Spotlight On: Cities XL

If you haven't played a good city-building game in a while, you may want to keep an eye out for Cities XL, which will try to combine the peaceful pursuit of building up a tiny virtual city with cooperative (and competitive) online elements and Web-based social networking. We've previously taken an in-depth look at the game and its unusual premise and have new details to report today.

To catch you up, here's a quick recap: Cities XL will basically offer an offline experience right out of the box and a continuing online experience should you want to pursue the dream of being the world's most successful architect. Like in many other city-building games, such as the SimCity series, the out-of-box, offline game in Cities XL will let you use editing tools to build up the virtual city of your dreams, using powerful tools that will include some 500 different buildings, so you can click, drag, copy-paste, and brush-paint tiny individual houses or sprawling roadway networks, then maintain your population's happiness and income while using your funds to build a bigger, better, happier city.
The online portion of the game will let you go beyond just puttering around in your own city; you'll actually be able to, for instance, putter around other players' cities on foot, as well as monitor the progress of your city online through the game's Web site, which will act as both an online scoreboard (which ranks all players' cities by their relative wealth, popular happiness, and other statistics) and a social hub. The Web site will let you create your own profile, write your own blog, post images, and maintain a friends list. You'll also be able to use the online interface to trade any excess resources that your city, or other players' cities, may have produced. All cities produce and consume resources (such as energy, power, and cash), and depending on how you've built yours, you may end up with a town that creates a daily surplus of this or that resource. This daily surplus will disappear from your city's coffers at the end of the day, each day, to avoid the dreaded practice of "farming"--in this case, repeatedly hoarding resources each day until you have an unreasonably huge stockpile. Resources will be traded in the form of "tokens"--one token will represent one unit of resources, and developer Monte Cristo currently intends to let the resource market regulate itself, rather then get too involved in the player economy. However, since you will have access to resource trading online, you won't necessarily need to create a well-rounded, self-sustaining commune. For instance, if you want, you can build an industrial wasteland that's nothing but factories and smokestacks--and just trade for whichever resources you don't generate.

Resource trading will be important not only for generally keeping your town running, but also for creating "megastructures"--famous wonders of the world that will grant powerful bonuses to whoever builds them. (Cities XL will ship with about 20 of these right out of the box, and more will be added at a rate of about five or so per month). In order to build one of these impressive monuments, you'll need the blueprints, which will randomly appear in the accounts of a handful of users every so often (and can be used to start construction immediately, or traded for resources, or given away for free...otherwise the blueprints will expire in about a week after use to prevent players from accumulating them in their accounts). Megastructures will be fantastically expensive projects that go through three different phases of construction (and each phase will require a different mix of resources). Successfully building one will grant serious bonuses for your city; for instance, plopping the Arc de Triomphe in the middle of your metropolis will grant your city powerful economic bonuses as tourists from your principality and from neighboring towns take a holiday to come see your wondrous new masterpiece. And the tourists will build up the local economy, presumably by purchasing cheap T-shirts and souvenir coffee mugs.
However, megastructures won't offer clear-cut, no-strings-attached advantages; they'll actually have their own set of realistic concerns that you as the city's mayor and chief architect must address. For starters, an attractive monument will bring in many guests and their big, bulky tour buses--and the buses may congest traffic and lead to noise pollution that creates unhappiness for any of the locals who live or work nearby. More importantly, if your city becomes too wondrous and begins drawing in too many of your neighbors' citizens, your neighbors (other players who are in control of their own cities) may become jealous that you're getting all this great tourist revenue and they aren't. In fact, this will be a real concern for all online land barons when they go looking to trade resources. Yes, you need four tokens of oil for your own town and you'd be willing to trade four tokens of water...but do you really want to give that water to someone who will just end up spending it on building an Eiffel Tower that will draw in your citizens and line your neighbor's pockets?

Cities XL is still in development and will likely go to a beta-testing phase in the coming months. The game is scheduled to launch later this year.

We Just Played The Last Remnant for PC

Last year's The Last Remnant for the Xbox 360 tried to push console role-playing games in new directions by including larger-scale battles with battalions (or "unions") of characters massed to fight as a group. The game took place in an unusual alternate-fantasy world where talking cat-men with four arms routinely served as royal guardians, and where, like in many console games of this sort, many of the human males that served as main characters were young, slender, and had fabulous hair.

We got our hands on the PC version of the game and have played through the early part of it, and have found the game to so far be a faithful translation of the original console game. Like in the Xbox 360 version of The Last Remnant, the PC version of the game starts with the story of Rush Sykes, a plucky young lad who sets out to rescue his kidnapped sister, without the help of his workaholic parents (who are off toiling on a potentially world-saving project involving ancient artifacts known as "remnants"). Over the course of the game, he meets various characters (who may or may not be cat-men) to join him in his quest and eventually lead into battle as part of the game's larger-scale combat system.

Like with the majority of console role-playing games since the original Dragon Quest/Dragon Warrior from the 8-bit NES, The Last Remnant's combat is turn-based, and alternates turns between your party's characters (and their planned attack abilities) and your enemies' turns. Each character in The Last Remnant will have various different abilities that will be specialized in such areas as casting magical spell effects or swinging a sword, and additional abilities that can be performed at a cost of "action points," or AP; but interestingly, you won't have direct control over them beyond giving general orders, so you'll effectively act as both a general and a soldier at the same time. However, by attacking and defeating enemies in sequence, you can perform longer and longer "chains" that will net you more experience points so that Rush and his buddies will gain levels (and the new abilities that come with them) faster.

The PC version of The Last Remnant seems to run just fine and we encountered no framerate hiccups or significant technical problems of any kind as we played. The game was built using the Unreal Engine and this powerful technology seems to do a good job of translating the colorful graphical look and intricate, cat-man-filled world that first debuted in the console game. The Last Remnant is scheduled for release later this month on PC.

Watchmen: The End Is Nigh Review

The End Is Nigh serves up light beat-'em-up fare with a Watchmen flavor. Those hungry for anything substantial will be disappointed.

With all the critical acclaim for the Watchmen comic series and all the hype surrounding the new movie adaptation, it's possible that folks might have certain expectations for the new video game set in the same universe. However, if you are hoping to find some of the comic's depth and maturity here, or are looking forward to reliving your favorite scenes from the movie, you will be sorely disappointed. Watchmen: The End Is Nigh is a shallow beat-'em-up game set years before the events of the comic. Its narrow scope may disappoint some, and the Watchmen veneer isn't very deep. Yet thanks to lively, brutal combat and impressive visuals, Watchmen: The End Is Nigh is a fun, fist-flinging romp for the few hours that it lasts. The $20 price tag is a steep one, but for anyone who enjoys a good old-fashioned beat-'em-up, The End Is Nigh delivers.

Pretty much all you do for the entire game is beat up bad guys, and the combat is good enough to stay fun throughout. Whether you're playing as Rorschach or Nite Owl (the only two playable characters), the fundamentals are simple: light attack, heavy attack, block, and throw. Peppering your opponent with attacks works well, and there are some nice animation touches that make even this basic combat enjoyable. Throwing enemies is particularly delightful, whether it be into a crowd, off of a ledge, or into a wall. As you progress, you'll encounter tougher enemies that block your basic attacks, so you have to use the various combos you learn along the way in order to stun them or knock them down. These combos add new animations to the mix and are generally a bit nastier than your normal attacks. However, the best animations are the finishers, which you activate by matching the button prompt that appears over the head of a weakened enemy. The camera zooms in during these brutal flurries, allowing you to appreciate every blow. While Nite Owl's no slouch, Rorschach is the clear standout here: his finishers are so manic and so vicious that you can't help but cringe and cackle with delight as he just keeps hitting a guy who is clearly unconscious.
Basic attacks, combos, throws, and finishers make up the bulk of your fighting move set, but Rorschach and Nite Owl have a few other tricks up their sleeves. They can each counterattack easily, disarming any armed opponents and positioning themselves for a strike. Rorschach will even hold onto these weapons, and his brutal finishers get even nastier when there is a crowbar involved, though watching him wield a knife like a bludgeon is a bit silly. Each hero also has two special attacks that drain energy from a meter in the corner of the screen. Rorschach can do a short bull rush or freak out and do more damage for a short period of time. Nite Owl's grenade stuns anyone nearby, and he can use the electric charge in his suit to zap a large radius of foes.
As you fight your way through the rough areas of town, you'll encounter a few different breeds of thug and lowlife, some tougher than others. It's easy to die if you get yourself surrounded and try to punch your way out, but judicious use of counterattacks and special moves should be enough to get you out of any tight situation. There are throwaway actions here and there, like lever-pulling or valve-turning, and an oddly tricky lock-picking minigame that seems a bit out of place in a game that's all about brute force. Despite these extraneous tasks, a creeping sense of repetition looms over The End Is Nigh, and it's possible you'll grow weary of pounding your way through wave after wave of goons. Though the game mixes up your enemies' fighting styles in order to make you use your entire arsenal, the action can often teeter on the edge of button-mashing boredom. Those inclined to revel in the perverse joy of cracking skulls will be able to keep repetition at bay, but the relatively simple gameplay will quickly wear thin for others.

For all its merits, the combat wouldn't be nearly as fun if it wasn't paired with top-notch graphics. The sharp character models are fashioned after the movie costumes, and the smooth, realistic animations make the action exciting and extremely satisfying. You'll chuckle when Rorschach jams his hands in his overcoat immediately after furiously maiming an entire biker gang, and both he and Nite Owl pack a wickedly pleasing punch. There are occasional physics-based oddities, especially when throwing your enemies, but the animation is still consistently impressive. The detailed environments provide a rich setting for your beatdowns, and stark lights and deep shadows (occasionally too deep) create a dramatic look. The quasi-animated cutscenes provide a few pages' worth of story across the six chapters of the game, and the sinister machinations at work fit nicely into the Watchmen universe.
Though you can have some split-screen fun with a friend, it's baffling that there is no online cooperative mode. That would have made the $20 price tag a little easier to swallow, but as it stands the price feels a bit greedy. Those inclined to tire of repetitive gameplay will find the price of entry too high, but there is some value here. The impressively animated combat is fun and brutal, and the sumptuous environments provide the perfect pugilistic playground. The many unlockable combos provide some replay incentive, and the combat is surprisingly fun to come back to even after you've beaten the game. Though it may be shallow, overpriced, and likely to disappoint anyone hoping for more weighty fare, Watchmen: The End Is Nigh is ultimately a simple, well-crafted game that will please those looking to dish out some good old-fashioned beatdowns.

By Chris Watters, GameSpot

King's Bounty: The Legend Review

King's Bounty is a great modern rendition of an old-fashioned formula.

One thing you can say for King's Bounty: The Legend is that it fares a lot better than most resurrections of old games. While these digitalized archaeological digs generally reveal that you wouldn't want to go home again even if you could (Defender of the Crown, anyone?), the revival of New World Computing's fondly remembered role-playing/strategy hybrid is a vast improvement upon its 1990 predecessor. While King’s Bounty may not be the most revolutionary game of 2008, its refined gameplay makes it a treasure worth hoarding.
Actually, about the only fair negative comment you could make about King's Bounty is that there isn't really anything new here. Just about everything feels like a rip-off of Heroes of Might and Magic. As with that long-lived Ubisoft franchise, the core of this game is all about taking on the role of a hero in a solo campaign (there is no multiplayer option) and guiding parties of mercenaries across a real-time map to fight turn-based battles on hex grids. A strong RPG flavor is granted through character creation, which allows you to choose from warrior, paladin, and mage classes and then trick out your avatar with skills, artifacts, weapons, armor, spells, and assorted other Gygaxian accoutrements. You then explore the huge medieval fantasy world of Darion in the service of King Mark the Wise, plying the trade of a treasure hunter. A story slowly develops regarding the king's older brother and the standard evil threat to the continued existence of, well, everything, although you don't have to pay much attention to it. Essentially, you just wander around doing good deeds, guiding an icon of your hero through the usual D&D-inspired landscape to slay monsters, loot treasure, scoop up skill runes, mana crystals, and leadership banners, and solve quests handed out by your king and various passersby.

Despite that description, this isn't a hack-and-slasher. Instead of whaling on monsters with a small party of adventurers as in the typical RPG, you wage tactical battles with veritable armies of troops on turn-based battlefields. Mages, priests, knights, archers, monsters, and the like are hired at special buildings such as the king's castle for use as shock troops in your hero's party. You start off with a paltry handful of these goons, but soon wind up at the head of a tremendous force of killer Renaissance fair refugees. Stuff enough gold into your pantaloons and increase your hero's leadership skill as you increase in level and you'll be able to afford the services of loads of hirelings. The scale of battles always remains manageable, however, as each unit type is depicted by just a single character model on the battlefield no matter how many of those units you actually command. This keeps the focus on pure tactics and allows you to whip through battles lickety-split, while still letting you make use of each unit's special abilities. As just about every unit comes with some sort of skill involving spells or bonus attacks, cutting to the chase without dealing with hordes of units is vital to keeping the game straightforward and simple.
This should sound familiar if you have any experience playing a tactical RPG. The only real difference between King's Bounty and Heroes of Might and Magic or Disciples is a greater emphasis on role-playing. Story is brought to the fore here in a much more overt way, thanks to a sarcastic sense of humor and a ton of quests to be solved. True, most of these quests have been scooped out of the big bag of RPG cliches (find stolen property, remove a curse, kill the big bad whatever that's plaguing our village, and so on). But many come with multiple parts that force you to venture all over the map to solve them, along with a great deal of personality conveyed through idiosyncratic characters and a lot of text. You can't just skip around like you're filling in blanks; do so and you're liable to get caught not paying attention, as with the quest where you're given the words to a spell solving a peasant's zombie problem and then have to pick the actual phrase out in a multiple choice menu when casting the spell a little later. So even though these various tasks might not break any new ground, completing them is more involving than the map-clearing busywork that dominates the usual tactical RPG.
Difficulty is also scaled well. Starting off on easy knocks down monster hit points to something quite manageable, and cranks up the amount of gold awarded so that you never seem to run out of the coin needed to hire reinforcements. It's gratifying to see newbies getting let in on the action like this; too many games of this ilk seem to want to punish players, or at least present such a grueling level of difficulty that only veterans of the genre need apply. With that said, moving to normal difficulty is one heck of a leap. Enemy hit points take a huge jump and your gold gets slashed to practically nothing, turning what was a pretty fast-moving game into what can be a grueling slog through battles of attrition.

Visual design is impressive, if not cutting-edge. The game is a couple of years out of date, although the use of bright color and loads of details on maps means that everything still looks great in a Disney kind of way. Areas are intricately drawn and laid out in such a way as to increase the fantasy atmosphere. Every nook and cranny is filled with something D&D-ish, from urns and skulls in catacomb corners to webs and giant mushrooms in forest clearings. Spell effects are spooky and imaginative, too. Magic is generally underlined with special effects like clouds of brimstone, puffs of green gas, and even leering skull faces. All of these added details sometimes gets in the way of your simply playing the game, though. Pathways through maps are very twisty-turny and often obscured with foliage or other terrain obstacles. It can be tough to locate a way forward without rotating the map or zooming in. Failing to at least pan the camera around before galloping into an S-curve can also see you trot right into a killer encounter with powerhouse monsters hidden just out of sight. Audio, on the other hand, is similarly secreted away. The score is a generic triumphal blast that repeats so often during tactical engagements you will almost immediately tune it out, while battle sounds are tinny and there is virtually no voice acting in the game.
Forget about looking at King's Bounty: The Legend as a sequel to an oldie-but-goodie and take it on its own merits. Anyone with the nostalgia gene who played the original might get a special thrill out of this sequel coming along almost 20 years later, but you don't need a connection to this classic to enjoy this impressive take on the traditional tactical RPG.

By Brett Todd, GameSpot

The Chronicles of Riddick: Assault on Dark Athena Updated Impressions

Starbreeze and Tigon show off the latest content in this half-remake/half-sequel to the original Vin Diesel-starring game.

With his pair of sharply curved knives in hand, Riddick stalks the halls of the pirate ship Dark Athena, looking to deal some pain. Creeping through the shadows in a room full of cargo crates, Riddick is hidden yet surrounded by a number of drone soldiers--mindless automatons that patrol the ship and that can be remote-controlled by members of the Dark Athena's crew. Skulking in the shadows, Riddick sneaks up behind an unwitting drone, takes him out, and tries to take his weapon from him. But wait--the gun is attached to the drone's hand. No problem for Riddick; he simply picks up the drone and begins blasting the other enemies to bits with the attached weapon. It's just one of the grimly enjoyable approaches to combat in the upcoming The Chronicles of Riddick: Assault on Dark Athena, which we had a chance to check out at a recent Atari press event.

Though the game was initially conceived as a fairly straightforward remake of the classic original Xbox game, The Chronicles of Riddick: Escape From Butcher Bay, the developers at Tigon Studios and Starbreeze have pushed the project beyond a mere port to include both a remake of the original game and an entirely new chapter in the Riddick storyline, Assault on Dark Athena. Picking up more or less directly after the events in Escape From Butcher Bay, Assault on Dark Athena finds Riddick and his captor, the bounty hunter Johns, onboard the Dark Athena, a pirate craft that's led by a mysterious captain that Riddick might have a history with. After being locked in cryostasis for a good long stretch, Riddick--being the badass that he is--manages to wake himself up and begins stalking the corridors of the Athena, looking to escape.

During the demo, the developers at Starbreeze showed off the trademark multiple gameplay elements that began with the original game and certainly continue here. Stealth is obviously a big part of the fun here, with Riddick sticking to the shadows (complete with the familiar blue tint to the screen when Riddick is concealed), and either sneaking around, or sneaking up on, his enemies. Then there's the wet work with the aforementioned ulaks that Riddick acquires early on in the Dark Athena storyline. They're perfect for making short work of an opponent you've snuck up on, and they seem to be pretty effective even in a face-to-face fight.

But where Dark Athena really shines is with the drones. As mentioned previously, drone soldiers are mostly mindless, zombie-like humanoids that patrol the halls of the ship. In their unoccupied state, they seem to be easy enough to avoid; however, if a drone is being "piloted" remotely, it's a different story. They'll be more alert, and they appear to have quicker reaction times, too. You can capture a drone that you've taken down, but you'll only be able to walk backward while holding up a drone. As a result, if you want to use its attached arm gun and still stay mobile, you'll need to move quickly from one downed drone to the next.

Regardless, the best use of a drone is actually piloting one yourself, which we got to check out in the demo when Riddick made his way into the drone control room. After quickly dispatching of a crew member who was in the process of controlling a drone, Riddick saddled up and took a few for a ride. Although most of Riddick's gameplay is stealthy by nature, controlling a drone feels most closely akin to a run-and-gun first-person shooter. The kicker is that drones are expendable and, as a result, you can charge right in with drone gun blazing. That said, during the mission we watched, there was only a finite amount of drones available to Riddick and, once one went down in a hail of gunfire, Riddick simply fired up the next drone and continued on his way.

Given that the demo focused entirely on the new content in the game, we didn't get a chance to re-experience Butcher Bay for the first time on the Xbox 360. What we do know is that, even though the original game is being remade in Dark Athena, game upgrades will touch on all content in the game, both old and new. One example is that AI enemies will use improved team tactics to take you down. That's in addition to the stunning graphical upgrade that the original game is getting, completely remastered audio, and user-interface improvements such as a radial weapon-selection menu. Naturally, Vin Diesel will reprise his role as Riddick, with actress Michelle Forbes (Star Trek: The Next Generation, Battlestar Galactica: Razor, Al Roach: Private Insectigator) taking up the role as the captain of the Dark Athena.

When you add the fact that the content for Escape From Butcher Bay and the Assault on Dark Athena seems to be about the same length, as well as multiplayer features that the company has yet to reveal, it looks like the game will be jam-packed with features. We look forward to peeling back the new pages of Riddick's chronicles in the coming months and will keep you up to date on all of the latest developments until the game's release, due for spring 2009.

By Brian Ekberg, GameSpot

Heroes Over Europe Hands-On

English biplane versus Nazi battleship? It's no contest in this upcoming arcade flight game.

A lone squadron of Fairey Swordfish torpedo bombers roams the skies above the English channel, patrolling for Nazi destroyers and a battleship that have laid claim to these waters. Suddenly 10, 20, maybe 50 German fighter planes fill the sky, their jet engines easily outclassing the British biplanes that were considered outdated in 1939. But it's 1941, and you're outmanned, outgunned, and, well, you know the drill. But you and your wingmen have three things going for you: this is Heroes Over Europe, the upcoming arcade World War II flying game; a slow-motion bullet time mode; and rockets...unlimited rockets. The Germans don't stand a chance.

Let's also give credit where credit is due. The Swordfish were unsung heroes of WWII and crippled the mighty German battleship Bismarck in 1941, so repeating such a feat in Heroes Over Europe is not outside the realm of possibility. The sequel to 2005's Heroes of the Pacific, HOE puts you in the cockpit of authentic Allied fighter planes in a fight against the mighty German Luftwaffe. American, British, Canadian, and New Zealand aircraft comprise more than 40 total planes, including such classic hits as the Spitfire, Mustang, B-17 Flying Fortress, and the de Havilland Mosquito, a British fighter bomber made mostly of laminated plywood, affectionately known as the "timber terror."

Each aircraft is rated in top speed, agility, and weapon power, and after playing with both the Swordfish and Mosquito, the differences quickly become apparent. Dive-bombing in, say, a B-17 is a bad idea because it will take you much longer to pull out of your dive and you'll likely dive right into the English Channel. At least your controls are fairly simple. Moving left or right on the left stick controls your rudder, while moving up and down climbs and dives, respectively. The right stick controls rolls by moving left and right, while up and down will increase and decrease your speed. Fans of Heroes of the Pacific or, more recently, Blazing Angels, will feel right at home.

HOE focuses mostly on dogfighting, though bombing missions will be sprinkled in. At first, the game doesn't do much to separate itself from previous arcade sims. You simply maneuver behind enemy fighters and fire unlimited bullets in their path. Against bombers, you dive in from above so as to avoid their gunners. But Aussie developer Transmission Games added a nifty adrenaline meter to spice things up. As you have an enemy in your sights, a meter will slowly fill around your targeting reticle. You can then press a left shoulder button to slow down time and target individual sections of the aircraft. It's still difficult to pull off as the reticle is quite shaky, but taking out a wing or the fuselage makes for a one-hit kill, and then you're free to move on to your next target. Currently, weapons are limited to guns and bombs. Ironically, our Swordfish torpedo bomber was armed with unlimited rockets rather than actual torpedoes. Though fun to fire, we hope that actual torpedoes will be added. Fans of Battlestations: Midway will recall the thrill of dodging antiaircraft fire to successfully deliver our payload, and we hope torpedoes are added before the game's release.

HOE still has a ways to go in development, but the view from the sky was a treat. There was a noticeable amount of texture pop-in and some of the plane models were unfinished, but the landscapes and cities looked as if they were pulled from a 1940s version of Google Earth. One notable omission is cockpit view--try as we might, we could only select between two different follow cams. Let's hope that feature is added before release, because nothing puts you in the cockpit of a WWII plane like a, you know, cockpit view.

The single-player missions will begin with the German bombing of London and finish with the final bombing of Berlin. The game will also have you play as three different Allied pilots in an attempt to immerse you in the story. As for multiplayer, Atari is promising 16-player online action and four different modes, though we have yet to see it in action. When we do, you'll be the first to hear about it. You can fly the unfriendly skies for yourself when Heroes Over Europe is released in 2009.

By Jon Miller, GameSpot

Neverwinter Nights 2: Storm of Zehir Review

Storm of Zehir tries to be the square peg in Neverwinter Nights 2's round hole, with predictably lackluster results.

Obsidian Entertainment attempts to turn back the clock with Storm of Zehir, a Neverwinter Nights 2 expansion that tries hard to emulate the seminal single-player role-playing game Baldur's Gate. But even though nostalgia makes this notion appealing, this attempt to shoehorn an old-fashioned strategic RPG boasting a full party of adventurers into an engine built to showcase a story-driven tale about a single lead character hasn't really succeeded. So while taking a trip back in time might seem like a nice idea for an RPG vacation, the result is a clumsy affair that plays more like an above-average homebrewed mod than a full-blown official add-on.

Storm of Zehir feels different from the very beginning. The story is extremely stripped down, especially in comparison with the cataclysmic original Neverwinter Nights 2 showdown against the King of Shadows and the epic first expansion, Mask of the Betrayer. Here, you play as a pedestrian low-level hero not looking to save the world but to escort a trade mission on a ship heading from the overexposed Sword Coast to the never-before-seen jungles of Samarach. The game takes this concept so far that you can even sell goods between towns and set up trade routes to make a few bucks as actual merchants. The plot won’t necessarily grab you throughout its 20 hours or so of play, and the first few hours seem to have plenty of RPG clichés--you’ll lose all your gear early on in the game, for instance.

Instead of tackling the usual earth-shattering events of a Dungeons & Dragons game, here you take on the duties of a mop-up crew coming in after the party's over. The King of Shadows has already wreaked his havoc, and you're just some poor schlub out to try to make a buck by ensuring that merchants can once more ply their trade. The quests reflect this mundane storyline. You run a lot of lame errands to kill specific monsters and recover lost or stolen merchandise, and you clean out a bunch of formulaic dungeons, caves, graveyards, and the like. Most locales are fairly small, so they seem more like minor obstacles that can be raced through in a few minutes than the huge strongholds and lairs typical of RPGs. Trading feels more like a minor irritant than a worthwhile feature. Generally, you acquire the game's three goods--ore, lumber, and skins--in one place and then sell them at a profit somewhere else. Transactions are handled on simple menu screens when you enter a town, so you don't do anything more than hit a few buttons to add money to your coffers. And the concluding reveal and battle come up so suddenly and are so anticlimactic that you won't believe they're the ending of the game until you've exited to the desktop.

Rather than playing as a solo hero chosen for some great destiny, you roll up a party of four average joes just like you did way back when in D&D classics like the Baldur's Gate and Icewind Dale franchises. While you start off with a single lead protagonist meant to be your alter ego, you add three adventurers to the party roster almost immediately and can then add two more cohorts as the campaign moves along. You can take total control of all of these characters and fight battles in a style similar to the quasi-tactical struggles of old-time strategic RPGs, which makes the campaign ideal for multiplayer adventuring online. Where both the original campaign and the one in Mask of the Betrayer didn't seem to do much with the outstanding multiplayer options in the Neverwinter Nights series, this one seems almost designed to be played with friends, even though, oddly, Obsidian doesn’t recommend the scenario for multiplayer games.. The atmosphere is different from that in the previous Neverwinter Nights games; the emphasis on a single hero and a heavily scripted story has been dumped in favor of more traditional, more wide-open role-playing. If you pause the game enough or play with some friends, you can almost pretend that you're back in a turn-based game circa 1989.

Unfortunately, it seems like the Neverwinter Nights 2 engine wasn’t quite up to the task of making this experience consistent. Artificial intelligence is a big problem. You can switch between having full control of your party members and letting the AI handle things, but neither option works all that well. If you go for total control, you're constantly pausing the action to wrangle with an interface geared for looking after just one character. The pull-down menu that never worked smoothly for the original Neverwinter Nights 2 is far worse when dealing with at least four characters. A proper turn-based interface would require a lot less messing around and investment of your time. You can turn on the AI to automate party decisions during combat, though this can lead to even worse results. Leaving the game on its default settings leads to suicidal melee attacks and all-out magic assaults that can empty your spellcasters' arsenals in moments, often in battles with piddly opponents, such as a swarm of bats. Actions can be thoroughly customized, but it's tough to come up with a formula that works in all battle situations. You can find yourself fussing with the settings so much that it makes more sense to simply shut the AI off and do everything manually.

Additions to the main aspects of Neverwinter Nights 2's gameplay are sort of adventurous, if not entirely successful. The best and worst new feature is an overland map used for traveling between quest locales, like towns and dungeons. This is a simple, old-fashioned interface where you pick a party leader and he or she then leads your adventurers into the wilderness. The good news is that this map allows for open-ended exploration that adds a sense of venturing into the unknown that hasn't been incorporated into a D&D RPG for years. You can discover loads of hidden goodies just by wandering around, from secret lairs to magical artifacts to bundles of clothing you can use to make an impromptu health kit. The bad news is that this map is loaded with a crazy number of random encounters. Unless you have a party leader like a ranger who has serious points dedicated to skills like hide, move silently, and survival, you can't help but stumble into one pack of monsters after another every time that you hit the overland map to head to a new quest. One moment you're set upon by skeletons, then it's a gang of gnolls, then zombies, then earth elementals, then spiders, and so on. Monsters can hit so hard and so often that you can never rest, which turns map travels into tedious slogs that wear you down over time. Still, the overland map could be a great feature with some serious tweaking. It will be interesting to see what modders do with it.

The expansion’s other extras include tweaks to the game engine that hardcore fans of the series may appreciate, but more-casual players may gloss over. Conversations have been tweaked to enhance the use of character skills that often go ignored. A menu featuring all party members now appears in the dialogue window, allowing you to change speakers on the fly to open up different conversation options and best use abilities such as intimidate and bluff. Parties are further emphasized with teamwork benefits that can give you bonuses such as fearsome roster, which can scare off enemies on the overland map, and circle of blades, which hits opponents with extra damage whenever you can flank them. You also get two new races (Gray Orc and Yuan-Ti Pureblood), a trio of new prestige classes (Doomguide, Hellfire Warlock, and the Swashbuckler), some minor changes to crafting, and the usual handfuls of new items and spells.

The visuals do a better job of building a believable setting than the plot does. Many scenes are gorgeous, and the jungle is the most realistic-looking terrain presented by the Neverwinter Nights 2 franchise. Just about everything is green and covered with lifelike lichen. Lighting effects and spell pyrotechnics are also spectacular. The voice acting, however, is awful. With the exception of the subtly slimy take on Forgotten Realms' ne'er-do-well Volo, the actors here seem to have just two gears: way over the top and dull monotone. It's a long way from the stellar acting found in the original Neverwinter Nights 2. On the other hand, the soundtrack is absolutely brilliant. This subtle, sweeping score is right up there with the best that Hollywood has to offer, giving you something to hum long after you've shut down the game.
Storm of Zehir isn't a terrible addition to the D&D gaming canon, although it is a lot less refined than you might expect. You have to suspect that this is the result of straying too far from the original Neverwinter Nights 2 formula, and ultimately this expansion pack isn't as enjoyable.

By Brett Todd, GameSpot

Swashbucklers: Blue vs. Grey

Mix the Wild West with the high seas and you get Swashbucklers: Blue vs. Grey, an action adventure game about pirates during the Civil War. However, the gameplay isn't as innovative as this offbeat premise, considering that Russian developer TM Studios has just duplicated Sid Meier's take on buccaneering from his Pirates! Games, right down to the arcade minigames. There isn't any amusement to be found in the derivative, go-through-the-motions gameplay that mimics a vastly superior predecessor. Ancient production values boast nonstop loading screens and outdated graphics, all of which nicely hammers home the bottom-drawer philosophy behind this second-rate rip-off.

Nevertheless, there are enough interesting aspects to the story to make you wish that Swashbucklers had been more ambitious with its gameplay. You take the role of Abraham Gray, a pirate plying his trade in the Caribbean and along the southeastern seaboard of the United States during the Civil War. Dropping the usual 16th-17th century piratical escapades for a more modern era is a great idea, especially given how the game dresses up the period with cowboy touches. Gray dresses more like a Texas Ranger than a buccaneer from Havana, what with his beat-up cowboy hat and twirling six-guns. City ports look like refugees from an old oat opera as well, with dirt streets, sheriffs' offices, and saloons. Another nifty touch is Gray's mental state. He's a schizophrenic who hears voices, which comes in handy when this hallucinatory alter ego provides tips on how to play the game. Not much is made of this during play, although the concept is at least an interesting way to handle the pop-up instructions provided during game tutorials.
Depressingly, that's about it for the positives. For starters, everything about Swashbucklers screams bargain bin. The PS2 version's visuals are dated across the board, although they at least look comparatively better to other games on this system than the PC version does compared with similar games on that platform. However, graphical elements of the game are often repeated, which means that every port features the same dirt streets and the same sheriff's department. Every section of the game needs to be loaded, too, despite the dated look and content. Most loads are nearly instantaneous, but they still break up the flow with continual screen fade-outs and transition screens. A comic-book vibe to the visual flair makes the archaic stuff a bit more tolerable, but you're still playing a game that looks as if it came out five years ago. Furthermore, the interface is a bit clunky, although at least its big "designed for a TV set" style is more at home here than it is in the PC edition of the game.
Audio is an even bigger advertisement for yesteryear. Presumably to avoid the costs involved with recording dialogue and then translating it for different markets, characters in Swashbucklers grunt conversations like angry, drunken versions of the adults in Peanuts cartoons. Unfortunately, this half-baked attempt at simlish doesn't work here, given that you're trying to make sense of a storyline, not groove on the cutesiness of virtual dolls expressing emotions without uttering any intelligible words. You can't get much out of this grunting, either, because it all sounds like a cross between a snore and a belch. Thankfully, there are captions for all of this snorted dialogue, so you can ignore these annoying noises and just read your way through conversations while listening to the pretty good Wild West-style musical score.
It's a pity that you can't similarly disregard the gameplay. This is a clone of Pirates! in every imaginable way, but without the depth and sense of fun that permeated that 2005 remake. Character development has some role-playing game aspects, although they're pretty rudimentary. You level up fairly quickly, but can apply the points gained to only three skills: fencing, shooting, and defense. Perks that provide special melee attacks, defense bonuses, and the like can also be chosen, which gives you at least a little more freedom to build a character. Regardless, there isn't enough choice here to let you really customize Gray. The arcade-style combat is equally straightforward on both terra firma and on the high seas.

Gamepad controls are much more fluid than the mouse-and-keyboard interface in the PC version of Swashbucklers, so you're better able to handle the fast-paced combat on the console. However, there isn't much depth to battles here regardless of the control method used. Gray is an expert swordsman with the skill to slash gangs of opponents to ribbons, and the vessels at his command are able to rip off cannon fire at Gatling-gun speeds. It's only when dueling enemy captains at the conclusion of boarding sequences that you're required to do any thinking, and this really just requires you to pace yourself by taking breathers every now and again or blocking nonstop as you run out of energy.
Quests are generally pretty basic delivery runs where you drop off supplies, hand over prisoners, sink vessels, and so on. There is little interaction with non-player characters, and no need to fuss around with loading ships or dumping off cargo. Consequently, with the many Fed Ex quests you simply land in a port, talk to someone to accept a job, sail to another port, and talk to someone about taking your delivery. Wash, rinse, repeat. You can make cash on the side by auctioning off captured vessels, or by running goods from one port to another and doing the old buy-low, sell-high thing. But there isn't any strategy here because the auctions are conducted automatically, and the prices for cargo remain static even when you're buying up tons of stock. You know you've got a pretty simplified market system when it doesn't even recognize basic supply and demand.
Earning money from ship-selling and trading isn't really necessary, either, given that you can make just about all of the cash that you want by taking on all comers in the boxing minigame on offer in various ports' bars. This is a bare-fisted version of the captain duel described above that is incredibly easy to win. All you have to do is pound away for a few rounds and occasionally pepper your opponent with a roundhouse special attack to walk away with as much as a thousand bucks.
If you're looking to recreate the Pirates! experience, just replay that fantastic game. Don't bother with this dull copy unless you've got a fetish for mentally ill buccaneers.

By Brett Todd, GameSpot

Crysis DirectX 9 VS DirectX 10

Crysis, the poster child for modern PC gaming and DirectX 10, will arrive shortly. Crytek has tortured us for years with screenshots and short hands-on experiences showing off the game's wide-open world, with picturesque tropical battlegrounds, perfect for sipping Mai Tais or peppering random bad guys with automatic rifle fire. Crytek released the single-player demo late last week, and we set up a few test systems to see just how the game looks under Windows Vista compared to Windows XP. We also took some in-game benchmarks to see how the frame rates compare in DirectX 9 and DirectX 10.
It wouldn't be an exaggeration to claim that the environments in Crysis come mighty close to photo-realistic. The beaches, sky, and rocks all have a gritty, real-earth feel to them. Crytek took plant matter to a new realm--a botanist would have a field day in Crysis. The palm trees, shrubbery, and grass create the feeling of tropical jungle more so than any other game we've come across.
The game officially limits in-game settings to "high quality" in Windows XP, while Windows Vista gets an additional "very high quality" graphics setting. Crysis still looks good at high quality, but it's a noticeable step down from the very high quality settings. Some ingenious users managed to enable very high quality on the Crysis demo in Windows XP through a clever bit of configuration-file editing. The second image in each set of comparison shots demonstrate what the hacked very high quality settings look like in Windows XP.
As far as we can tell, the difference between very high quality in Windows XP and Windows Vista is quite subtle. We noticed some extra shadowing on the rocks in the Vista version, and while there are differences between the hacked XP shots and the Vista shots, we can't really say that one looks better. Developers have gotten very good at working around hardware limitations to fake great graphics, so we wouldn't be surprised if the DX9 effects were good enough to simulate the results of a more "accurate" DX10 shader.

By: Sarju Shah

Empire Earth III Faction Preview -The Far East Region

Far East factions rely on sheer numbers to overrun their enemies.

With Empire Earth III shipping next month, Sierra and developer Mad Doc Software are revealing more details about the three key regions in the game. The geographical regions each contain separate factions. For example, the Western region will have English and French factions. However, the English and French are going to be fairly similar to one another, particularly when it comes to visual identity and gameplay. We previously covered the Middle East region, and now we'll cover the Far East faction.
In Empire Earth III, you'll be able to experience all of human history, from the Stone Age to beyond the Space Age. The series, which is sort of like the classic Civilization series but played out in real time, will require you to build an economy and structures to research the scientific advancements that advance you from one historical age to another. As you move into a new age, you have access to more powerful military units and technologies to use in your struggle to survive, as well as expand.
The Far East Region Factions based on the Far East region have a simple philosophy: Quantity is a quality. Thanks to their huge populations, the Far East factions like to rely on large amounts of relatively cheap units to offset any technological advantage their opponents might have over them. Who needs expensive units when you can swamp them with sheer numbers? As such, though, Far East players must play aggressively to take advantage of their numerical superiority. In general, the Far East must play to these strengths because it lacks the mobility of Middle Eastern armies and the technological edge of Western ones.

Far East players also have an advantage when it comes to the economy. Basically any Far East infantry unit can build structures, which means that a Far East army can take over a territory and immediately get to work constructing improvements in it. On top of that, structures can churn out units quickly because the build time for Far East units is faster than Middle Eastern or Western ones. That helps provide a steady stream of reinforcements to the front. Of course, considering that Far East units can fall in battle a lot faster, you're going to need a constant supply of fresh units to replace losses. Another downside is that Far East buildings are a bit more fragile than most, and they are easier to destroy.
Heroes will play an important role in propping up any Far East army. These hero units tend to have powerful abilities that augment the fighting abilities of the armies around them. If the game goes into the future historical ages, then the Far East can develop genetically engineered units. These include the genetic armored personnel carrier, which looks like a giant, prehistoric crab come to life.

By Staff, GameSpot