Game-spectrum

Written by James Pikover
Tuesday, 04 March 2008

There is no good introduction to Patapon. But it’s a game that needs none. A simple yet cunningly complex rhythm game that requires players to have quick wit, and does it better than any before it, need not receive a half-strewn history or poetic saying. Patapon is simply as its name suggests; simple, catchy, and utterly amazing.

As the mighty Patapon, a sort of deity to a race of small creatures with giant eyes for bodies, it is the sworn duty for players to lead the Patapon back to their promised land which they had long ago lost by unknown means. Using the power of drums, it is the duty of the Almighty Patapon to return the Patapon to their land, find “It” and regain their former glory.

Simple as it may sound, the odds are always stacked against the Patapon. Not only are they small of stature and always short on numbers, but they are essentially worthless without the imbued power of the players drums. They have complete and utter faith in the players decisions and do exactly as they are commanded, which says much about this tribe that stares at you through the PSP screen.

The commands are simple and training to use them is a necessity followed through well. With four different drums to collect over the course of the game, commands can be attack, defend, move forward, retreat for cover, using magical powers, and more. So long as the beat is kept, the Patapon will do as they are told.

Following the beat is key, and while it may appear to be easy at first takes lots of practice to do continuously and well. Hitting the notes perfectly requires expert timing, though the rewards for doing so are great. Should the beat be kept for ten moves straight, the Patapon enter “Fever” mode, where they become more energetic and attack with more vigor.

For the different types of Patapon, this means different things. Yaripon and Yumipon are projectile attackers, using spears and arrows, respectively. Tatepon are the brunt force, attacking with swords, axes and carrying shields, while Dekapon, huge and wielding massive clubs to pummel the opposition. Kibapon ride gallantly on noble steeds and fight with lances, and finally Megapon fire tremendous sound attacks. And there are variations of each, depending on what type of materials are used to spawn the different Patapon.

In Fever mode, attack strength practically doubles. Dekapon and Tatepon attack more often and are more likely to amass critical hits. Yaripon jump up to throw their spears farther, Yumipon shoot three arrows simultaneously instead of one, and Megapon become much more effective. Kibapon are the most effected by Fever, galloping back and forth around the battlefield and sending enemies careening back to whence they came.

Enemies come in numerous shapes and sizes. Most inviting are the Zigotons, a race similar to the Patapons, but distinguishable by their red square eye-for-body. Like the Patapon, they fight in groups, typically the same size as the largest Patapon arrangement, but they fight in waves, use buildings for protection, better armor and weaponry, and set traps for the Patapon.

Beyond the different types of Zigotons are the different forms of creatures that are meant to be hunted. Buffalo, ostrich, and giant crab-like creatures are the typical foray on the Patapon diet, but they will eat anything they kill, save for the Zigotons. Even and especially the large bosses.

These behemoths will be ten to twenty times the size of the attacking force, carry thousands of health points when for most of the game each Patapon can only inflict tens worth of damage. Each has specialty attacks that can clear the battlefield with just a few connected hits.

All along the road traveled are new obstacles to overcome, items to find and treasures to uncover. The items earned are typically weapons or armor as upgrades, but can also open up new areas to explore, battle and hunt. Equipment is dealt with prior to any outing and is familiar to typical RPG’s, except that it can only be obtained from the Zigotons after battle.

This may seem like a downside, but it fits brilliantly into the model developer Pyramid sought out to create. The level of depth in Patapon is unrivaled because it all plays through the simplest of terms. How many regular Patapon are required based on the number of helmets, since some Patapon don’t need helmets. How to properly distribute weapons when only so many are available, but different teams can use different amounts.

Using such deep strategies and tactics, however, is not necessary. Players can just as easily spend hours farming for “ka-ching”, the money of the world, to further upgrade all their Patapon. It comes at a price, for doing so takes much time and because it isn’t simply monotonous button presses that typical World of Warcraft players have grown accustomed to. Keeping the beat for hours of farming is completely different from hours of progressing, fighting actual enemies and carrying out the story.

A rather large annoyance is the inability to pause the game, with the exception of putting the PSP in standby mode. Pressing start simply asks if the mission should stop, though realistically as a rhythm game there is no solution. The option to pause it without stopping the system cold would be an improvement.

Properly playing Patapon takes practice and patience, and those short on either will ultimately reach the end of the game with incredible difficulty in defeating the final stages. This may occur because they simply paid for standard troops instead of more powerful ones, and filled their ranks completely instead of mastering the controls to progress.

The final missing piece is the lack of direction towards necessary and unnecessary steps towards progression. Several times backtracking will be necessary and it will only say in one particular spot, which is very easy to miss. For anyone without hawk eyes, time will be spent simply playing over various maps to achieve something they know nothing about, only to stumble upon it in anguish of time ill spent.

Keeping the tradition of simplicity in all parts of the game, Patapon is a visually pleasing, cute, intelligent and surprisingly addictive title. Taking a step back from the gameplay, it’s easy to marvel at the ingenuity of Patapon from every angle; artwork, music, control, presentation…very little holds it back. Even with its faults, there is no doubt that Patapon is a contender for game of the year on the PSP.

Final Verdict:
Gameplay: 10
Graphics: 9.0
Audio: 10
Last Appeal: 9.0
Overall: 9.5

Written by James Pikover
Thursday, 13 March 2008

The Ghost of Sparta has a horrible curse on his life. We all know that from the exceptional PS2 titles which have taken us along with Kratos’ journeys, across practically every inch of Greek mythology ever written. Yet the god of war was once human, and even acted like such, bu the death of his wife and child left him all but soulless.

Ready at Dawn Studios, developers of “Daxter” on the PSP, had their work cut out for them. Following up two of the biggest games from the biggest franchise on the PS2 is no small task, and for a PSP version they did an amazing job. Considering that everything from controls to graphics to storyline had to be different and yet the same. they really pulled it off.

As the story goes, Kratos killed his wife and daughter in blood-lust (unknowingly), and forsook Ares wishes. Left wandering the earth for 10 years, he was a slave to Olympus until that fateful day upon defeating the sea serpents for Poseidon that he summoned Athena the first time. That was the first “God of War” title.

Chains of Olympus takes place just as his wandering began ten years earlier, at the shores of Attica during a Persian invasion (300 reference anyone?). Kratos battles a giant Basilisk, and upon defeating it watches Helios’ chariot falling to earth. Not long after Morpheus, the god of dreams, threatens to take over the world because there is no sunlight, and of course Kratos is called to save the day.

However, it isn’t merely about Kratos searching to rid himself of the horror of his past. We are led to learning about who Kratos actually is, as a human being, through the hope he gains in finding he may be able to save his daughter. As a prequel, it’s not hard to figure out how it all turns out, but keeping it secret was never the intention.

Control was an expected issue, since the PS2 titles had access to two sets of triggers and a second analog stick. Chains of Olympus instead makes excellent use of what the PSP has to offer, using the triggers as sub-command buttons (ie, hold down the left trigger and square to perform a certain attack).

It has improvements over the PS2 design by using the different magic attacks as sub-commands rather than switching between them, which was easy to use previous magic energy wrongfully. Leaping away/toward enemies is done marvelously by holding down both triggers and using the analog stick to point where to jump. Finally, weapons changes are done by using the D-pad. Everything else remains identical to its PS2 counterparts. If anything, the biggest flaw is the excessive use of the PSP’s analog stick which can drive one mad (it simply is not made right), though that’s hardly Ready at Dawn’s fault.

Everything including most of the attacks. Through the course of gameplay it becomes easy to identify and use combo’s from the previous titles, which we tested to make sure. Not all of the combinations are present, but most are. Side by side comparisons show just how great a job was done.

That goes for how the game looks as well. Even at a low 480×272 resolution, Chains of Olympus is the best looking PSP game ever made. It shockingly runs completely smooth on both PSP versions, though the older ones will have longer loading times between levels and occasionally in-game, which is attributed to the lower RAM count on the older PSP systems. But put the smooth, fast-paced slashing gameplay together with top-of-the-line graphics never before seen on the system and you’ve got the most amazing viewing experience available on a portable console.

The limitations of the PSP’s smaller UMD’s do cut in pretty visibly though, but for the most part don’t really cause too much trouble. There are only a few different types of enemies, and on the mortal or hero difficulty settings (easy and normal, respectively) there is little variation in gameplay mechanics. It’s very easy to figure out which enemies succumb to which tactics, and then follow those guidelines. Typical battles can be very easy once you understand how each NPC functions.

On the Spartan or God mode, that doesn’t happen. Health fades much faster and suddenly every attack isn’t just a flesh wound. The variation of different enemies will be treacherous, and like it’s PS2 brethren it can be amazingly hard. And even if you know the Weakness of each enemy type, the different combinations of enemies and landscape will leave you ducking and dodging and, undoubtedly, restarting.

As a God of War title, Chains of Olympus fits in perfectly. The combat system, graphics, story, and controls are all optimized for the PSP, but play like it’s on the PS2. A title this strong doesn’t deserve merit or applause; sheer awe is the best description. It’s almost a shame that Patapon came out just a week before, because it’s spot as current game of the year for the PSP just changed hands.

Final Verdict:
Gameplay:10
Graphics:10
Audio:10
Lasting Appeal: 9.5
Overall: 9.7

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

Written by James Pikover
Tuesday, 18 March 2008
For most people, the mouse they use is of little concern. “So long as it isn’t a ball mouse,” they’ll say nowadays. “I can’t stand those.” They have a point: laser mice are certainly better, but the market is flooded with them. Which one should you get?

Once again, most people will just stick with whatever their computer comes with, the standard insert-company-name-here two button mouse. Completely functional, utterly boring.

That’s where companies like Logitech step in, to remind you that not only is life not meant to be based around those extra tidbits that come with that important something, but that everything should be that something. And that’s exactly what the G9 mouse is, a superior, superb machine that out-straps every typical mouse ever to come to existence.

At the same time, it’s meant for gamers, typically for fans of the FPS genre. Don’t worry, the G9 is a monster compared to most gaming mice as well. A monster in every way.

What it does require is a little patience and some time to get used to it. The G9 is smaller than most mice, with a thin top and a wide base, and it doesn’t fit most people’s palms for a full grasp. It’s not meant to; it’s meant for quick wrist movements instead of flailing arms, which are slower. There are also nine buttons, an unprecedented number, eight of which are programmable.

Two of the buttons sit on the undercarriage, one which operates the profile settings and the other which commands the scroll wheel lock. The former can be based around the default settings, with three different profiles are available and can be set to different resolutions (dpi, or how much the mouse reads while moving; the higher the dpi, the less physical movement required for ‘virtual’ movement on-screen), and more can be added with Logitech’s downloadable software. However, it isn’t required and the mouse will work on most machines as a plug and play with all it’s default settings intact.

The latter is pretty neat, especially if you never had the function on a mouse. Most mice have scroll wheels that click. By click, I mean that they have a stopper that keeps them from spinning rambunctiously to ensure scrolling is smooth and clean. But sometimes that clicking is just too slow, or perhaps annoying because of its insensitivity. Even with changing the proper Windows settings, you may never get it the way you like. Click the wheel lock, and that clicking mechanism goes away and suddenly the scroll wheel spins (practically) without friction. It may seem like a somewhat useless achievement, since it allows the scroll wheel to effectively have little to no control, those with nimble fingers and a sensitive touch will be able to control it adeptly, both with simple applications and serious games.

The other two buttons are the sensitivity setting, which sits directly below the left mouse button. It’s proximity to our favorite of buttons means changing sensitivity settings is easy and affordable. If you’re selecting an area of files to delete and there is a large acreage of display to cover, up the sensitivity and let the mouse fly. If precision is required for photo editing, just hit the “-” button and draw away. With a top sensitivity of 3200dpi, the G9 spans across the typical desktop with ease and comfort.

Considering how well it performs in standard, boring non-gaming applications, imagine our excitement when testing it on games such as Bioshock, Crysis, Supreme Commander and Portal. Having to test it against something, we had the Razer Deathadder in hand and the Creative HD7600L, which came with one of the assorted parts of my custom PC. Suffice to say, the order or mice given is also the order of performance they gave.

In Bioshock and Crysis, there were an assortment of weapons to go through, though both games have limited weapons to carry or use altogether, so there was little need to take off the scroll lock. Crysis called for a medium-high setting, since there was an abundance of camouflaging used while Bioshock ranged higher up. Being dark and scary at times, a higher sensitivity to turn around was much appreciated.

Portal performed wonderfully, and I was able to successfully do several tricks previously unattainable because of the changeable sensitivity. Quickly changing portal placement, turning a corner and doing it all over again at the speed of light worked wonderfully, and kept the flow clean because changing back to my regular settings was so very easy.

SupCom also benefited, mainly due to how much land could be covered. While RTS’s aren’t really the type of game that the G9 was made for, it still found a suitor in it. Selecting individual units versus whole groups was remarkably easy, and navigating from one section of the map to another was unprecedented. There was almost no comparison. While the Deathadder did feel more comfortable than the G9, it was outperformed in every way. The HD7600L just felt very tacky compared to both.

Along with all these wonderful features is an exquisite cable made of low-friction weaved material so it rarely, if ever, gets stuck in knots; a kit of weights to really customize the feel while moving the mouse to and fro; two different grips, one widegrip seen on many newer mice and one “Drygrip” which, true to its name, stays dry and helps against sweaty palms; and on-board memory that can save up to five different profiles directly on the mouse. With the exception of the G9 being made exclusively for right handed people and the small form-factor, it resembles everything we expect to see in a high-end mouse. The whole package retails at approximately $100, which is quite a bit for a mouse. However, with the functionality and usefulness the G9 has to offer, it’s a deal. Still, a quick search showed that finding a deal for it is pretty easy, and as of press time Amazon is selling it for nearly half off at $55. That’s not a bargain, it’s a steal. A mouse this good isn’t something to cherish or praise; it’s something to truly appreciate.

Score: 9.5/10

Written by Chris Matel
Monday, 10 March 2008
The Guitar Hero phenomenon is something that is nearly impossible to avoid, especially if you’re a gamer. The game is both accessible enough for first-time players to pick up and strum along to streaming, color-coded buttons, and difficult enough to make dedicated veterans continually retry songs. It is because of such reasons that Neversoft’s take on the Guitar Hero franchise remains a casual gamer’s wet dream and a hardcore gamer’s rhythmical pleasure. Guitar Hero 3 doesn’t deviate much from Harmonix’s precedent, but has enough new features—both in hardware and gameplay—to keep fans of the series hooked, as well as indoctrinate a new generation of wannabe rockers.

If you opt for the full-on bundle with both guitar and game (suggested), you’ll have access to the series’ first wireless guitar accessory. Complete with detachable neck for easier storage and a changeable faceplate for customizability, the new Gibson Les Paul is a welcomed hardware upgrade. One of the more frustrating issues with the older setup was worrying about rocking a bit too hard and pulling out your guitar from the console, leading to a break in the action, but such issues are cured with no cords to be found. Also, buttons on the body of the guitar have been moved around to prevent unwanted pauses, and the fret buttons have become more streamlined in design. Overall, the guitar looks sleeker and is a great move for the series; it’s just too bad the new frets feel a bit sticky and don’t seem to respond as well as the previous hardware.

While Guitar Hero 2 was a brand new title for the Playstation 2, the port over to the 360 was more of an opportunity to showcase its addictive gameplay rather than an example of next-gen graphics. By building the game from the ground up for the current-gen, GH3 certainly looks better than the previous year’s exploit. Whether you’re playing through a solo or a co-op career, both characters and venues look great in their own distinct, over-the-top way.

In respect to Career play, there have been a few new additions and tweaks to the gameplay that keep things fresh for the 360’s second effort. The goal of the game is still to rock through a number of songs by strumming single-button notes and multiple-button chords for a score, but with fresh licks from both classic artists and newcomers alike. The song list is still made up of covers and original recordings, but nuggets of gold in the form of exclusives are scattered throughout an overall top-notch list of songs; such as when the Sex Pistols reunited for the first time in 30 years to re-record “Anarchy in the U.K.” Covers are still a mixed-bag in terms of quality, as some feel off from their originals—like the ZZ Top classic, “La Grange.”

There is but only one other issue on the audio side of things: the sounds of Star Power. The game lets you know of your greatness after you tilt the guitar, activating the score-multiplying power-up, by amplifying the roar of the crowd and guitar riffs over all other sounds. The effect feels overly intrusive as it cuts in and out while playing through a song, but, luckily, even with a game that revolves around audio fidelity, it’s not that big of a hurdle to overlook.

Elemental tweaks like the new in-game cutscenes offer a bit of a narrative for careers as your band moves from smalltime gigs, straight to the devil’s doorstep. They aren’t an innovative step for the series, but they are enjoyable go-betweens from set list to set list.

Also new to the Career mode are sections which utilize the game’s new battle mechanics where you take on rock legends Slash and Tom Morrello. Instead of stringing together notes and chords for Star Power, a sequence of special notes lead to different power-ups which increase the difficulty for an opponent by adding notes, breaking buttons, draining rock meters, completely switching around the fret board, and other mutative attacks.

Perhaps the biggest and most welcomed addition to the franchise is the inclusion of online play (finally). Although you’re not able to play through a co-op career over LIVE, being able to play competitively over the internet shows-off just how good some people are at shredding on a fake guitar. The ability to play with friends hundreds of miles away, and track your scores via the GH3 Web site, truly set this game apart from its earlier titles.

With all of the changes and additions, GH3 has deviated little from the original formula. It’s essentially the same game as past iterations, but with visual updates, new tracks and features, and the ability to jump online to battle it out for guitar supremacy. Returning guitar heroes will notice an overall boost in the difficulty department, but the cranked-up difficulty is mitigated by a new timing scheme for hitting the notes—which after getting used to, is fairly forgiving. Ultimately, there’s really no reason to miss out on the 360’s second installment of the franchise. There are some reoccurring issues with covered tracks not sounding spot-on, but with the popularity of the rhythm game ever-growing, such issues may be long forgotten by the next game.

A lingering question remains however: what is the next step for the franchise? Each game throws in a slew of new tracks with some variance in gameplay, but is it continually worth it to shell out the full price of a new game when there’s the option to just download songs? Guitar Hero 3 is just as an addictive, fun game as its predecessors, but it will be interesting to see what happens down the road for future games in the series.

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

Written by Chris Matel
Monday, 10 March 2008
Without a doubt, oil is one of our world’s most sought-after commodities. Aside from water, it is one of those resources that we all can’t get enough of and remains a geopolitical, hot-button issue. Conflict has routinely surrounded the resource, and so is the premise of Kaos’ first-person shooter, Frontlines: Fuel of War.

Set in a future where the demand for oil far exceeds the supply, Frontlines follows the conflict between the Red Star Alliance and the Western Coalition as they fight for the last reserves in the Caspian Basin. As a member of the Stray Dogs, of the Western Coalition, your job is to push back the Red Star Alliance and take control of what little oil is left.

Frontlines paints one of those futures plagued by pessimism, and resorts to the old, anti-Communist scenarios. In the game, China and Russia have aligned themselves to form the Red Star Alliance, while the classic team of Europe (the EU) and the United States reunites once again. Although the what-if setup is bleak and caters to bygone sentiments, the story is nonetheless intriguing and well developed. By reading up on a timeline supplied in the extras, the years leading up to 2024 show just how and why the superpowers divvied up as they did; a combination of tapped oil reserves, natural disasters, and global recessions set up the game.

While the story is compelling, it will really only get noticed if you take the time to read through the timeline or game manual; otherwise, you’re likely to miss nuanced information that explains things like how all of the vehicles operate when there’s an oil shortage, and why you’re shooting Russians and Chinese in the future.

Once you make it past the narrative, Frontlines is a fairly straightforward first-person shooter that has a lot of promise, but misses the mark technically. Through a short 8 mission campaign, you’ll have to capture strategic points and download intel. The gameplay is just as the title suggests and does a great job planting you in a war-zone where you’re sent to the ‘frontlines’ to push back the enemy.

In an inventively-deceiving manner, the otherwise completely linear game presents itself as a more open-world game. Each level is fairly large and offers a variety of gadgets, weaponry and vehicles to decide how and from where you attack your objectives. You have your choice of standard class-types (sniper, assault, anti-vehicle, etc.), but Frontlines introduces drones to the battlefield. By using remote-controlled helicopters, mini-tanks, planes and cars, you’re able to sit back and attack your enemy without taking any fire.

It’s really the small things in Frontlines that make and break the single player experience. Drones are showered across each level, and with minimal effort to find them, they’re a fun element that other 360 shooters don’t offer. Also, although the game does little to deviate from the standard FPS formula, the ability to see where Alliance and Coalition territory is via the mini-map, gives the feeling that you’re actually fending-off the enemy.

With that said, there are a fair number of technical problems that really ruin the experience. About half way through the game framerate issues and texture pop-ins begin to plague gameplay; it almost feels as if the latter half of the game missed a fair amount of polishing. Also, while the game looks okay, there isn’t much draw distance for the levels and little-to-no variance in character modeling as just about every character looks the same, but wears different head gear.

Other general absurdities fill up gameplay as well. Throughout levels, random objects like chairs, chalkboards and even gun turrets float in mid-air—in our play-through, a Red Star assault was held back with help from a teammate in a turret floating in the middle of the village. Also, on occasion, dead character models resort to pre-rendered states as their features lose depth and become blocky.

For a game that plays on believable future conditions, the overall ‘realism’ factor is lacking. Dead enemies and downed vehicles disappear shortly after being killed and destroyed, and the overall A.I. is ridiculous. While Red Star enemies will find you no matter where you go and how silent you are, your Coalition teammates will run into the middle of firefight, fail to shoot and effectively kill enemies, and will leave you wondering how they made it into any army.

Unfortunately, there isn’t any local multiplayer, so you’re stuck with lacking A.I. However, Frontlines continues with minor innovations online. With up to 32 players playing in a game, the battle over frontlines continues. The same premise that makes up the single player game extends online to the sole game mode. Although there aren’t different types of games to choose from, there’s enough variance in online options and gameplay that keeps frontline battles intense and exciting.

Players can choose the same standard classes, but also decide to specialize in one of four different ‘roles.’ Each role has different perks associated with it: drones, air support, ground support and EMP technology. By accumulating kills and capturing objectives, you gain additional equipment.

Also transferring over to the online games are vehicles. With the possibility to have so many people in a single game at once, this is a game where vehicles don’t feel forced. One of the more fun abilities is to make your way past the enemy in a gunship with a few other players, and parachute behind enemy lines.

In the effort to continue to try new things, small tweaks to in-game chat functions make their way online. Instead of having open communications with 15 other players yelling over the microphone, you’re able to form a group of four with your own chat ability. However, while squad-based communications might have seemed good on paper, they don’t necessarily translate well in implementation. Games with random people suffer with little or no communication; but in the end, the ability to partner-up in small groups, in the big games, is really a nice touch.

With a story that takes questionable political liberties and plays on real-life issues, Frontlines is ultimately a game that takes a few chances to try to change things up—albeit with fairly safe departures. It still retains the now clichéd band of rough-and-ready military compatriots, complete with rousing speeches and typical archetypes, but the game plays out just different enough to make it enjoyable. Technical problems mar an otherwise okay experience that is familiar but fun. Everything sounds as it should—along with a standard soundtrack—but framerate issues and standard graphics and textures hurt the game from distinguishing itself. There is fun to be had in Frontlines, it’s just unfortunate that it wasn’t a little more fleshed out.

Gameplay: 6.5
Graphics: 7.5
Audio: 7.0
Lasting Appeal: 7.0
Overall:  7.0