It’s a brutal challenge that’s not for the squeamish because dying deletes your gameworld and everything you’ve amassed in it. Playing multiplayer Survival mode with friends is one of the most rewarding ways to enjoy Minecraft, if you can muster the patience needed to download additional software and figure out how to properly configure the server with help from online tutorials. Like some other features in the game, the multiplayer setup isn’t the most intuitive or easy to navigate. It is, however, absolutely worth the hassle.

Survival mode blends building and adventuring, and it’s where the most fun is at–whether you play solo or with friends. The most intrepid explorers and ardent treasure hunters will want to journey far beyond the comforts of their spawn points because Minecraft’s expansive realm is home to some unusual hot spots worth touring. Poking around cave crevices can uncover elaborate underground strongholds that stretch deep underground. These long-abandoned vestiges of human civilization hold hidden treasures and ample resources to balance out the hazards posed by their deadly denizens. Then, there’s The Nether–a hell-like alternate dimension riddled with danger that is accessed by crafting a portal out of rare materials. Aside from being fun and risky to tool around in, both of these locations are integral to accessing the ultratough end boss encounter that’s tacked on for completionists.

Does the game really benefit from an ending? Not so much, but it offers up a goal for those that feel they need one. However, the fact that there even is an ending to strive for isn’t clear from the get-go because the introduction to the gameworld is such an abrupt one that’s devoid of story or direction. Other recent additions to the game leading up to the game’s official launch–like human villages populated by mindless non-player characters that currently serve no purpose and a bare-bones experience system that weakly ties into weapon enchantments–feel like interesting ideas that lack follow-through in their implementation.

Minecraft has been a work in progress throughout its lengthy public beta, and the “official release” still has an unfinished feel to it in spots that won’t sit well with everyone. Visual glitches pop in at regular intervals, and some game elements seem incomplete or thrown together in haste. What’s amazing is that the core game is so ridiculously absorbing that these flaws matter little in the grand scheme of things. Even in its current form, Minecraft remains one of the most conceptually impressive indie games out there. It’s a game changer to be sure and one that will live on in the annals of gaming history for a long time to come.

 

Score: 8.0/10

Review: Halo: Combat Evolved Anniversary

halo-ce-anniversary-
November 28, 2011 By In PC, Playstation 3, Reviews, Xbox 360

If you’ve ever played an Xbox in your life, then odds are that you’ve played Halo: Combat Evolved, which launched the system and captivated millions of players. But the question isn’t “How good was it then?” It’s “How good is it now?” The answer: It’s still really, really good. The campaign tells an intriguing story full of fluid action, fierce enemies, stirring music, and thrilling moments. The overhauled visuals look great; flipping between the classic and remastered presentation modes not only makes you realize what a thorough and faithful job the artists have done, but it also makes you appreciate how well the original art design stands the test of time. Six updated multiplayer maps and one new Firefight map round out this discount package with some competitive and cooperative fun. Thus, Halo: Combat Evolved Anniversary provides a great way to relive the past, as well as an exciting and rewarding adventure that holds up very well in today’s shooter scene.

The story of what happened when humanity first encountered a halo is still an interesting one, even if you’ve heard it before. It starts with a crash landing, followed by a race to discover what this strange place is all about. The emergence of the Flood and the revelation of the halo’s true purpose build the momentum that culminates in the desperate deeds you must perform to avert galactic disaster. New terminals in each level trigger cutscenes that offer new perspectives on characters in the game and hints about Halo lore we might see in future games. These add some welcome depth to the narrative landscape, though they only show up when you play with the updated presentation. The campaign is an exciting ride that is enhanced by the development of Master Chief and Cortana’s relationship, as well as the entertaining ally and enemy chatter that helped build Master Chief into one of the most enduring video game icons.

The fundamental mechanics of the game have also endured well. Jumping is a bit floaty, but the movement and combat controls respond with alacrity. Those who have played more recent Halo games are likely to be impressed with the range of the assault rifle and excited by the chance to wield the iconic pistol once more. Battling against the Covenant is engaging and satisfying, thanks to the enemy AI. Elites are still fierce and agile, jackals still use shields with vexing effectiveness, and even grunts can still get the best of you if you aren’t careful. Covenant enemies look more ferocious and diverse with the remastered visuals, which borrow designs from more recent Halo games. The Flood are similarly updated with the grisly, antennae-rich look of recent years, but the simplicity of the classic look feels more sinister and alien. These monsters aren’t nearly as fiendish in combat as the Covenant, but their swarms can be relentless and deadly if you don’t maneuver smartly.

Dealing with these dual threats makes for varied and engaging combat, which helps ensure that you’ll have a blast fighting your way to the thrilling final sequence. On your way there, you might be tempted to leave some enemies standing in favor of speedier progress. It can be empowering to leave your enemies in the dust, but be aware that this tactic can exacerbate issues with Anniversary’s somewhat spotty checkpoint system. Nearby enemies or just speedy progress can prevent checkpoints from registering, which makes your untimely death more of a setback than expected. Slowing down in checkpoint areas can help, as can playing the campaign cooperatively. You and a friend can play local split-screen, though there is no drop-in/drop-out option. Or you can link up with a buddy online to tackle the entire adventure, though there is no matchmaking.

As you play through the campaign, you can switch between the remastered and classic presentation modes with the press of a button. The visual difference is striking, especially in outdoor areas where the remastered land, sea, and sky are enriched by vibrant details that stand in stark contrast to the flatter, more subdued scenes of the classic mode. Each remastered level is infused with remarkable new detail and abundant design flourishes, yet each still remains immediately recognizable to those who know the original well. Lighting is perhaps the most drastic improvement, transforming dim claustrophobic spaces into luminous chambers. The differences aren’t merely visual; the audio has also been overhauled to make the gunfire ring out with greater impact and the signature strains of Combat Evolved’s excellent score sound even sweeter.

But don’t let the excellent remastered presentation stop you from playing in classic mode from time to time. Many of the areas, especially the indoor spaces, hold up impressively well, thanks to the great artistic design. It’s fun to find the visual flourishes that have remained virtually unchanged, though it’s definitely worth seeking out some of the new elements, including a control panel that indicates John-117 wasn’t always the only Spartan on The Pillar of Autumn. Unfortunately, you can’t make the switch during cutscenes, but it’s delightful to be able to do so at any other time during the campaign.

Classic mode is not available in the online competitive multiplayer, however. There are only six maps, including five from the 13 original Xbox maps and one from the six exclusive PC maps. Though many of the 13 missing maps have already been remastered or reenvisioned for other Halo games, there are some conspicuous absences that fans will undoubtedly miss. The maps here have been given the same careful grooming as the campaign, so Hang ‘Em High now features a gorgeous exterior view, and there are some great wintery touches in Prisoner. The multiplayer is integrated with the architecture from Halo: Reach, which means your rank and ridiculous armory accoutrements will transfer into the action. Players who own Reach can join Anniversary players online by downloading the Anniversary Map Pack for $14.99 (1,200 Microsoft points). Matches include the expected gameplay modes, though whenever you see the Anniversary descriptor, you know you’re getting retro weapons without any armor abilities.

Combat Evolved Anniversary also gives players access to Forge and Theater mode. The latter lets you view replays of your matches, capture screenshots, edit clips, and then share your creations online. The former is a map-editing mode that lets you modify the multiplayer maps, overhaul maps to your liking, create your own gameplay variants, or simply goof around with the extensive abilities at your disposal. There’s also a new Firefight map inspired by the second level of the campaign, which offers the same gleeful cooperative Covenant-slaying carnage that this mode has offered in the past two Halo games.

For those with the required hardware, there are two other features that mark Combat Evolved Anniversary as a modern release. Playing in properly calibrated 3D is a pleasure, but using the Kinect voice commands is more like a sideshow. Action commands like “grenade” and “reload” are unusable because of their delay, while menu items like toggling 3D or adjusting brightness simply open up the possibility for mischievous friends to meddle with your play time. By activating the analyze function, you turn your worldview into a blue-tinted blur. You can then scan highlighted elements like enemies, weapons, and vehicles to unlock encyclopedia descriptions of them in the library. This could be mildly interesting to fans that enjoy reading up on the Halo universe, though folks who don’t own a Kinect will have to resort to searching the Internet to get their information fix.

Regardless of what hardware you own, Anniversary is an impressive remastering. It’s worth noting that Halo: Combat Evolved is still available for download from Xbox Live for $14.99, but if you’re in the mood to replay this classic, Anniversary is absolutely worth the $39.99 asking price. Though the single-player and multiplayer modes will all feel familiar to anyone who has played a Halo game before, the signature action of the series is still as exciting and expertly tuned as it was 10 years ago. Halo: Combat Evolved Anniversary is a remarkably well-done update for a game that has deservedly earned an honored place in gaming history.

 

Score: 8.5/10