An archive of every review that I have written for SFX-360. Its a compilation page that’s just going to get bigger. *I’m working to get the links to the actual SFX-360 articles so that we can all see the pretty pictures. There are also a lot more reviews I need to add*
Review Zatacka 360
It’s funny how advancement seems to take us full circle. We were once at a point where the greatest desire of any developer was captivating his audience with enthralling graphics and gameplay that were not only unique but advanced and superior to anything that came before (That’s what developers wanted us to believe anyway). But time makes fools of us all. Where we once thought that style and flash would pave the way to the future, we are now enthralled and captivated by the antiquated and retro. Games have sprung forth from the abyss, but instead of flashing their new mechanics they are flaunting their old school aesthetics and gameplay. But we like it; we accept the updated Pac-man game, the new Galaga, and even the new Super Metroid (though we preferred to call it Shadow Complex). They don’t carry that staleness that you would expect from games that predate our parents, they are fresh, new, and dare I say…fun. Bring on the Retro-revolution!
Zatacka 360 is a remake of a classic DOS computer game by the name of Achtung Die Kurve or, for everyone else, it is more familiarly referred to as Zatacka. Zatacka is a basic game in all its rights. It does nothing too exceptional and at its core is a bare bones experience that offers as much enjoyment as you are willing to take from it. Juxtapose it to games like Tetris and Centipede and you realize that you need to want to have fun in order to feel the joy behind Zatacka 360. But rest assured, if you’re looking for it you’ll find it in no time.
The game has a meager start screen with all the components you would expect from any Xbox Live Indie Game. We get a “Start Game”, “Help”, and various other menus that can be accessed from the start before going any further into the game. One of the primary lures of the game is that it is completely multiplayer (The game allows upwards of 6 players, I still don’t quite understand how). It cannot be played single player so in the case that you only have one controller or that you are an introvert and dislike hanging out with others, then this is not the game for you; don’t waste the 80 Microsoft points in change. However, if you are a party animal and love to throw your friends into random fits of gaming goodness then be my guest, its an experience that you can get into with the right mind set. One noticeable problem is the fact that there is no CPU for the game. Maybe it would take a little bit of the personality from the game but at the same time it would definitely add a bit more accessibility to those that don’t have 4 friends on the ready whenever this game springs into mind. I only had a friend ready because I stay in college dorms and my roommate was lounging about. Its just a thought in case an update ever decides to intrude into this game, I would definitely appreciate being able to outsmart a CPU just as well as I can my friends.
The objective of Zatacka 360 varies with the mode that the player is currently on. One game mode involves players trying to trap each other with elaborate designs that they create with their “snakelike” trail that they carve along the playing field. The players can control their trails with the left and right triggers which allow them to move left and right respectively throughout the playing field creating very long and rather random figures, unless of course they have an artistic eye, which does not serve them at all in the long run. Another game mode has the player attempt to capture the most squares of the playing field while attempting to avoid and trap their enemy at the same time.
Alongside the different gameplay modes the player also has access to a variety of different options that augment gameplay. Some of the modifiers increase the number of characters allowed, some increase the speed of the trails created, some increase the speed of item generation. Oh, but how can I forget about items. There are several items throughout the course of any given match, many of which are designed to achieve nefarious goals and torment your friends resulting in them flinging curses at you as you elegantly trail your “snake” to victory; the crowd goes wild…though possibly with anger at this point. These power-ups do things like cause you and your opponents to switch places, cause you to speed up, cause your opponents to stop in their tracks, and various maladies that really make the game pretty fun, especially when you take advantage of larger parties to play with.
Most of the game really is a matter of personal preference. If you are more into the new and robust style of games today then the presentation of Zatacka 360 will grind your nerves rather quickly. There really isn’t much to look at. Everything is pretty static, the colors may stand out, especially when the character moves from square to square causing them to highlight, but for the most part they do little to make the game look really spectacular. The sound is repetitive as we have come to expect from retro games but at the same time it would have been a little bit more welcoming had they added a little more of a soundtrack for the players to work with.
In the end Zatacka 360 is just standard fare. It’s nothing that’s going to make you gasp in utter amazement or shudder with delight. It is a game that can provide endless hours of enjoyment or a game that is repetitive and monotonous. It’s all about the mindset. If you like this type of game then its 80 point price tag isn’t going to make anyone cry in anguish. I recommend it for the lovers of the retro, and multiply this recommendation times the number of friends that you have on the ready. It’s just a matter of taste. Though a little bland, it just requires your own personal seasoning.
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Review Splinter Cell: Conviction
The allure of Splinter Cell lies in its core. Contrary to the wild and promiscuous lives of spies like James Bond, Sam Fisher lives in the dark side of the criminal and corporate underworld. Where James mingles in the bars sipping shaken, not stirred, martinis, Sam mingles in the dank darkness of the corridors, alleys, and corners awaiting the presence of an unsuspecting adversary. Sam’s comfort zone is an unlit warehouse full of enemies where his only allies are his stealth and his gadgets.
This is Splinter Cell, a series that devoted itself to bringing gamers the sense of true espionage and stealth. The sense that one false move could be the end of the character’s entire mission and the sense that one small slip up could be the end of the player’s life. This has been the consistent element present in every game, the factor that defined the franchise as one of the greatest spy series ever adapted. But where does that put the newest game, Splinter Cell: Conviction? Well, if you came into this game looking to hide in the shadows, silently dealing with foes and hiding their corpses to perform the same task again and again until you reduced an entire room to a single whimpering opponent then unfortunately this isn’t the Splinter Cell you were looking for. Though the elements of stealth are present in the game they are downplayed to such an extent that it becomes a matter of choice. It’s no longer “how should I sneak through the stage” but more so “should I sneak through this stage”. It makes the game different but for the most part it effectively creates a new series in terms of style and gameplay and though the initial result may be a little harder to swallow to veterans of the original series, it is a great new idea with plenty of interesting things for a new set of fans. Though it may chase away a few, it definitely does enough right to bring in more fans while not alienating everyone who used to hold Sam Fisher close to their hearts.
Splinter Cell: Conviction is an Xbox 360 exclusive developed by Ubisoft Montreal that has been in the developmental darkroom for a while now. It was announced back in 2007, about a year after the release of Splinter Cell: Double Agent. The original trailer released for the game portrayed a more rugged looking Sam Fisher seemingly on the run from the organization that made him. But outside of this initial announcement there was little other mention of Sam, his new game vanished into obscurity and many began to speculate that the series had been canned for good. The game finally resurfaced at E3 2009 where it seemed to had made a complete transformation. It was fresh, sleek, and the rugged Sam had been trimmed down to reasonable proportions. The game was then put back on the list of breathing titles and slated for an early 2010 release as an Xbox 360, PC exclusive title. After its seeming defeat at the hands of development Sam returned to the gaming scene, a phoenix from the ashes but something’s changed about Sam Fisher. He’s not the Splinter Cell we used to know.
The story of Splinter Cell: Conviction follows that of Splinter Cell: Double Agent but the lapse of time from game to game is unclear. We start the game with Sam sitting in an outdoor café when he receives a call from Anna Grimsdottir. He has already received intelligence that tells him that his daughter’s killing (she was hit by a car in the last game) may not have been the accident that he believed it to be. Now Sam is on a mission to uncover the truth behind Third Echelon and how this involves him and his daughter Sarah. With the help of Grim, Sam takes a position as a rogue in order to find the people who know the truth. Once he finds them it becomes his responsibility to extract information from them through interrogation, which is taken care of in very over-the-top and cinematic approaches.
The story in Splinter Cell Conviction is told through a very cinematic approach that serve to capitalize on that intuitive, interactive element that many games are trying to achieve. Although there are a few cutscenes (all in-game rendered) the game’s back story and objectives are told mainly through pictures, video, and words projected upon a wall in the background of the action. It’s a very interesting idea that serves to keep the player in the action and it is really nice to look at.
The new take on the gameplay of Splinter Cell seems to mimic some of the modern TPS (Third Person Shooters) of the day. Choice is the name of the game; there are dozens of different strategies and methods that you can take to get to where you need to go when you need to get there. For the most part it becomes a personal element if stealth is how you enjoy playing the game. From the get go you get a basic in-action tutorial that explains for the most part how each weapon and technique works. As Sam your primary maneuvers are an intuitive cover system that allows you to move in and out of cover rather seamlessly. You are also endowed with enemy stopping melee techniques, a variant of which allows you to take someone as a human shield, excellent control of an assorted number of weapons, the pistol is your best friend, and a new technique that manages to define this newest game called the “mark and execute”.
First of all, as Sam you will have to leap from cover to cover to find the proper place to take out an enemy. This is done by holding down the left trigger as you near a position such as a low lying wall, a car, and any other form of flat surface. From his crouched cover position, Sam can shoot, lob grenades, mark enemies, all from the comfort and safety of his particular hiding space. Similar to the original series of Splinter Cells it can also be monitored when Sam is visible. Instead of a meter that reads Sam’s current visibility, the screen will change between standard colors and black and white when Sam is visible versus invisible respectively. The only problem with this system is that there is ultimately no variability in Sam’s visibility; he is either fully visible or fully invisible, not in between. Like in previous games Sam can change his level of visibility by stepping in and out of shadows either by finding a dark corner or ceiling, or by shooting out lights to make his own; the only problem is that though darkness is probably the most beneficial element in the game, the latter attracts the attention of enemies. One problem that seems to plague the game is the fact that darkness seems a little to potent a defense; after shooting out all of the lights the enemies will turn on their flashlights, which you can take with an EMP, after that they are pretty much blind. One guy walked up behind me and got stuck because Sam was in the way, but he still didn’t realize I was there.
Once cover becomes second nature to you the game throws melee combat your way. Where in most games the melee is the fall back, last resort option, in this game the melee is your primary action. If you can possibly get close enough to melee someone then it’s definitely preferable to do that than to possibly alert them to your position with bullet fire. In order to melee an enemy Sam has to be pretty close to him. Once distance becomes a thing of the past, either through purposeful subversion and stealth or through the clumsy searches of enemies, the player can press the B button which will cause Sam to perform a, well animated, silent instant-kill takedown. From there Sam can gracefully prance over the body as if nothing happened, leaving none the wiser. The only unfortunate element to the game’s development choices is the fact that Sam can no longer carry bodies away to shadowy places. This is both an annoyance and to some degree and impossibility; the first because enemies will stumble upon corpses and become alerted to your “existence” (not position) and begin searching for you, but for the most part because the game focuses more on the combat it adds more enemies less time to react. In the end you would only find carrying corpses a needless and dangerous hobby. It’s one of those things you want because you don’t have it, but the game is perfectly fine without it.
Guns, what would any form of shooter be without the firearm? Sam Fisher’s exploits are no different. However Sam’s gunplay is a little more delicate than that of other shooters. Primarily instead of taking the fight to his adversary wielding a M61 Vulcan 20MM Cannon like most modern games, Sam finds himself most comfortable with his trusty pistol. With it Sam can execute enemies in a breeze without attracting attention, he’s also got optimal aim in a small, lightweight, and compact package. You also have the ability to use heavy weapons like the AK-47, the Scar-H, the UMP, and many others but their application is limited and they tend to only be used when a head on collision is the only accessible route to success.
One of the most interesting and useful elements that serves to define this new game is the “mark and execute” maneuver. With this new technique Sam can mark a varying number of enemies (ranging from one to four) that are executed by pressing the Y button, assuming they are in the line of sight. Many argue that this maneuver makes the game too easy. To the contrary, this maneuver makes the game bearable and also opens the game up to many unique and interesting strategies. The only catch with the “mark and execute” maneuver is that in order to be able to use it Sam has to perform a melee attack on an enemy (attacking one enemy prepares the attack which can be used at any time following). But again, this creates many opportunities for strategies which are very fulfilling if they are executed effectively. In one of my favorite executions Sam was hanging from a pipe above an enemy while two others paced a room beneath him. The first thing that I did was mark the three enemies in the room, but unfortunately I didn’t have the ability to “mark and execute” yet. So I performed a “death from above” maneuver where Sam takes out an enemy while dropping from a support which gave me the required melee to kill the other two with an execution. The animation is actually very amazing as you see him land on one enemy, breaking his neck, while at the same time drawing his pistol to shoot the two remaining soldiers before they even realize that you’re there.
The overall presentation of Splinter Cell Conviction is top notch. The graphics are very good and really capture the new element of Sam’s adventure but at the same time there have been better looking Xbox 360 games. On the other hand one of the greatest looking elements in the game are the character animations. It’s very convincing to see Sam roll and dive in and around cover. The way he holds his gun, the way he runs, climbs, assassinates, it’s all unique and enveloping and really vivid. It’s no surprise to see Sam utilize a different takedown each time he dispatches an enemy or shoots out a light. However, some of the greatest animations can be found in the player interrogations. When Sam is interrogating a character Sam holds them by the neck while the player chooses the appropriate place to “coerce” them into speaking. There are a few key locations that will activate a series of actions like slamming someone’s skull into a television screen or through a porcelain sink. It’s all so gory, but at the same time it’s extremely well animated and developed.
In line with Conviction’s great graphics, there is also a great soundtrack for the game. Though it may not be as orchestral or pervasive as other soundtracks from Xbox exclusives, this game has a unique sound that really brings about the emotions and feelings that are plaguing Sam. The music speeds up and becomes frantic when Sam is confused or angry, and slows down when he becomes solemn. It really helps to keep the adrenaline pumping and does a great job portraying the strong emotional development of the characters in the game.
The game has a few modes of online play but for the most part there is little replayability involved in the game. There are a few guns that can be collected, but Sam picks up those that he doesn’t have on his own. The only real element that lends for replayability is the fact that all of the weapons and accessories in the game can be upgrades using points acquired through completing in-game “challenges” known as Prepare and Execute challenges. By completing a series of objectives like finishing a match without retrying or taking out 10 enemies without reloading Sam is awarded a number of points which can be used toward upgrading weaponry, and buying a few new sets of outfits for multiplayer characters.
Once the main game is complete players may feel a little under achieved (depending on the difficulty it can be done in around 6-9 hours). However, there is also a full co-op story for players to complete at their discretion. This story mode takes place a number of days before the actual story and involves a secret mission undergone by agent Archer, of Third Echelon, and agent Kestrel, of Russian sister organization Voron. This is a completely different game that utilizes all of the same control schemes as the original game, the only twist being that there is a heavier focus on co-op play. The problem with this is that having a co-op feature downplays a few of the more notable elements of the original game. While playing you’ll probably find yourself utilizing fewer of the skills that you needed to keep Sam Fisher alive, and instead rely on a more Army of Two style of gameplay where one player distracts adversaries while other stealthily takes out enemies through flanking and silent take-downs. But this doesn’t make the addition bad, it makes it different and for the most part it adds a nice element to the gameplay that is both fun and creative.
In the end Splinter Cell Conviction is a great game through and through. The only problem with it is that it’s not Splinter Cell anymore. The game gives you the option to be stealthy but for the most part its never as thorough as was the stealth in the original games. Despite its more relaxed atmosphere there are a few scenes that demand that the player behave stealthily and for the most part these may be the least fun levels in the entire game. They are too restrictive and don’t allow you the mobility that actually makes Conviction fun. However, the game makes a name for itself. It is fresh, new, and a great addition to the Xbox 360 exclusives list and to any library in general.
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Review Dr. Horrible
The story of Dr. Horrible is that of an individual, misunderstood by society, bent on world domination, or something to that effect. Written by famed creator Joss Whedon and his brothers, Zack and Jed Whedon, the story is based off of an internet distributed movie entitled Dr. Horrible’s Sing-Along Blog. The movie is a tragicomedy of sorts that tells the stories of the main character, the titular Dr. Horrible, his nemesis, Captain Hammer, and their mutual love interest, Penny. Ultimately based off of the success of this internet series, a series of comics entitled Dr. Horrible were released under the publishing company Dark Horse Comics. The copy I have is of the very first comic, released through the Apple iTunes store for the iPhone and iPod Touch.
The first that that you realize when you open up this “app” for the first time is that it has no sound, but then again it is a book so what did we really expect. From the get go you can begin reading the entire narrative from beginning to end, or if you want to customize a little then you can alter some things like the reading speed (speed at which it will change the page), the transition style, and the page to start on.
Primarily enjoyment of this comic is solely based on your enjoyment of superhero comics (though in actuality the protagonist of this comic is a supervillain). If you have picked up a Spiderman comic, or a Batman comic, or even a Superman, Fantastic Four, or Incredible Hulk comic and remarked “eww, what is this?” then save your money. This comic is made in the same way, dialogue bubbles, character development, drawing styles and all, you will not like it. But if you have ever shown interest in any of the previously mentioned comics then there is a good chance that this work of fiction will serve to bring a smile to your face, and maybe even rekindle some of the old memories that made being a child fun.
The story of Dr. Horrible revolves around the life of Billy, once a mild mannered super intelligent child, before a terrible accident turned him into…ok well seriously the narrative is not at all that dramatic (or clichéd). As a child Billy was very smart (he was in the sixth grade at age 8) but he also had an affinity for a super hero by the name of Justice Joe, and like every other young child he dreamed of someday becoming the hero whom he praised so much. However, whilst watching a fight between Justice Joe and his nemesis, Mister Maniacal, Billy’s perspective was completely turned upside down. He realized that Justice Joe, the hero that he had worshipped for years, embodied the ignorance and brutish incompetence of his gradeschool bullies, how could he possibly want to become someone so inept!? But at the same time he realized that the intelligence of the supervillain, the underdog, seemed to better embody his talents, his genius. From that day forward Billy decided to pave his life along the path of an evil villain…flash forward 20 years and he’s well on his way.
Dr. Horrible may be a relatively new narrative but it has a very compelling, and at the same time unorthodox story. We’re not given the clichéd superhero who must inevitably win in the end, instead we’re placed behind the supervillain who probably over the course of his exploits loses more than anything. But at the same time he seems more relatable, we want Dr. Horrible to win, to beat that ignorant Captain Hammer and to even win the interest of the love of his life, Penny. It does a good job in making us feel compassionate toward a force that generally we feel scorn an neglect for.
The animation style of Dr. Horrible, as I said before is a very established format. It’s not very unique but at the same time it doesn’t feel dated. This is probably due to the fact that I have seen and read many comics and it really does bring a little nostalgia that puts me in a reminiscent mood. But despite the fact that the overall animation isn’t all that unique, it does still manage to present a voice of its own. Characters express themselves very well and generally lend a lot of comedy into the actual development of the action. It really makes experiencing the work a rare treat.
Honestly I feel like this is definitely one of those things that just should be experienced, especially if you’re familiar with the source material. It’s a very captivating drama-comedy that makes you want to keep reading. If by the end of this work you haven’t built up a personal connection with Dr. Horrible then you were apparently a bully throughout the course of your schooling career, and I think you are a very lonely person.
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Review Red Steel 2
Power has been the driving element behind many of today’s games. “We don’t care about quality, we care about how many characters we can fit on screen at once, how many polygons we can jam into a characters expression, or how many gigs we can fit onto a disk”. This is the mentality that developers have been taking, but shouldn’t the important thing instead be exactly how refined a developer can make their game by bringing quality back into the mix? The power of a videogame system shouldn’t be the determined selling element for a game, it should be how the developers use the power that is given to them. If you’re developing a game for the Nintendo Wii then you can’t argue that your game is inferior to games on the Xbox 360 or the PS3 because it becomes your responsibility to develop with the Wii’s strengths in mind. And that is exactly what the developers at Ubisoft did, with their newest title Red Steel 2.
Developed by Ubisoft Paris, Red Steel 2 is the sequel to the Wii launch title, Red Steel. The element that probably comes to anyone’s mind when they think of this game is, ultimately, how bad the original was. Being a launch title for the system, everyone expected the game to amazingly and realistically mimic the movements of a real sword, however, when the game was released we all realized exactly how difficult it was to put those plans into motion. From a basic configuration the Wii-mote is only able to register a limited series of motions, and so where people expected that their movements would be read with a 1:1 ratio, they we surprised to see that there were only a few prescribed combos that could be performed by the character. This ultimately led to poor reviews of the game and made many wonder if a true sword game would ever be created for the Nintendo Wii. Step forward 3 years into the Wii’s future and the Wii-motion plus is revealed. This new device is said to be able to enhance the abilities of the wii-mote by giving it that oh-so-desired 1:1 motion. So of course, with the new functionality swords would come into play, and given a second chance Ubisoft decided to take it back to the beginning.
So Red Steel 2 is a sequel in the sense that every Final Fantasy game is, though we get the numerical addition there are no carry-overs as far as story is concerned. But that’s not quite a bad thing, I don’t think the story from the original got shining applause. From the beginning of the game you’ll be dropped right into the action, or better yet, dragged would be the more operant term. When the game begins you find yourself strapped to the back of a motorcycle by a brutish thug of unknown origins. This does very little in terms of storytelling but it does serve as a very nice start to the action. Once you finally manage to free yourself, in a very stylish manner I might add, you are tasked with finding your way out of harm and to the base of your allies, but wait…apparently the bad guys still have your sword. After coming to terms with the fact that a game about swords play doesn’t start with a sword, you’ll find that the firearms are actually pretty hardy substitutes. So fire a bullet into the heads of a few enemies, make your way through a few locales and then find yourself at the door to Jian’s dojo. Here you meet the old, ornery, and angry Jian; he lectures you about being the last Kusagari- an ancient and powerful clan of samurai- and about how you are weak for having lost your sword to the enemy. So once he finally relinquishes to allow you to borrow his sword the gameplay really kicks in.
Your first task deals with you learning a few techniques with the sword. By swinging the Wii-mote you are able to make the respective swinging motions on screen. Depending on the width of your swing, the attack will either be a weak blue strike or a powerful red strike. Honestly if you ever played any Wii games and thought you might hurt someone or break something, then this game will be the tornado that uproots the foundation of your home, the stone thrown through your window, and the punch that blinded your best friend. This game is dangerous! Whereas many games on the Wii discourage over exaggerated motion, this game requires it! In order to generate a flurry of powerful techniques, many times necessary to take down the more advanced foes, you must flail your arms uncontrollably left and right, up and down, side to side. It really makes you feel like you’re wielding a sword in this respect, but at the same time I implore you to make some space for yourself otherwise someone may get hurt.
Either way, once you have down the basics of swords strikes you will be taught how to shoot your weapon, how to dodge, how to guard, and many other various strikes and counters. The game actually has a great deal of variety when it comes to attacks. Everything feels really fresh and intuitive, and when taking out a really powerful adversary with a few well placed strikes and shots, you will feel very satisfied, especially when you’ve take the least damage possible.
Outside of the basic attacks and combos you are also able to buy various upgrades, powerful new attacks, and what they call “Kusagari Powers”. Upgrades range from increased sword damage, increased bullet damage, reload time, increased health, increased time to evade, and various other additions to help you out with the gameplay. Ultimately, if you can think of something that a player may need then you can probably get it in one of the shops throughout the game. Your new attacks are purchased in the same manner as are your upgrades, when you go to a shop you can check the “sword smith’s shop”. Here you can purchase scrolls at different times throughout the game that contain a variety of interesting and powerful skills. These skills range from powerful stabbing attacks to aerial combos and sliding slashes that do a great deal more damage and allow you to finish off foes quicker than normal. Last but not least, at these shops you can also purchase Kusagari powers. These powers allow you to do things like a parry, in which the character blocks any attack with the broad side of his side leaving all enemies open to secondary strikes, and even allow you to knock enemies up into the air so that you can do an finishers or slashes on them before sending them crashing to the ground. The game does an awesome job at presenting everything at such an opportune time that when you feel like the enemies are getting just a tad too powerful, you’ve got a new technique or a new upgrade to even the playing field. Honestly though, if you want one amazing element to sell you on the gameplay then check out the finishers. These are like the most awesome addition to the game because they add a lot of flare to the combat while at the same time allowing you to flow seamlessly from one opponent to the next. Picture jumping into the air in order to come straight down on top of an enemy, leaving your sword impaled in his chest, or picture rushing across the stage to put your pistol to the bottom of an opponent’s jaw before pulling the trigger leaving them wishing that they had stayed home that day.
When we consider the graphics of Red Steel 2 I think that it’s pretty much clear for us to say that no one expects this to rival even some of the more basic games on the Xbox 360 or the PS3. However, even with that said this is a very good looking game. The artistic approach is complimented by a sizable degree of motion and texture from both the enemies and the environment. The more powerful enemies will realistically raise their guard as they approach you, or even through a kick if you get to close, and the weaker enemies will mindlessly charge you with their powerful techniques in the hopes of catching you off-guard. Nothing seems off for the most part and everything seems to behave as it should. When fighting enemies the screen will lock in place so that you are able to perform your slashes without the worry of moving the screen, this inhibits the view a little but for the most part you are well informed when you are surrounded, at which point it would probably be smart to perform an area technique or to get out of the middle of the action. The graphics are done very well in the game, and even the elements of the game that look a little off can be attributed in some way to the artistic approach.
The game’s story is told through a series of cut-scenes and dialogue spoken through a headset the protagonist wears. As you progress in the game you get new cut-scenes, more dialogue, and better skills. There is ultimately one way to progress the story and that is to complete missions. Every time you return to the headquarters of any of the NPC’s there will be a “bounty board” of sorts where you can pick up main quest missions and side quests (actually because you don’t necessarily select missions, so much as open the menus, all of the missions will become active over the course of the game). Ultimately, there is very little distinction between the main quests and the side quests, for the most part, the main quests are the missions that usually end with you defeating some boss character or meeting someone or activating something, the side quests generally involve you completing a few tasks over the course of the level and can be completed at their own pace, given you don’t leave the level (at which point there is no return).
Completing any of the missions given to you will net you a varied sum of money depending on the difficulty and the time that the mission takes (I assume). However, this isn’t the only way to get money. Money can also be acquired by defeating enemies as “stylishly” as possible, a la Devil May Cry or by breaking the environment. Around you at any given time you will see crates, vending machines, tables, chairs, bottles, and various other assorted knick knacks; all of these objects when broken down yield a sum of gold coins, which after enough time will begin to add up. In addition to mindless destruction gold can be acquired by finding the three types of hidden artifacts. The first type is the “sheriff’s badge” which generally floats just out of reach in the background of any given level. In order to take advantage of these tokens the must be shot with any of the firearms at your disposal at which point they pay out 3,000 gold. The next artifact is the “token”. This artifact can be found anywhere for the most part and must be touched in order to be collected, at which point they pay out 5,000 gold. The last artifact is more or less to show off the Wii functionality. Throughout the game various safes are hidden that store gold bars which generally equal anything up to 3,000 gold. In order to open these safes the player must put the wii-mote speaker up to his ear and listen to the sound as they spin the dial. At varying positions tumblers within the safe will click, notifying you that you are in the correct position, at this point you press A and (given two more identical twists) taa daa, you are now a safe cracker.
However, even if Red Steel 2 were the golden apple of the Wii that I make it out to be then it still has it blemishes like any and every other game that’s ever been developed. For starters the story is very garbled. You will tend to get lost somewhere in between the fact that you’re the “Last Kusagari Samurai/Ninja” and the fact that you’re supposed to be seeking revenge against an ever increasing number of enemies. Ultimately it’s one of those revenge quests so it makes as much sense as you care to take from it.
Another thing about the game that scars its overall presentation is the fact that the dialogue in the game sucks. There is no saving you from the unenthusiastic voicework, clichéd western accents, and the awkward dialects and slangs. It seems like the entire budget went into gameplay so they pulled the most incongruous team of voice actors together that they could. Its bearable, not all the voices are bad, but they are a little over the top and annoying at times.
Overall, when you play Red Steel 2 there are a lot of things you can expect and for the most part a lot of things are achieved. It is a good looking game with great gameplay, and it does a lot of things right, but there is more potential, more things that can be done, that can be fixed and excelled on. It’s definitely a great effort and it deserves its applause. All they gotta do is fix the voice work and my experience would be a lot better, seriously, a lot better.
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God of War III Review
For centuries we have lived with the knowledge of ancient Greek mythology, the stories of powerful Gods, lecherous nymphs, and terrible titans. These stories have formulated the image of a powerful society that ruled over man through war, knowledge, and divinity. In the process these stories have create strong bases for narratives that span tales both new and old, for what’s more interesting a story than the exploits of Grecian Heroes and Gods. This is where God of War comes in.
-Recap-
Based off of a general account of Greek mythology God of War interjects the life of the warrior Kratos. Enlisted as the greatest warrior of the God of War, Ares’ army, Kratos is tasked with destroying, pillaging, and conquering all that his lord god demands. However, when Kratos is forced to kill his wife and child while obeying the orders of Ares he vows revenge against the God of War and from there he commences his journey for the power to defeat a God. Ultimately after surmounting the challenges of hell and the forces of Aries Kratos confronts the God of War and exacts his revenge. However, after realizing that the Gods of Olympus cannot rid him of the nightmares of the atrocities he has committed he decides that his only salvation is suicide. However, the Gods realize that there is more value in his meager existence and so they appoint him the newest God of War, in place of Ares. However, Kratos being the angry Spartan that he is is not satiated by his new position and only finds solace in leading his army in the destruction of other lands which puts him on the bad side of the other Olympian gods. When he leads an attack against the nation of Rhodes, Kratos is confronted by Zeus for disobeying his orders and interfering directly in human affairs. This leads to Kratos being killed by Zeus where he is cast into the bowls of Hades to suffer an eternity of damnation; however, he is saved by the mother of the titans, Gaia, who tells him that he must live so that they can continue on to destroy Zeus. Bent on revenge Kratos makes his way to the island of the fates so that he can change his death at the hands of Zeus. When he arrives on the island he slaughters his way through all of the people seeking the aid of the fates and ultimately arrives at the loom of fate commanded by the sisters. After killing them Kratos is able to change his fate, taking him back in time to the moment before Zeus takes his life. He then fights Zeus in their final battle which ends with the death of Athena and Zeus retreating to rally his forces in Olympus. Returning to the loom of fate he goes back in time for a final time and brings the titans forward in time so that they might fight the present day Zeus in his weakened state. In the last moments of God of War II Kratos utters the words “Zeus! Your son has returned! I bring the destruction of Olympus!” and the game ends with the phrase “The end begins…”
-End Recap-
Ok so God of War III was developed by the American developers at Santa Monica Studios, creators of each of the previous God of War games. This newest game takes place immediately after the events of God of War II, starting from the last words uttered by Kratos at the end of the sequel. The game once again places you in the shoes of the Spartan warrior as he attempts to exact his revenge against the Greek Gods of Olympus. Just like the previous game in the series you start off fully powered until a catastrophic incident drains Kratos of his God-like strength. This particular incident serves to establish the main action of the game and creates tension by forcing you to find all of your power ups once again, essentially from scratch.
The “actual game” of God of War doesn’t start until about 30 minutes to an hour into the actual gameplay, however, that’s not necessarily bad considering that in this first hour you have already killed a god and you’re well on your way to exacting your revenge. So basically if you don’t enjoy this first hour then you started this game sour and you weren’t trying to enjoy the game. Regardless, the game really kicks off after scaling Mount Olympus on the back of Gaia. After this point Kratos again finds himself in the underworld (because by this point he just has to die in each game) where his newest task is to escape and return to challenge Zeus for his revenge. This is ultimately where the game continues from as every action Kratos takes serves to further his goal in slaying the ruler of Olympus.
One of the most evident elements of the games, clear from the opening cinematic onward, is that God of War III is a truly beautiful game. Everything about this game glistens with a visceral realism that finds its place in the eerily, overtly sadistic complemented by the games unprecedented scope and grandeur. You can’t help but cringe when Kratos disembowels a centaur or cuts into the flesh of a gorgon as it tries to slither away from his grasp before cutting its head off. The game is extremely realistic in its portrayal of blood and gore as cuts, gashes, and lacerations from Kratos’ Blades remain in his enemies, as intestines and organs of creatures spill out as he tears into their flesh. The entire game emanates with an immense sense of beauty that just stands out exceptionally well. It’s hard to mark this as an amazing accomplishment because God of War has never been a weak game when it came to graphics, but this game certainly does make the most of the power it is lent which is extremely evident in its presentation.
However, the graphics of God of War III are not merely lent to its gore; it also has an amazingly varied campaign that manages to run the gamut of interesting and unique locales. Even though Kratos has been to hell several times, this newest adventure still manages to feel fresh and extravagant without presenting the player with that “I know I’ve been here before” feeling. Though it does ultimately make you wonder if Hades redecorates every once and a while. All of the areas emanate with an ancient Greek feel that manage to create a sense of realism that serves to put you waist-deep in the ancient lore. From the look and feel of the Olympian temples to the barren wastelands of Tartarus everything seems to live and breathe a sense of individuality and ancient Greek architecture. An unfortunate element of the game is that by the end you will have travelled to many of the locations a second time with your new powers but, on the other hand, the game manages to keep these segments of backtracking from feeling repetitive by primarily making any and all returns brief, and also by keeping the plot cohesive throughout its entirety.
When playing God of War there are ultimately two things that you will be doing at all times. Primarily the game is a hack and slash adventure so if you aren’t killing something then you are probably platforming/puzzling. For the most part the game does these two things very well. Though the actual action is not as visceral as other, faster, hack and slash titles like Devil May Cry or Bayonetta, it succeeds in being very fluid and powerful. Kratos is evidently not capable of the grace and finesse of characters like Dante on Bayonetta, but where he lacks speed he makes up for it in strength and raw brutality. Utilizing his new Blades of Exile and an assortment of other weapons Kratos is able to bring down opponents that are hundreds of times his size. Titans and Gods alike kneel before his powerful tactics and fall before his mighty blades.
If you’re a consistent player of the God of War series then you are completely ready to jump head first into this newest title. The thing that has become consistent in all God of War games is the fact that the gameplay is very nearly identical to the way it has always been. Because God of Warhas always had an intuitive and responsive combat system and control scheme this isn’t necessarily a problem and it falls into that category of “it’s not broke, so why fix it”. So if you’ve played previous God of War titles then you’ll be chaining combos and killing enemies right from the start. Just like all previous titles Kratos is capable of chaining a series of light and heavy attacks to decimate his foes. These attacks are performed by exchanging attacks between the square and triangle buttons on the controller. Using the circle button Kratos is able to grab his enemies which either allows him to perform character specific takedowns or it initiates a series of quick time events that allows Kratos to takedown larger enemies faster or more stylistically. The new this in this game is the presentation of the QTEs. Where they used to be small side notes in previous games, God of War III manages to accentuate their presence a lot better. They are everywhere throughout the game so its ultimately a great release that God of War III makes them so much easier to follow by highlighting the side of the screen that corresponds to the particular button (the top of the screen highlights for the triangle button, left for square, right for circle, bottom for x) or by showing your progression in the half circle completion. This may be a small change but it does make a very significant improvement. Just like in previous titles, Kratos is able to perform different magic attacks by pressing the R2 button during gameplay. This produces a number of varied spells that have results like creating spiritual warriors to fight alongside you or by summoning the souls of exiled warriors to defend you. Kratos also has the ability to utilize various artifacts like the bow of Apollo or the boots of Hermes. They give Kratos various abilities that have to be utilized throughout the game, either on particular cues or whenever the player wants, to solve puzzles or traverse the environments. Whenever the player decides to utilize any of these items it drains the items meter located next to the health and magic meters, however, unlike the other two, this meter restores itself over time, so for the most part these items can be used indefinitely.
God of War is a campaign. That’s the extent of it. Beyond that there is little to nothing else to be had in the adventure. However that fact does not diminish the replay value of the game. Throughout the course of the game you will be seeking out a number of different artifacts left behind by different characters in the game. These artifacts are unique items dropped by plot specific characters, such as Hades helmet or Hera’s Chalice, or left behind as markers in different areas. In the first play through of any particular difficulty the items don’t serve any purpose. But if you play the game a second time they grant the player with special benefits like doubling attack power, giving you infinite magic or health, or even draining your life slowly over time (I don’t understand it really). Either way there are a variety of different things that you can do after completing the game once, and if you’re really masochistic you can play the Chaos difficulty of the game which can only be accessed after beating the game once. In addition to this there are also 6 challenges in the Challenge of Olympus mode as well as an arena which allows you to modify enemies and stage different combat scenarios. There are also developer videos and extra character outfits and trophies to be had for the true completionists. As you can see there is a lot to do which could take you through several playthroughs of the game and run you a few dozen hours.
For the most part the game is near flawless, or, for all intents and purposes, you’ll be too enthralled to realize any distinct blemishes in its presentation. One thing that was probably the most annoying element in the game was one scene in particular. 3 times over the course of the game Kratos must fly through the earth from the underworld alongside the chain of balance using the wings of Icarus. This is clearly an attempt to vary the gameplay a little but it is annoying, definitely not helped by the fact that you have to do the same thing 3 times! However, that is a small gripe that surely will not make or break the game for anyone.
Ultimately if you are looking for a great game on your PS3 then, given that you don’t get queasy at the sight of gore, this is that game. Probably the most fun you will have on any system right now God of War III is a must have. The biggest fanboys can’t deny that this game is amazing, epic, and a fitting finale to one of the greatest series of last decade. Buy this game!
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Pictures and videos make this look much more attractive, head over to SFX-360.com for the uncut review of Scott Pilgrim vs. The World
When you’re a suave ladykiller playing bass in a band with your best friends then you’ve got it made right? What could possibly through a wrench in the smooth machine that you call life? Well when you fall for that hot babe and inadvertently become entangled in a fight to the death against her “7 Evil Exes” then let’s just say that your life needs a little maintenance. It’s a great thing that you happen to be Scott Pilgrim and you come “tailor made” to deliver well deserved ass kickings wherever they’re called for. This is Scott Pilgrim vs. the World.
Based on a series of comic books written by Bryan Lee O’Mally, Scott Pilgrim vs. the World presents the story of Scott Pilgrim a 22 year old bassist in the band Sex Bob-omb. After a grueling break up months before the start of the movie Scott is now healing his heart with the attention of a 17 year Chinese schoolgirl by the name of Knives Chau. However, his world is flipped upside down when he sees the girl of his dreams (literally) Ramona Flowers, but he soon realizes that winning her heart will not be the easiest task he’s ever undertaken. In order to win the heart of Ramona Flowers and to preserve the right to date her he must fight AND defeat her 7 evil exes.
Ready…Fight!
The main allure of Scott Pilgrim vs the World lies in it’s over the top presentation. It’s a hyper active, schizophrenic, chaotic experience from start to finish. From the minute the movie starts you realize that the world of Scott Pilgrim is a videogame brought to life. Words and sounds spring to life in vibrant colors and textures throwing subtlety into the face of the unprepared. Everything about this movie is excessive, designed to incite laughter with its inane and often slapstick humor. But at the same time it all holds together extremely well. It is genuinely funny without feeling worn out over the course of the story and this is a big feat considering its taken six digest sized comics (each about 160 pages) and truncated them into about a two hour movie. This movie would have been a complete shock to my system had it been a videogame movie, but fortunately (or unfortunately if you wanted the shock) it’s actually based on a comic series which actively parodies videogames.
One of the major highlights from the movie comes from the fights that Scott must undergo with Ramona’s evil exes. The fights themselves are just extremely random and really show off the comic book/videogame style that makes the movie so animated. It also makes you wonder why everyone who dates this girl seems to have some form of super power or skill. During the very first battle Scott is caught off guard by Ramona’s very first ex, but instead of this being an awkward encounter strewn with confused stares and unprepared banter, he rises to the challenge and greets his first opponent with a forearm block and a punch to the face! All accentuated by an awesome videogame-esque perspective and animation.
One thing I learned while watching this movie; Vegans are just better than everyone else.
Outside of all of the action and comedy strewn seamlessly throughout the movie there is also a rather interesting romantic element that runs beneath it all. It’s not so pervasive that the movie becomes a love story, but it really adds perspective and gives the main characters a little more personality beyond the, “I must defeat this person for the sake of” type of personality. As a result a lot of the characters seem a lot more relatable. The hot chick that you would fight to keep, the crazy girl who stalks you wherever you go, the best friends that seem a little off but are always there for you, and the crazy vegetarian guy who can put wholes in the moon and knock highlights out of people’s hair. It really runs the gamut of character types and successfully flushes them out adding some layers to what would otherwise be hollow, stock characters.
All in all, Scott Pilgrim vs. the World is an amazing adventure. It’s a story of love held together by a lot of action, comedy, and awesome artistic approach. Its probably more relevant to the younger crowds, I’m sure all of the videogame references would fluster a more “mature” person, but at the same time it has more than enough redeemable qualities to keep it entertaining for everyone. This is a must see at any time in any crowd because if it doesn’t cause excessive laughter for its entirety, then its awesome fights and romantic tale will keep you entertained for the rest of the time. Maybe this is the movie that will finally get Michael Cera out of those teen drama movies that he keeps getting cast for. But I digress. It’s out in theaters now! Go watch it!
KO!
(And for reviewing sake this movie gets 5 out of 5 stars and a 94 out of 100, it’s just that good)
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