Army of Two: The 40th Day Review

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

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

Pros

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

Cons

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

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

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

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

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

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

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

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

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

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

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

Overall Score: 7/10

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

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

 

Command & Conquer 4 Review

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

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

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

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

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

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

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

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

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

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

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

Overall Score: 7/10

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

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

Just Cause 2 Review

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Overall Score: 8/10

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

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

 

Need For Speed Shift Review

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

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

Candid Camera

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

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

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

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

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

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

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

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

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

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

What's The Damage?

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

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

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

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

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

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

Overall Score: 9/10

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

Need For Speed: Undercover Review

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

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

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

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

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

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

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

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

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

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

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

Overall Score: 7/10

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

 

MotorStorm Pacific Rift Review

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

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

Meat On The Bones

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

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

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

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

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

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

New Surroundings, Same Old Appeal

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

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

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

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

Overall Score: 7/10

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

PGR4 Review

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

PGR4 All Year Round

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

Kudos For The Bikes & Bad Weather

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

Online Career Hits The Curb

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

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

Overall Score: 9/10

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

The Movies Review

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

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

Overall Score: 10/10

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

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

 

 

Super Mario Galaxy Review

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

But our princess is in another castle

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

A Super Mario game of Galactic Proportions

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

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

Overall Score: 10/10

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

 

LittleBigPlanet Review

Uncharted 2: Among Thieves Review

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

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

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

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

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

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

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

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

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

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

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

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

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

Overall Score: 10/10

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