Game-spectrum

Although Microsoft will drop the price of the Xbox 360 to $299 this weekend, Sony says it has no plans to follow suit with the PS3.

“This year, our strategy is not to sell more quantity for PS3 but to concentrate on profitability,” said CFO

Nobuyuki Oneda on Friday. “Our plan is not to reduce the price.”

Oneda’s remarks trail widespread confirmation that Microsoft will drop the price of the Xbox 360

by $50 this Sunday. In the last three weeks, numerous sources and retail fliers have confirmed the news, though Microsoft says it has nothing to announce.

Sony effectively slashed the price of the PS3 for the first time last year, when introducing a new 40 GB model without backwards compatibility for $399.

Super-violent football title Blitz: The League 2 will deliver bone-crunching hits on PlayStation 3 and Xbox 360 this fall.

A new Blitz title will arrive on consoles this fall, Midway confirmed Tuesday.

Called Blitz: The League 2, the pseudo-football, super violent addition to the Blitz franchise will include a brand new “story mode.” No additional details were provided by Midway on that mode in a press release obtained by Wired.

However, we do know that Blitz: The League 2 will feature “better tackling controls, player-controlled touchdown celebrations, and a host of online multiplayer options,” according to the release.

Blitz: The League 2 is scheduled to arrive in stores this fall for both the Xbox 360 and PlayStation 3.

Written by Andre Glegg
Monday, 28 April 2008
Ubisoft on Monday confirmed the newest Prince of Persia game, slated for release on Xbox 360, PS3, PC, and Nintendo DS this holiday Little has been revealed for the working title, but the game is being developed by Ubisoft Montreal, the same team that designed the original Prince of Persia: the Sands of Time, and most recently, Assassin’s Creed for Xbox 360, PS3, and PC.

So far, the game is vaguely described as a “new chapter in the Prince of Persia universe, featuring a new breed of gameplay [and] illustrative art style.”

Additionally, Ubisoft will release a Prince of Persia game specifically designed for the Nintendo DS system, featuring a unique storyline and new characters.

Prince of Persia is one of the more recognizable third-party games ever released, particularly after its transformation to 3D in 2003 with the release of Prince of Persia: the Sands of Time.Ubisoft on Monday confirmed the newest Prince of Persia game, slated for release on Xbox 360, PS3, PC, and Nintendo DS this holiday.

Little has been revealed for the working title, but the game is being developed by Ubisoft Montreal, the same team that designed the original Prince of Persia: the Sands of Time, and most recently, Assassin’s Creed for Xbox 360, PS3, and PC.

So far, the game is vaguely described as a “new chapter in the Prince of Persia universe, featuring a new breed of gameplay [and] illustrative art style.”

Additionally, Ubisoft will release a Prince of Persia game specifically designed for the Nintendo DS system, featuring a unique storyline and new characters.

Prince of Persia is one of the more recognizable third-party games ever released, particularly after its transformation to 3D in 2003 with the release of Prince of Persia: the Sands of Time.

Written by Chris Matel
Wednesday, 09 April 2008
Baseball, the American pastime, has been imagined and adapted into a multitude of variable contexts (see future, monsters and pure casual). However, it’s the simulators which catch the most attention, and criticism, for offering players deep, engaging experiences. Sony Computer Entertainment of America San Diego’s MLB: The Show franchise has offered one of deepest baseball game opportunities out there for the past couple of years via the Playstation 2 and 3, as well as the PSP. While the ’07 outing of The Show caught some flack for rough animations and gameplay functions, the ’08 season returns with updates to both technical and gameplay aspects.

Some of the major areas of criticism from last year concerned crucial fielding, batting and pitching gameplay. Whether you’re playing on Sony’s handheld system, or either of its consoles, expect a similar-yet-improved experience. A few tweaks and changes to problem areas have made ’08 an improved package over last year’s game.

Last year, The Show introduced Adaptive Pitching Intelligence and Pitch Command System to the simulator, and while both of these mechanics return to this year’s game, a few tweaked dynamics give ball-slingers added insight into managing their pitches. Instead of blindly throwing fast balls one after another, it’s possible to take a break before a pitch, see just how well and how effective different pitches have been against the current batter, which of your pitches are working well, how the resulting hit might pan out, and a whole host of other statistics to proceed accordingly with an appropriate pitch.
It may seem a bit unfair for a pitcher to pause before executing their money-making service, but if you take into account that real spit-ballers have a lengthy career of knowledge, coaching and intuition behind them, both pitching tools really put you into the head of a major league pitcher.

The pitcher-batter match-up isn’t all one sided however, as the batter has their own analytical tool to asses what the pitcher is likely to throw and how effective they have been at bat. By using the Progressive Batting Performance, the game tracks how hot or cold the current batter is, allowing you to judge how to hit the ball. By using a spectrum of color-coded icons ringed on the batter while at the plate, you’ll know if you should swing for the fences or take a bunt. Just like the pitching mechanics, the batter’s tool gives you the feeling that you have an influence in the batting process. Hitting balls well isn’t a simple task in The Show, but then again, neither can it be while playing at Fenway Park…when you’re Derek Jeter.

Changes have also been made for fielding and while running bases, which make the game play out smoother than its predecessor across all systems. While some minor tweaks in animations make fielding and running feel overall more responsive, a new system for robbing sluggers of home runs has been implemented. By timing the corresponding control just right, it’s possible to snag a ball from clearing the fences. Ultimately, it’s a small change, but being able to more effectively deny another of a homerun is a completely rewarding feeling.

For all of its praiseworthy changes and minor tweaks, not everything is perfect with this year’s Show. Unfortunately, the game’s A.I. is still not as solid as if you were playing with the ’98 Yankees. Minor issues in defensive play will make even the casual baseball fan wonder what happened. Missed cutoffs, pitchers neglecting fieldable balls, and slow reactions make the game sometimes feel as if it’s a beer league. However, tightened playmaking decisions and controls mask some of the problematic inconsistencies.

Some technical issues pop in all versions of the game as well. While last year’s framerate problems on the PSP seem to be have cured, all versions suffer from tearing brought on by new camera angles. Also, repetitious crowd animations and clipping are annoying preponderances. Graphically, the PS2 version is the weakest of the lot, with aliasing and texture issues, but they aren’t enough to ruin a solid experience.

All of these functions come included in a game which offers players unique and rewarding franchise and career modes. Just like ’07, this year’s game has all of the options for playing games. Like other sports games you have the option to just play single games, seasons, franchises and special events (i.e. Home Run Derbies), however, The Show throws in a special mode: Road to the Show. Unlike other games that focus on team development in a franchise, Road to the Show centers on the development of a singular player, from creation to making it big.

In these games, instead of playing as different people during games, you’ll focus on your player’s specialty. If you’re a pitcher, you’ll pitch; a shortstop will only play in-between third and fourth base; and, with any other position you choose to play, that’s where you’re going to play. To keep things interesting, goals are doled out by your manager to complete for each game. Unlike last year’s pass-fail model, this time, things are little more forgiving, and make for a more enjoyable experience.

While playing locally with a buddy is fun, friends aren’t always around. The online feature for ’08 has been updated with a new SCOUT (Sports Connect Online Users Tracking) system which allows players to find matches quicker based on player criteria. Such a setup does away with annoying, time consuming menus and is a welcomed addition.

Though, for the most part, each version of The Show is nearly identical—save for graphical differences—there are some differentiating features. The PS3 version is the only one which allows players access to the Replay Vault. Instead of simple replays, it’s possible to capture a stellar moment anytime in-game, and repeat it over and over again for bragging rights. The problem here is that the word “vault” is a bit deceiving. While you’re able to replay whatever, whenever, there’s no ability to save your replay or transfer it to a friend.

Also, the PS3 and PSP really get a host of more fun, and practical, features that the PS2 version lacks. Custom playlists, from MP3 and music files stored on your hard drive or memory stick, are able to be uploaded in-game for a customized audio experience. The last, big, difference between the formats is the ability to save games while still playing. Both the PS3 and PSP versions allow for players to save their progress at any time while in the middle of a game, but PS2 owners are forced to either play through the rest of their game, simulate to the end, or keep the console on until their next sitting.

Finally, each version of the game looks great for their respective format and each does a stellar job on the audio side of things. Players and their animations look recognizable and athletic, though limited options in player creation is a little disappointing. However, everything from the announcing to in-game music is spot on. There are instances where you won’t hear the umpire’s call until sometime into your next pitch, but the above-average play-calling makes you feel like you’re listening to a real game while the boisterous crowd gives you the feeling you’re actually there.

In all, you can’t go wrong in picking up this season of The Show. It may feel like there’s not that much of a difference from ’07, but there are enough minor changes and tweaks to make this year’s outing a more complete, refined experience. The PS2 version is a bit gimped compared to the other two formats, but that’s a case of hardware. Also, there still remains the wished-for functionality of cross-compatibility between PS3 and PSP games to make the series really standout from SCEA’s MLB 2K8 competition. But, in the end—wishes aside—MLB ’08: The Show really is the baseball fan’s game.

Gameplay: 8.5
Graphics: 8.0
Audio: 8.5
Lasting Appeal: 9.0
Overall: 8.5

Written by Chris Matel
Monday, 07 April 2008
Often times, remakes and handheld versions of epic games just don’t seem to live up to their precedent-setting forerunners. Fortunately, this isn’t the case for Team Ninja’s latest ‘next-gen’ re-release, Ninja Gaiden Sigma, and portable slide-and-slash Ninja Gaiden: Dragon Sword. Both effectively take the re-envisioned Ninja Gaiden universe, originally created for the Xbox, and expand on it in brutal and inventive ways.

Ninja Gaiden Sigma (PS3)

Technically, Sigma is a remake of remake. The classic Nintendo franchise was first recreated for the Xbox back in 2004, utilizing the Xbox LIVE service to supply two additional packages for download. Ninja Gaiden Black was the first remake which incorporated elements from the previously downloadable content, but Tecmo didn’t stop there with the re-released content.

Although it’s possible to complain that Sigma is essentially the same game you would have gotten a few years back—essentially negating any points for originality or replayability—it remains an intense experience that requires actual skill to complete.

If you played through either the first game, or Black, you know the story, and there’s not much difference in Sigma. You play as Ryu Hayabusa, of the Dragon Lineage, and after your village is attacked, the Dark Dragon Blade stolen, and shrine-maiden killed, your quest is one of revenge and retrieval. Through the Empire of Vigoor, your mission is to track down Doku who has stolen the Dark Dragon Blade for evil purposes.

The story is really nothing engaging, but plays well off of lore and mysticism, combined with a case of honor—not to mention you play as perhaps the most revered ninja in all of video game history.

Although the story is nothing special, it serves its purpose. However, the story isn’t the main draw of the Ninja Gaiden experience: it’s the gameplay. Not much is different from the first time the game was introduced to gamers in 2004, save for the playable sections of Rachel the Fiend Hunter.

Rachel’s playability this time around offers a different dynamic, but ultimately feels like a means to lengthen playtime, and to differentiate Sigma from the previous iterations. Her levels are spliced between Ryu’s adventures, as she quests to free her sister from the control of the fiends. Rachel’s slower play style, at least, allows for a break from Ryu’s frenetic pace and fills holes that were once only included as cutscenes.

Other than providing for as a respite however, Rachel’s busty inclusion into the game ultimately just doesn’t meld all that well; the real the draw of the game—the fighting engine which makes the game unique—is Ryu’s versatility with speed and an array of classical weaponry. Although powerful and offering a more complete story, her sections break up the intense action that make the game a classic. Her moves are just as visceral as Ryu’s, but ultimately feel a bit less variable and fluid.

Rachel’s inclusion aside, the overall gameplay remains superb, and along with being optimized for the console, Sigma looks great. Ninja Gaiden’s fighting engine is one of the most compelling out there since moves cannot be interrupted midway through their execution. Ultimately, the learning curve is quite high for the game, even on normal, and you will either love it or hate it.

With that said, the game gives you the ultimate reward upon completion; you actually feel as if you have accomplished something. Fights take part in different settings adding to the dynamic: corridors, open arenas, small rooms and multilevel areas keep things interesting as you have to compensate for the room you have.

For all of its praise however, the game is still not perfect. The main issue here is the camera. Although you’re able to swing the camera around Ryu, the design still makes it less than perfect when traversing smaller corridors, leaving you open to unsuspecting attacks. Also, the SIXAXIS function of powering up your Ninpo (Ryu’s magical, elemental attacks) is a weak add-on which seems fully obligatory to the hardware.

It can be argued that paying full price (now more expensive than its previous generation retail listing) for a couple-of-years-old game is a bit outrageous, but the extra missions, various play modes and expanded spectrum of difficulty settings ensure the game is well worth its value. Granted, if you still have an older copy of the game accessible there isn’t much reason to splurge, but if you haven’t played it in awhile, or never got around to it the first time around, Sigma is a must-own. Its action may look like another button-masher, but rest assured, the gameplay is much deeper and far more rewarding.

Gameplay: 9.0
Graphics: 9.0
Audio: 8.0
Lasting Appeal: 8.5
Overall: 9.0

Ninja Gaiden: Dragon Sword (DS)

Six months after the Dark Dragon Blade Incident in Sigma, Ryu has rebuilt his village and peace has once again been restored. However, the tranquility doesn’t last for long as a new evil attacks the village in search of the Eye of the Dragon.

The game opens as Ryu is sparring with the new shrine-maiden, Momiji. Eventually she is kidnapped and the story turns to one of rescue, gathering Dragonstones and warding off the Greater Fiend Ishtaros and a greater dark power.

Along with opening up the game as Momiji—providing for an introduction to the game and an overall different feel—there’s plenty of novel things that have been implemented for Dragon Sword to make it an unique, exciting experience for the handheld device.

Right from the start you’ll notice the game plays as if you were holding a book, similar to Brain Age. This setup allows for the top screen to display a full sized map, while the touch screen handles all of the action. Gameplay also tries new things by using the stylus for everything. Except for using any of the buttons to block, and either the Start or Select buttons to access an inventory menu, everything from jumping to talking is handled via the stylus.

Dragon Sword tries new things for a handheld action game, and it wholly delivers. It takes a second to fully pick up its style, but once you have acclimated to the control scheme, everything becomes intuitive. By making it a stylus only game, Team Ninja has turned a potentially repetitive button-masher into a novel experience.

However, a few problems do arise with the setup. Picking up the stylus and then touching the screen again produces a ranged attack, and in a game that has the same split-second moments as it’s console forbearers, being left open for an attack at a crucial moment can mean the difference between finishing off a boss and having to retry the whole battle over. Also, while defending, it’s possible to dodge oncoming attacks, but for some reason Ryu won’t always roll in the direction intended without extremely exaggerated efforts.

Although a few issues arise in the stylus-only setup, the majority of time spent is nearly flawless and extremely fun to play. Unfortunately, the story is a bit on the shorter side and there’s not much else to do but hack and slash enemies. The game is broken up into 13 chapters with a majority of them acting as dungeons holding a Dragonstone. There’s really little variance between levels, with only a few easy puzzle elements and different enemies, so replaying the game depends on your determination to play again on extremely challenging difficulty settings to find all of the wooden amulets which award you with character details and other extras. Ultimately, however, a few platforming elements, utilizing Ryu’s abilities, would have been welcomed to break up the game a bit more.

A short story shouldn’t drive any away from such exhilarating gameplay. Even in such a small presentation, the developers have been able to harness the essence of the franchise in fast, brutal action. The game looks superb using fully polygonal characters against pre-rendered backdrops, and combined with intense swordplay, it presents a full package that doesn’t ever drop in framerate. Also, ambient sounds and strong music mask a lack of voiced dialogue that it’s easily overlooked from the stellar gameplay. Ultimately, if you’re a fan of Ninja Gaiden, and are looking for a Ryu booster before the next console game, Dragon Sword delivers a fresh take on handheld gameplay and is a strong addition to the franchise.

Gameplay: 8.5
Graphics: 9.0
Audio: 8.5
Lasting Appeal: 7.0
Overall: 8.5

Written by Chris Matel
Friday, 04 April 2008
Since its introduction in 1998, the Rainbow Six series has gone through its fair share of changes and different locales. Two years ago however, Ubisoft Montreal brought us to the streets, and casinos, of Sin City itself: Las Vegas. There, we were introduced to an insidious story of deceit, which was matched only by compelling gameplay. Left with a cliffhanger in the first game, Rainbow Six Vegas 2 not only finishes the story, but sticks to the successful precedent to deliver another satisfying trip to the Strip.

If you had a chance to play through Rainbow Six Vegas, you learned the story of a Mexican terrorist group threatening one of America’s most paradoxically adored and controversial cities. Sent in to quell the bio-threat was Rainbow, but the story didn’t end when the credits rolled.

Vegas 2 doesn’t start off right where the first ended, but eventually gets to that point by going through different stages of the terrorist attack. First, the game begins with a prologue, setting up the whole situation in Vegas, then plays simultaneously during the events in Mexico, and finally wraps up with a finale to whole incident. Incidently, the story is no more compelling than the first, with your classic case of under-appreciated teammate turned traitor bent on making a point. Although the story works well on its own and supplies an intriguing context for still-exceptional gameplay, you’ll get more from the story if you played the first Vegas title.

With that said, what Vegas 2 does, is set up the story for the first game and follows Bishop, a Rainbow veteran, and his team through a separate Vegas mission. The story picks up five years after a hostage situation gone wrong—and while Logan’s unit is in Mexico—with Bishop called in to track down chemical weapons threatening the citizenry of Sin City.

Unfortunately, while the game is made up of new characters, locations and missions, it feels more like an expansion rather than a whole new experience. However, there are really two sides to the dilemma.

The old saying rings true here, “If it ain’t broke, don’t fix it.” The first Vegas title was a huge success that balanced strategic play and action well, with an accomplished multiplayer in addition. Vegas 2 takes the same principle gameplay and tacks on a few tweaks that really round out the whole feeling.

Right from the start, customizability presents itself as the key feature to the game. Before your first mission, you’re instructed to create you own character which can be modified throughout the game by unlocking additional content through the game’s new universal, progressive experience system. Unlike the last game which separated story experience from multiplayer, this time around, experience points are gained no matter what mode you’re in.

To compliment experience gained, a new Advanced Combat Enhancement and Specialization (A.C.E.S) system has been employed which awards players with both additional experience points and new equipment. By completing tasks associated with three different types of A.C.E.S (Marksmanship, Close-Quarters Battle and Assault) new weapons, armor and camouflage can be equipped both in-game and in-lobby, just as the first game. Although it’s nothing revolutionary, it’s a nice tweak to complement the universal leveling mechanic.

However, before any upgrades or other changes can be made through the A.C.E.S system, you have the option to plaster you own mug on your character by using the Playstation Eye. Although it takes a bit of time to render the image—not to mention it can be a bit frustrating to take the picture just right—the picture mapped onto your character loads a fairly well representation of your face that can be taken into any game mode; you do however, lose the ability to equip certain items for your noggin’.

This type of customizability isn’t something that you’ll find in other games and is a simple, subtle addition which makes for a rather eerily-immersive experience; watching yourself die can be a bit unnerving, while functioning as a total badass is sublime.

Other new additions can be found in the tweaked multiplayer experience. Unlike the first game’s four-player story mode, Vegas 2 allows only two to play simultaneously. This change only gives the host the sole ability to order commands to two additional A.I.s. Understandably, giving both players control of teammates could have ended in abuse, but the setup can cause headaches if and when the first player dies, leaving the second without any recourse to instruct teammates on where to go and what to do; it’s a minor change to a setup which didn’t really need one to begin with.

There are also a few new additions to adversarial play which expand on the normal-but-satisfying online gameplay. Again, just as with the game overall, adversarial play in Vegas 2 feels like the same experience as the first game’s, but expanded. New maps keeps things different, and transferred XP allows for more access to upgrades; just don’t expect any mind-blowing changes, as the formula stays the same.

Although there’s not much difference from the first game, Vegas 2 still has its fair share of bugs and deficiencies which should have been hammered from the first go. Random gunfire and dialogue glitches pop up every once in awhile which can mask story dialogue, and becomes irritating as your teammate repeats the same sentence over and over again. To go along with repeating gunfire effects, are mounted guns which mysteriously continue to fire even after their user has been dispatched. Other hiccups include your normal bugs which should have been caught and fixed like framerate issues and infinitely respawning enemies.

Also, for all of its tactical prowess, Vegas 2 leaves a bit to be desired in the A.I. department. While your teammates function well when given orders, they sometimes feel too good as they clear and entire room as you sit back and watch from the Snake Cam. However, things can pan out just the opposite as they sit in the middle of gunfight and get mowed down by the ensuing barrage of bullets; also, the enemy A.I. is just as unpredictable.

As was mentioned earlier, there are two sides to the Vegas 2 experience. While on the one hand much of the content seems recycled from the first game, just with different missions and few new gameplay tweaks, on the other, such changes make for a game still worthy to be called a sequel because it capitalizes on the success of its predecessor and completes the story with improved mechanics. Although the game doesn’t look or sound much better or different than the first, Rainbow Six Vegas 2 is a stellar follow-up which offers just enough to keep fans happy, and more than enough to attract a new following.

Gameplay: 8.5
Graphics: 8.0
Audio: 8.0
Lasting Appeal: 9.0
Overall: 8.5

Written by Chris Matel
Sunday, 30 March 2008
Monolith is known for their ability to scare gamers through convincingly-haunting environments, and psychologically-demented gameplay. Almost three years ago Condemned: Criminal Origins was released on the Xbox 360, introducing players to a city plagued with violent transients and a serial killer on the loose. While the game did well in implementing melee-based combat in eerie settings, there were enough loose ends in the story to keep players scratching their heads once everything was done. Condemned 2: Bloodshot answers leftover questions in the story, but does so in new, improved ways.

The first Condemned game was an introduction into a city seething with violence, and to the series’ protagonist Ethan Thomas. By the time he survived to clear his name, and apprehend Serial-Killer X, Ethan’s on-the-run investigation opened up a deeper plot filled with conspiracy and mysticism. The game ended in a cliffhanger, leaving little detail as what exactly was going on. Bloodshot picks up a few months after the SKX investigation, with Ethan no longer on the SCU, and is a drunk struggling with inner-demons.

Bloodshot acts both as a standalone story, as well as a functional sequel. This time around, Ethan is recruited by the SCU to help track down Malcolm Van Horn after he mysteriously goes missing.

It’s nearly impossible to go into too much detail about the story elements of the game, as each level answers more questions about who Ethan is, why the city has broken down to frenzied-addicts and crazies, and why there are people with metal bits protruding from their bodies.

Ultimately, Bloodshot with leave fans of the game satisfied with knowing exactly what is going on, with a fairly well flushed out story. There are a few odd story choices, and some unexplained characters, but all of the major plot points are answered in the end.

While the first Condemned game invoked a compelling mystery, gameplay elements made up most of the buzz it received. By introducing a melee-centric, first-person brawler, Condemned was about using whatever you could find as a weapon. The same core mechanic is transferred to Bloodshot, with a few improvements.

Wooden 2×4s, pipes, bats and other melee weapons reappear in Condemned 2, but there are also a multitude of additional weapons scattered about levels. Between bowling balls, prosthetic arms and foosball handles, the array of possible weapons create a great sense of urgency and environment interaction that almost no other title offers.

Along with more melee weapons, are an increased number of firearms. Unfortunately, by providing more accessible guns, the game begins to feel less unique as some areas are nearly impossible to complete without firing a bullet.

Still, even with more guns, Bloodshot tries to keeps things interesting by accounting for alcohol withdrawals. To calm your nerves and steady your shot, you’ll have to take a drink from random liquor bottles. The mechanic is a nice touch, but boozing it up doesn’t carry other effects than just a steady aim, and with the ability to complete the game without taking a shot, it’s almost unnecessary.

Complementing the increase in weaponry is improved hand-to-hand fighting and a performance-based upgrade system. A new combo system has been implemented for which allows for engaging, visceral fights. Also, similar to the Punisher game from a few years back, environmental-finishers add to previous moves of the past. By subduing an enemy, the dazed individual can be dragged to a piece of scenery that can inflict a gruesome demise. Although it’s nothing new, shoving an enemy into a T.V. completes the immersive feel of the game.

To augment your street fighting, additional combos as well as improved inventory are awarded based on how well you perform investigations and complete each level. While the first game held your hand during investigations, Bloodshot requires some actual thought, through logical deduction. The investigation sequences are much more robust compared to the previous edition and are a welcomed change.

Weapons, fighting and investigations aren’t the only changes to this year’s sequel. The overall visuals have been overhauled with better lighting effects and improved character models, but the game retains its genuinely creepy feel. It’s interesting however, as Ethan and Rosa are hardly recognizable to their earlier incarnations, and, along with a new cast of voices, they feel a bit out of place. The situation is almost like having Brosnan talk about missions that Connery went on in Bond films; it’s just kind of weird.

There are some additional, minor troubles with the game. Instances of un-synced voiceovers and some grinding audio effects dislodge an otherwise top-notch experience, complete with convincing ambient noises and a fitting soundtrack. Both versions of the game hold up well technically, but there are some framerate dips. Also, with a later release date, the PS3 version has subtle graphical differences than the 360 one, with some strange texture popping and a slightly overall less-ominous feeling.

Though, such problems are not prominent enough to mar the experience. The Monolith team has done a great job in supplying fans of the first game with a total package. Bits of nostalgia are provoked as Ethan revisits some of the same locations as the first game. Yet, between the new and old levels, there’s an uneven balance of action and fear. While the first game supplied a good amount of psychological unrest, a lot of the thrills in Bloodshot tend towards more action-based elements.

The final big change to the game is the inclusion of new game modes, to both the single and multiplayer side of things. Besides playing through the story, you can choose the instant, action-based Fight Club which throws you into a scenario with a specific objective. Ultimately, the 6 additional challenges do little to add more life to the game, unless you’re really into leaderboards.

The most notable addition to the series is the inclusion of a multiplayer. Playing either online or through a LAN, you have your choice of familiar game types. Instead of capture the flag, Crime Scene has a team of “Influenced” who hide boxes containing heads, with SCU agents searching for them. Similar is Bum Rush which pits two gun-wielding SCU agents against a mob of Influenced in a survival game.

These multiplayer options offer a different-than-usual experience for online play, but suffer if your team lacks coordination and cooperation. Without a plan, the Influenced team usually gets decimated from the lack of guns, making the games a chore to play through.

Finally, there are the classic Deathmatch and Team Deathmatch options. For a game that is melee-centric, these games show the shortcomings of Condemned-style multiplayer. Matches devolve into players blindly swinging weapons into huddled groups of frantic, punch-happy characters. There is skill involved in these games, but odd splash-damage from weapons coupled with limited maneuverability and vision, make for a never-ending string of killing than dieing. Ultimately, matches feel more opportunistic than strategic.

In the end, Bloodshot is a much more complete game than its predecessor. The 360 launch title introduced players to a game based on melee combat. Monolith took a successful formula and built on it with better visuals and improved gameplay. The story still has some holes, and there some odd, out-of-place elements, but the overall product retains the game’s creepy, thrilling precedent.

Gameplay: 8.5
Graphics: 8.0
Audio: 8.0
Lasting Appeal: 7.0
Overall: 8.0

Written by Chris Matel
Thursday, 20 March 2008
Historically, licensed games, based off of television shows and movies, don’t necessarily translate well to the video game format. ABC’s show “Lost,” tells the story of the survivors of Oceanic Flight 815 and their misadventures trying to get off of a mysterious island. One sentence outlining the show doesn’t come close to a sufficient summary of the show, deep with plot twists. Ubisoft’s Lost: Via Domus, acknowledges the complexity that is the Lost canon and tries to offer an experience outside of the main story, but in doing so, misses the mark as a compelling game for both diehard fans and general gamers alike.

Instead of tying directly into the events of the show, and putting you in the boots of Jack, Sawyer, Kate or other established characters, Via Domus follows a different passenger of Flight 815. After crashing, you wake up in the jungle, suffering from amnesia. Not knowing who you are, or anything about your past, your adventure entails uncovering bits about your past by exploring the island for familiar objects to jog your memory. Yet, that’s where discussion about the story must end, because even discovering your name is a main objective of the game.

What Via Domus tries to do is dip into the events that occur through the first several seasons with adventure gameplay, while keeping far enough from it to tell its own side-story. Throughout the short experience, fans of the series will find themselves in familiar locales like Black Rock, the Swan Station hatch and, of course, the beach; also, you’ll take part in Lost-specific events such as being responsible for resetting the hatch timer with those infamous numbers: 4 8 15 16 23 42.

Unfortunately, while trying to juggle between offering a new survivor story and staying away from the show’s plot, the game misses an opportunity to offer anything substantial for diehard fans, and will leave non-fans uninterested from short, weak gameplay elements.

Like the show, the game is dissected into episodes, with a similar formula: recap of earlier events, opening events, title, remember something new, cliffhanger, ending title; the game is actually broken up into episodes with an edited recap of what you just did in-game. While trying to uncover who you are, you’ll have the opportunity to interact with main characters through one-lined dialogue. However, unlike RPGs with deep, rich dialogue trees, Via Domus uses interaction to point out where to go next with simple responses that don’t have any impact on relationships or future events.

The episodic nature of the game, complete with recaps, would have been an interesting element, if the game wasn’t a purely linear experience. The game itself is a short experience, and only lasts a couple of hours, but without the ability to deviate from the scripted events, or switch things up through dialogue, there’s little reason to play through a second time. Thus, the game recaps previous events regardless whether or not you actually participated in them. The dialogue and action, then, does little to make the game an immersive experience.

A scripted experience would be forgivable, especially for the uninitiated to the Lost lore, if there was compelling gameplay, but such is not the case. In-between running around locations on the island, the game is broken up into flashbacks, cave challenges and puzzle challenges. Just like characters on the show, you’ll experience flashbacks which uncover a little bit about your past and the story in general. Instead of simply watching the flashback, it is up to you capture a photo representing the memory. With an unlimited amount of chances to snap the right shot, the only challenge is figuring out how tight to make the picture, and how focused the camera needs to be.

Once you get the picture just right, you’re treated to a cutscene, followed by an opportunity to find a few additional story-based extras. Trying to match up the photo is actually fairly enjoyable, and works well in delivering the story. However, as the story stands alone for the game and offers little to the show, it feels too compressed and oversimplified with convoluted twists that aren’t fully fleshed out.

Other gameplay elements include cave challenges and puzzle challenges. Certain areas require navigating a cave where, if you’re in the dark for too long, you are consumed by the black smoke (the island’s mysterious, ravenous inhabitant). To make it through, you can take advantage of the game’s bartering system, as different commodities are worth a certain value in trade. By trading away water, coconuts and beer for a lantern or torch, you ensure safe passage through the caves. In execution, these areas are little more than time-wasters with waterfalls and bats trying to extinguish your light, and are an excuse for the arbitrary bartering mechanic—though, it makes sense as Sawyer is a fairly opportunistic individual.

However, the game does include fairly challenging mini-games, which seem to act merely as a way to extend play time. There are two types of puzzles, both of which require logic and calculation to complete: fuse box challenges, and aptitude tests. Both can take a good amount of time to complete, and invoke an extremely rewarding feeling for completing these logical puzzles. They may act mostly as fillers for a short game, but at least they’re actual challenges in a game for once.

Between collecting fuses and uncovering your past, Via Domus is an extremely limited experience that shows off the hardware for the current-gen but fails to utilize the license for the show. The game has some nice lighting and environment effects, and overall does well in recreating the island’s landscape, but also includes some not-so-great renders of the show’s personalities.

Finally, only hurting the immersive experience, is the failure to grab all of the show’s actors for voiceovers. While the game has a handful of the actors contributing their voices to their characters (Desmond, Clair, Sun, Mikhail and Ben) the failure to have a full cast defeats the purpose of a licensed project. Luckily, the same eerie soundtrack accompanies sections of the game that add some emotion to the experience.

For the show’s faithful—those engrossed in both the show and alternate reality game—Via Domus won’t explain any interesting details of the main plot or deliver an engaging side story. Similarly, for those outside of the Lost fanaticism, the gameplay and story offers a short, hollow experience with little reason to replay once it’s completed. The only worthwhile exception for both is a confusingly-intriguing ending sequence which, in the Lost spirit, only leaves more questions than answers. For a game that had the potential to expand on the canon and involve a deep story, limited casting and boring gameplay make for a functional-but-less-than-exciting experience.

Gameplay: 6.0
Graphics: 7.0
Audio: 4.0
Lasting Appeal: 3.0
Overall: 5.0

Recently, Codemasters released their alternate reality title Turning Point. Come Winter 2008, PS3, 360 and PC gamers will have another opportunity to visit a fictitious reality in, Damnation.

In their announcement today, Codemasters touted their upcoming release as a vertical shooter with stunts and gunplay aplenty. There isn’t much detail in the release, but the story looks to revolve around Rourke in a post-industrial America in a classic good versus evil plot.

Tuesday, 6th March 2008 – 2pm UK  –  Codemasters®, a leading video game publisher, and US creative studio Blue Omega Entertainment today announced Damnation™, a new videogame franchise set to come leaping onto the Xbox 360® video game and entertainment system from Microsoft®, the PLAYSTATION®3 computer entertainment system and Games for Windows® this winter.

Evolving the shooter genre with its unique and exhilarating combination of fluid action and combat, Damnation will feature huge, open environments, frenetic combat, daredevil acrobatics and high-octane vehicle-based stunts. Presenting players with an intense test of reflexes, quick thinking and rapid-fire conflict, Damnation will feature vast, breathtaking landscapes, each covering miles of distance and thousands of vertical feet.

Billed as a ‘shooter gone vertical’ and visually inspired by iconic elements of American history, these massive streaming landscapes will form the battlegrounds for a post-industrial conflict between humanity and an unstoppable arms dealer hell-bent on total world domination.

Players will be able to choose their own paths and navigate the world by performing daredevil feats on the edge of human ability. However players aren’t the only ones with mind-blowing acrobatic skills; intelligent enemies will give chase and engage players in frantic gun fights and attacks that can come from any direction – in Damnation’s world there’s no safe place to hide.

With up to three hours of actual gameplay stretching out in front of them per level, players will need more than just muscle power to get across each level safely. Damnation will offer players a selection of awe-inspiring vehicles, from motorbikes capable of launching across seemingly infinite chasms, to huge, armour-piercing marvels that will induce mayhem with every huge shell.

The high action will be supported with an epic and in-depth story which, while focusing on the exploits of the hero character Rourke, is truly an ensemble piece. Players will meet and become involved in intricate story plots that reveal much more than the obvious.

In addition to the single player experience, Damnation comes complete with a unique set of multiplayer options that take full advantage of the game’s expansive levels. Currently in development at Blue Omega’s facilities in Annapolis, USA, Damnation will be available for Xbox 360, the PLAYSTATION 3 system and Games for Windows in late 2008. For more information and to catch a glimpse of what the future of gaming has in store, visit www.codemasters.com\playdamnation.

Written by Chris Matel
Thursday, 06 March 2008

Chances are when you think of PC-gaming, Unreal Tournament comes to mind. This isn’t much of a surprise as the series has been a staple for mouse and keyboard players since 1999. Although the franchise finds its roots on the PC, Epic has dabbled with console ports on both the Xbox and PS2 in the past. Unreal Tournament 3 marks the return of the extremely frenetic shooter—albeit a bit subdued on the console, but just as beautiful and entertaining as ever.

For the uninitiated, Unreal Tournament is an arena style first-person shooter that has classically been marked by the need for inhuman-like reflexes and spot-on aiming: a “twitch” shooter. With each new title, Epic usually changes things up and includes a new dynamic; however, diehard fans will notice that UT3 changes little from UT 2004. This doesn’t mean that the game is gimped for those vets, instead UT3 offers the same ability to mod, mutate and battle through classic gameplay.

This time around Epic has opted for a campaign with a character that strangely is reminiscent of their Gears of War protagonist. Ditching the do-rag for a pair of goggles, the Marcus Fenix look-alike is on a revenge mission with his sister and fellow Ronin compatriots. After their colony is attacked by the Necris, Reaper and his crew are hired as mercenaries to aid the Izanagi Corporation. Divided into five chapters, the campaign is made up of different game modes that are usually reserved for multiplayer matches—i.e. deathmatch, capture the flag, etc.

For those looking for a single-player, deeply narrative experience, this isn’t the game for you; the same goes for those that thrive on stealth, tactical shooters. In fact, the Unreal series is the complete polar opposite of those types of games. The campaign is held together with a few cut scenes as Reaper fights for revenge, but the story is really just a context for games that can be found in Instant Action or multiplayer games. Such becomes obvious when you return to maps that you beat before, and the only thing that has changed is the names of the enemies.

A shallow single-player campaign really shouldn’t come as a surprise as it is a departure from the kind of action-only based gameplay of past games. The Unreal franchise is a multiplayer experience, and trying to deviate from that feels hollow and misplaced. With that said, the game shines at providing an expansive multiplayer experience.

Like Warhawk, UT3 is a broadband-only game. You can choose to play Instant Action against multiple bots offline, but without the ability to play with a friend off the same screen—relegating the game to an offline-only experience would eventually bore any player. The problem isn’t completely in the AI—both enemies and teammates aren’t the brightest, but they’re not complete dolts either—it’s just, unless you have the difficulty turned all of the way up, tactics won’t change and you’ll get use to winning.

Online however, the game explodes into a completely different animal. All of the same maps, weapons, vehicles and game types from offline, translate to online games with complete customizability. Your standard games are present, with warfare acting as a king of the hill hybrid. In warfare, different nodes link together to cores and the goal is destroy the other team’s core. Cores can’t be attacked unless links are made between nodes, so battles rage at different locations and make for intense contests of aim and strategy.

The game comes stock with a good amount of different maps of varying size, but in-case you didn’t know, the Unreal crowd is a dedicated one that creates their own mods for maps, as well as mutations for in-game action. By simply transferring data from a USB flash drive to the console’s hard drive, UT3 is insured an ever-expanding catalogue of free maps for as long as people care to create.

Unreal isn’t only synonymous with twitch-shooting, but is also the name of the engine that many developers license to create their games. Epic has taken extra care to make a graphically appealing game in UT3 and it shows. Everything from the maps to the characters, vehicles and weapons looks amazing on the PS3. For all of its beauty, the game runs surprisingly smoothly, with only a few instances of dropped frame rate.

All of the sounds accompanying gameplay flesh out well also. In offline games, AI will let you know what’s going on, where enemies are, and where they’re headed. This is a nice little touch that will sometimes let you forget you’re only playing by yourself—although it’s not always right-on. Voice acting isn’t too over-the-top with dialogue that is believable and some subtle humor, but little feeling. Unfortunately, online games are plagued with voice chat problems that make communicating inconsistent and difficult when trying to coordinate action during warfare.

There a re also a few technical problems with textures popping in after loading maps and weird physics while controlling some of the vehicles. The game’s largest tank, the Leviathan, is a behemoth and must be fought over just to use. While driving it around it’s slow, but getting snagged on an obstacle can send it end-over-end like it’s a rag doll. These little problems luckily aren’t pervasive and do little to detract from the gameplay. Also, a clunky menu system can cause you to overlook the wealth of options available. However, through the magic of the internet, patches can always cure such problems.

Overall, UT3 is a must-own for any first-person shooter fan that is all about action. Conversely, if you’re into stealth and going undetected, chances are you might not find the game too appealing—although, you won’t know until you try. For a series that’s had its faults on consoles in the past, UT3 sets a precedent demonstrating that the twitch shooter can do well when not played with a mouse and keyboard.

Gameplay: 9.0
Graphics: 9.5
Audio: 8.5
Lasting Appeal: 9.0
Overall: 9.0