Ghostbusters: The Video Game Updated Hands-On

We came, we saw, we played a new level of Atari's new ghostbusting adventure.

Spengler. Stantz. Zeddemore. Venkman. And you. Welcome to your new job as the fifth Ghostbuster in Atari's upcoming video game adaption of the hit '80s movie series, Ghostbusters: The Video Game. The publisher, who acquired publishing rights to the game after it was sold off by Activision, showed off the latest build of the game at a recent press event. It was the first time we'd seen the game since E3, and, based on our time with the game, it seems like developers at Terminal Reality (and Red Fly Studio, which is handling the Wii version) have been keeping their heads down and focused on the ghosts, despite the game's publishing turmoil.

Unofficially billed by producers as the "third Ghostbusters movie," Ghostbusters: The Video Game is set two years after Ghostbusters II and finds the four original Ghostbusters in pretty good standing with New York City and its citizens. However, because catching ghosts isn't cheap, the city government decides to bring in some oversight to the 'busters operation in the form of Walter Peck, the quartet's bureaucratic nemesis in the original movie. Peck will be in charge of Ghostbusters oversight, constantly keeping the heroes aware of the ever-increasing costs of doing their particular form of business.
Atari was showing off both the 360 and Wii versions of Ghostbusters, and each version of the game featured a slightly different take on the same level. In the level, the Ghostbusters are in the familiar setting of the New York Public Library, investigating the elderly paranormal librarian (who happens to be the first ghost encountered in the original movie). Just as in the movie, it's only a matter of time before the ghost's calm demeanor turns ugly in a big way.
Before the librarian blew her top, however, we got chance to check out the basics of gameplay and combat. Ghostbusters is a third-person action game, with a camera that sits just over the shoulder of your character, giving you a view not just of the action happening in front of you, but also your proton pack, the nuclear-powered high-tech gizmo that serves as your weapons arsenal. As in the movies, the proton pack is used to fire a stream of energy with which you can wrangle rogue ghosts into a trap. The proton pack in the games is more flexible than the one used in the film, and you'll be able to upgrade your pack as you make your way through the game. These different weapon types include a stasis stream that you can use to freeze a ghost, or a shock blast you can use to defeat them. Your proton pack will also clue you in to your character's remaining health and other vital information.
You'll need to make full use of the proton pack in Ghostbusters because in addition to trapping ghosts, you'll also be fighting enemies as you make your way through the levels. As we made our way through the library level, we fought several spirits that took on physical presence by forming makeshift bodies with the many books scattered on shelves; a quick blast of the proton pack was all it took to bring them down.
Destroying ghosts is fun but your main goal in the game will be trapping certain spirits that are causing trouble. In the both the 360/PS3 and the Wii version, you'll first need to capture your ghost in the stream emanating from your proton pack. You can also stun the ghosts once they're caught by slamming them to the ground. The mechanics for trapping ghosts differes depending on the version you're playing. In the 360/PS3 game, you'll use a combination of the analog sticks and the triggers; over on the Wii, things get a bit more complicated. Aiming the stream is as simple as pointing your Wii Remote--but once a ghost is caught, an arrow will appear on either side of the aiming reticule, indicating which way you need to move the remote to wrangle your ghostly target. It took us several tries to get it right, and while it might get easier with practice, we wouldn't mind if the developer went back and re-examined this aspect of the controls.

Controls are the big differentiator between the 360/PS3 versions of Ghostbusters and the Wii game, but it isn't the only difference. Unlike the 360/PS3 game, which is going for an exaggerated realism, the Wii version has a more cartoonish presentation, with stylized characters and slightly less menacing-looking monsters. Even though both games cover largely the same territory in terms of levels and dialogue, the Wii game is obviously being aimed at a younger crowd. Both versions will also feature the impressive damage effects, where seemingly every wall, column, or piece of furniture you blast with your proton pack will suffer accordingly.
With full involvement from the original cast members Dan Akroyd (The Blues Brothers, Earth vs. the Spider), Bill Murray Lost in Translation, Garfield: The Movie, Ernie Hudson (Oz, Best of the Best: Without Warning), and Harold Ramis (Stripes, Orange County), there's little doubt that this game has the Ghostbusters cred. What remains to be seen is if the game makes busting ghosts as much fun as it seemed in the original movies. We'll know when the game makes its release in 2009, likely just in time to coincide with the 25th anniversary of the original movie.

By Brian Ekberg, GameSpot

Destroy All Humans! Path of the Furon Review

If you enjoy tedious objectives, racially insensitive humor, and ugly graphics, the latest Destroy All Humans is right up your alley.

Developer Sandbox Games was shut down by THQ nearly a full month before Destroy All Humans: Path of the Furon hit retail shelves, and the PlayStation 3 version of the game was canceled shortly thereafter. After a short time with the Xbox 360 version of the game you'll probably wish THQ had put it out of its misery, too. The game's visuals are dated, and its insensitive, stereotypical portrayal of the Chinese (among other ethnicities) is appalling. Add in repetitive objectives and played-out humor and there's no reason to waste your time with this shoddy excuse for a game.

As in previous DAH games, you play as Crypto, a curmudgeonly, smart-alecky alien with a dislike for the human race. The game takes place in the 1970s, and Crypto has his hands full dealing with the Mob in what's supposed to be Las Vegas. After a few unexpected attackers try to off him, he realizes someone or something other than the Mob wants him out of the way. Crypto sets off across five open-world environments that include faux Vegas, a poor man's Hollywood, and a pseudo China, among others.
While you're free to run or hover around the game's large worlds, there's not a whole lot that's exciting to do. If you're in your flying saucer you can destroy buildings, but rather than them crumbling to the ground after a huge explosion, they melt like a stick of butter left in the hot sun. You can zap humans and bad guys with a number of weapons including the not-funny-anymore anal probe. You can take control of peoples' bodies, make them dance, and use telekinesis to grab and throw them, but you're best off sticking with your default weapon and powering it up with the DNA you earn for finishing missions. Likewise, the many weapon options available to you while in your flying saucer are generally less useful than the default ray. You might have a bit of fun messing around with a few of the tools of destruction made available to you, but the large number of options is little more than a novelty.
It feels that rather than come up with interesting objectives, the developer made a bunch of weapons and occasionally forces you to use them in artificially constrained ways. Rather than allowing you to land your saucer anywhere, the game gives you only a few landing spots, most of which have to be unlocked by playing a minigame, which in turn forces you to use a gun or skill you likely wouldn't use. This is so contrived that the game even makes a joke about it. Yes, making the people who were foolish enough to buy your game perform unnecessary, cumbersome tasks is really funny. Mission objectives start off simple: shoot some guys, protect someone or something, blow up a building, use telekinesis to carry a person to a different location, and so on. As you progress, the game will lengthen these objectives and then chain them together. This means that halfway through the game--and for the rest of the game--you'll be suffering through long missions with objectives you've long since tired of.
The first few Destroy All Humans were amusing and relied heavily on parody and tongue-in-cheek dialogue, but Crypto's act has grown old. He rarely shuts up, and his incessant yapping and bickering grates the nerves. Thankfully, mission objectives are usually clearly displayed, so there's no penalty for skipping the game's painfully frequent and agonizingly long cutscenes. It's bad enough that the cutscenes are frequent and the dialogue constant; what's worse is that much of the game's humor relies on racial stereotypes. The dialogue and accents of many of the characters and citizens in the game's Chinese levels might have been "acceptable" 30 or 40 years ago, but today they're downright offensive and reason enough to avoid this game.

Path of Furon's visuals are also offensive, but in a different way. The game proudly proclaims to use the Unreal Engine, but you'd be hard-pressed to see the results in the finished product. Perhaps they licensed the original Unreal Engine and not Unreal 3. There's not much of the game that looks like it belongs on the Xbox 360. The frame rate is mediocre at best, textures are low-res, huge buildings will pop in right in front of you, and the backgrounds look blurry, as if there were Vaseline on the lens. It gets worse: many of the cutscenes have no lip-synching, camera transitions during cutscenes (which often feel unfinished) are choppy, characters are poorly animated, citizens skate around the city, and explosions are pitiful. Even Crypto looks terrible.
A few multiplayer minigames are available, but they add no value to this already miserable game. If you've somehow stuck with this tired series since its inception, you'll probably have some fun with Destroy All Humans: Path of the Furon, but it offers nothing to anyone with a reasonable amount of taste.

By Aaron Thomas, GameSpot

Afro Samurai Hands-On

We sever limbs with great panache in this exclusive look at Namco Bandai's upcoming action game.

It's hard not to notice Afro Samurai, the game in which the main character of the same name sticks out like a sore thumb in feudal Japan with his enormous hair and tattered clothes. Even harder to miss are the well-choreographed moves, copious amounts of blood, colorful commentary by Samuel L. Jackson, and never-ending number of enemies to slice through. We had the opportunity to play through several levels of a preview build and are impressed by the beautiful visuals, hilarious dialogue, and over-the-top limb-chopping violence.

If you haven't been following our coverage, we've been able to see and play through several demos, so for more details you can check out our other previews here. This is the first time we've been able to spend some quality time with Afro, the tortured samurai out to avenge his father's death. The titular character is actually rather quiet and stoic, and it's Ninja Ninja--Afro's imaginary antithesis, a perfect embodiment of Jackson--that livens up this bloodfest with expletives that flow naturally. Not only does Ninja Ninja provide humor with his obscenities, but he also acts as your guide if you're not sure where you need to go next. He talks a great deal, so consider yourself warned. When you press down on the D pad, he'll appear in the direction you need to head and then vanish in a puff of brown smoke. If you call on him often, he'll say things like "I ain't your GPS b****!" or find other delightful ways of expressing himself.
Afro Samurai is a button masher--a very elegant one in which you can pull off sweeping flourishes and acrobatic flips. Combos unlock as you progress through the game so that you don't grow tired of mashing the same combination of buttons over and over again. There are some moves you'll learn that are aptly named: Where's My Money, Pimp Hand, Hardwood Thrust, Oh That Hurt, and Dayam That Really Hurt. Using the left trigger, you can briefly enter a focus mode where Afro can charge up his katana and dismember with deadly precision. A line will appear so you can determine if you want to take off a particular limb, cut the person clean in half through the midsection, or perhaps just slice straight down the middle between the eyes. You'll eventually get a feel for how long you can stay in this mode and use it to optimize your attacks. In the early stages, you'll be able to instantly kill opponents by neatly slicing them in two in this mode. Against tougher enemies and bosses, the focused move will do additional damage, but it won't be a one-slice kill. Because the game is visually stunning and the moves are fluid and graceful, it's always a blast to watch your character do his deadly ballet routine. What wasn't so smooth, however, was the camera, which we hope will be fixed by the time the game ships. There were a few instances when we'd get a close-up of a wall or the side of a cliff face and couldn't see Afro unless we went into our focus mode.
In between the slicing and dicing, there is some light platforming. Running wall jumps can be performed with ease, and even if you slip and fall, you won't be bumped back very far. Afro generally won't fall off a cliff unless it's part of the platforming sequence, so you don't have to worry about tumbling over in the heat of battle. The game consistently provides you with hints on where to go, even though it's already straightforward and linear. In addition to Ninja Ninja's friendly guidance, points of interest will sparkle and the cutscene focuses on what you need to do next. Afro Samurai is relatively easy and accessible by anyone, though the profanity and gore will probably mean that only an age-appropriate audience will be able to enjoy the game.
One noticeable change from what we saw at Namco Bandai's pre-Tokyo Game Show event is that your health is no longer indicated by the dark tunnel-vision lines on the screen. The amount of blood on your clothes will indicate how much damage you have taken. Your opponent's health is also measured this way, and after you deal the finishing blow, the sound of gushing liquid also indicates whether or not you did a good job. Hint: The more blood the better. Statistics from the main menu will tally how many gallons of blood you've spilled if you want to get really specific--which is rather morbid. Achievement junkies should note that as long as you continue to brandish your sword and lay waste to your enemies in style, points will be earned.

The cel-shaded art style is gorgeous, and there's nothing like slashing through bodies like they're tofu, with the glow of the setting sun at your back and the deep blue ocean that bleeds out into the horizon. One of the new environments that we got to play through included a lush bamboo grove with cascading waterfalls, which was very different from the village rooftops that we originally started off in. The score is inspired by Wu-Tang Clan member, The RZA, which includes hip-hop mixed with some authentic-sounding Asian instruments. This interesting combination works well and complements the action and story.
Afro Samurai is not all blood and violence; it's about loss, revenge, betrayal, and even love. The game's events unfold as though you're watching a movie--from the cinematic opening to the cutscenes, gameplay, and voice-overs. Be prepared to wield Afro's blade with finesse, because the game is set to be released on January 27, 2009, on the Xbox 360 and PlayStation 3.

By Sophia Tong, GameSpot

Skate 2 Updated Hands-On

EA Black Box draws inspiration from Burnout Paradise for Skate 2's new online features.

Now that EA has confirmed Skate 2 for a January 21 release, it feels like the sequel to last year's surprise critical hit is just around the corner. It's a good thing, then, that we've already covered the basic gameplay enhancements, from all the new tricks you can do, to your ability to get off the board and move obstacles around you. Last week EA took the time to show off some of Skate 2's new online features. These include an ambitiously Burnout Paradise-inspired collection of freeskate activities and an improved content-sharing service to make finding friends' videos much less painful than it was in the first game. In the process of checking these out, we also had our first chance to skate through the game's entire setting, the newly rebuilt San Vanelona.

The focus of EA's showcase was Skate 2's freeskate activities, the new bag of challenges you and five other online skaters can take part in by simply pulling up a menu while freeskating and electing to join. We spoke with several members of the Black Box development team, and they made no bones about the fact that fellow EA property Burnout Paradise was a big source of inspiration in this department. It makes sense when you think about it: Burnout Paradise made the idea of spontaneous multiplayer challenges work in a genre--open world racer--where most people would be inclined to fly around and do their own thing.
The process works like this: You can skate around the city at your leisure during the game's Career mode, but if you feel like getting into a session with a few other live players, you just hit the D pad and pull up a menu that lets you select the "freeskate here" option. Once you select it, you'll hop into a quick online match with room for up to six players. From there, anyone can use the D pad to pull up a list of freeskate activities unique to the parking lot or skatepark you find yourself in. Once a player proposes an activity, the rest of the players can then choose to take part or to sit it out and keep freeskating until the next suggestion pops up.
These freeskate activities vary from being as simple as collecting the most points while gapping between fallen street signs in a parking lot, to nailing all five massive gaps in Danny Way's mega ramp compound. Some have you working as a team to grind a set distance, like 1,000 feet, while some are more competitive, like a Hall of Meat challenge that awards you for receiving the most gruesome injury. Like in Burnout, these challenges will scale depending on the number of players, so you won't be stuck trying to grind for six if it's just the two of you.
One of the other new features we tried out was the sharing feature of the new Create-a-Spot ability. We've previously discussed how you can hop off your board and grab on to small objects, such as picnic tables, benches, and grind rails, and arrange them to your liking. What you might not have known, though, is that you can save these arrangements, assign a score objective, and upload them for other players to enjoy. Once that's done, you can go see the spots that your friends have uploaded or sift through the work of the public at large with the help of a five-star rating system. A similar system will be used for shared multimedia, like the videos you've edited in-game, the still images you've pulled from said clips, and the custom graphics you've created for your gear. The idea is to help you quickly find material your friends have made, the best stuff from the public, and featured videos that might not be getting the love they deserve--all through an intuitive in-game browser. We've also been told that a new skate.reel Web site will be launched along with the game, but we haven't seen that yet. However, anyone who tried uploading a video at the launch of the first game knows that the means of sharing can only stand to improve--it's just a matter of how much.
This was also our first opportunity to spend some quality time with the game in a nearly complete state--at least in terms of its overall layout. The new setting, a post-disaster San Vanelona that has been massively rebuilt, should feel both familiar and different all at once. Several of the neighborhoods are brand new, but a few, like the Res, are being carried over from the first game. However, it's mainly the street plan that has made the transition, because almost all of the objects are new. So there's a slight feeling of deja vu on certain roads, but everything you're skating on, from the benches to the ledges, is very much different. That's just the case for a couple of areas, though. Most of the city is new and far more diverse in terms of its landscape.

Skate 2 is looking a lot more polished since the last time we saw it. The animations for new moves, such as bonelesses, handplants, and wipeout-avoiding jumps off the board, all look a lot more natural. And the game is sounding great, too, especially when you're flying downhill--the sense of speed in this game already feels far better than in the first one, which was pretty darn good. There should be a lot to look forward to when Skate 2's release date rolls around.

By Shaun McInnis, GameSpot

Alone in the Dark: Inferno Review

Thanks to some key improvements, Alone in the Dark: Inferno is a more playable, more satisfying version of this unique adventure.

When Alone in the Dark came out for the Xbox 360 about five months ago, its dramatic story and unique gameplay mechanics were hobbled by its pervasive technical shortcomings. For the PlayStation 3 release, the developer has made a number of improvements that make the game much less frustrating, and chief among them are the vastly improved character movement and camera controls. Though many of the graphical oddities and some control clumsiness remain, Alone in the Dark: Inferno is a much better way to experience this unique and rewarding action adventure game. As the gruff, amnesiac protagonist, you make your way through a disaster-struck New York City into Central Park, where you begin to unravel the many mysteries before you. Maneuvering through the various environments is much easier now that the main character moves with a light jog instead of a lumbering plod. Though he is significantly nimbler, he is still a bit clumsy; you'll still have to do some funky maneuvering to interact with oddly positioned objects, and you'll have to tread carefully during the precision platforming sequences. Fortunately, even this is much easier thanks to the easily controlled 360-degree camera that replaces the restrained over-the-shoulder camera of the Xbox 360 version. Driving controls are the same, and you can still do some neat stuff such as check behind the visor for car keys or slide into the passenger seat to ransack the glove compartment. The big improvement here is the car handling. Gone are the goofy motorboat physics of the Xbox 360 version, replaced with weightier, more down-to-earth mechanics. This makes driving much easier, though the still-finicky collision detection occasionally treats small cracks like major impediments. Despite the lingering limitations, the controls in Alone in the Dark: Inferno make locomotion much easier and let you more fully enjoy your adventure.
One of the most intriguing and well-executed elements of Alone in the Dark: Inferno is the inventory and item system. The game allows you only as many items as you can fit in your belt and jacket pockets, and, in a move that visually subverts the convention of the vast yet unseen inventory, you literally open up your jacket and look down to see what you've got. Although it's never quite groundbreaking, this subversion does appear in myriad ways throughout the game, and it creates the feeling that there is something novel about Alone in the Dark. You experience this feeling of novelty the first time you look down at your limbs to heal your bloody wounds with medical spray, an action that's a good deal more satisfying than just using a medkit and seeing your life bar grow.
The limited array of items that you can pick up as you move through the world belies the complexity with which they can be combined to serve your purposes. The explosive power of a plastic bottle filled with flammable liquid is obvious, but what if you wrap it in double-sided tape, stuff a bandage in it, light it, and stick it to an enemy? Then you've got a slow-burning Molotov cocktail perfect for blowing up the hive that your spidery foe is returning to. Tape a box of bullets to the bottle, chuck it at a cluster of enemies, and shoot it in midair to unleash a decidedly nasty explosion. Poured out all of your liquid while immolating downed demons? Grab your knife and puncture the gas tank on a car for a quick refill. There are multifarious possible item combinations, and though you'll generally stick to a select few for killing enemies (flaming bullets, midair explodables, spray-can flamethrower), the game makes you flesh out your repertoire by demanding specific actions to solve certain puzzles.

Most of the puzzles in the game involve vanquishing the evil beings that are now the main inhabitants of Central Park. Since your enemies can only be permanently offed with fire (unless there is a crevasse nearby), you'll have to find a way to make them burn, baby, burn. The most straightforward method is to grab a flammable object, such as a chair or a broom, and then walk over to any open flame and set fire to the object by inclining the analog stick toward the flame. Wielding the blazing object, you target your foe, set up your attack by tilting the stick in one direction, and then strike by flicking the stick in the opposite direction. It's a lot of fun to smack monsters with chairs, shovels, baseball bats, tree limbs, and so forth, and the analog-stick actions you must perform to do so are a fun approximation of your in-game actions. Alas, this fun is hindered by finicky controls and inconsistent hit detection, so you'll often find yourself merely repositioning your weapon instead of striking, or clanging it off of a wall that you could have sworn wasn't so close.
For practical reasons, you'll end up taking on most of the evil legion with your trusty handgun. Throwing an explosive bottle and shooting it midair is a cinch, thanks to the aim assistance in the form of a glowing trajectory arc and the slow motion that kicks in whenever you throw something. Alternately, you can pour flammable liquid on your bullets and fire flaming rounds at your foes. Sure, this combo is a bit improbable, and the gun should probably explode in your face, but flaming bullets will be the keystone in your monster-battling strategy so it's best to suspend your disbelief. However, firing these babies into monsters won't kill them unless you hit their fissures. These are the livid scars left on monsters by the evil that corrupted them, and hitting them can be a real pain. The combat certainly isn't anything to write home about, but there's definitely some satisfaction to be had in scourging your enemies with flame or smacking them off of a cliff with a heavy pipe.
The few non-combat-related puzzles are clustered early and late in the game. Some of these creative platforming sequences are part of larger, dramatic set pieces, such as your escape from a burning, collapsing building. It's generally pretty clear which path you need to take, but figuring out the necessary actions and carrying them out is still entertaining. Puzzles in which you set fire to things are particularly fun; the fire looks gorgeous and spreads realistically while the textures on the burning wood change accordingly. Indoor and outdoor environments are well-detailed, especially the vast and varied Central Park. The scenery is at its best when integrated with the aforementioned dramatic set pieces. During these events, the camera will often pull out to a wider angle, giving you a greater sense of scope and harking back to the fixed-camera roots of previous Alone in the Dark games. There are some missteps here as well, and the dynamic lighting can occasionally turn an immersive environment into a something's-not-quite-right environment.

These visual inconsistencies carry over to the numerous cutscenes, yet despite the occasional pop-in and imperfect facial animations, the cutscenes do a great job of adding weight to the already dramatic storyline. Playing as an amnesiac man who wakes up in the company of men who mean him harm, you manage to escape and make your way to Central Park, where the dark, far-reaching story begins to unfold in earnest. The story is well scripted and provides a few intensely dramatic moments, which are enhanced by mostly on-point aftereffects that imbue them with a filmic quality. The whole game is segmented into chapters and sections, so you can skip around to them as if it were a DVD, though feature will probably appeal only to folks who get stuck on a tough patch or want to go back to play a favorite sequence. Skippers need not fear too much missed content: Every play session and every skip treats you to a "previously on Alone in the Dark" segment that rehashes the pertinent story elements.
Alone in the Dark: Inferno is an ambitious game that features a lot of cool gameplay and bucks a lot of gaming conventions. Many small improvements eliminate points of frustration (enhanced AI assistance, an explosive new sequence, and a few other pacing tweaks), but it's the character movement and camera updates that really help the game hit its stride. Although it's definitely not without its stumbles, Alone in the Dark: Inferno is no longer hamstrung by the issues that plagued its predecessor, which means that owners can experience this adventure the way it was meant to be played.

By Chris Watters, GameSpot

Killzone 2 Updated Hands-On

We take our most extensive look at Killzone 2's campaign by going a full six chapters deep.

Because so much of the gaming public's attention is focused on scrutinizing every Killzone 2 screenshot to see whether the graphics will stack up to that infamous E3 2005 trailer, it's all too easy to forget that it's a real, honest-to-goodness game with a real, honest-to-goodness release date not far off. Sony recently reminded us of this by giving us the opportunity to play through the first six chapters of the campaign. What may not surprise you is that, yes, Killzone 2 is an absolute stunner in motion. But if you haven't been following the progress of the game, you'll be pleased to know that it's also an intense and exciting experience with the potential to work alongside Resistance 2 to provide a serious one-two punch of PlayStation 3-exclusive shooters.

Whereas the first Killzone allowed you to play as a number of Interplanetary Strategic Alliance (ISA) members over the course of the game, Killzone 2 drops you into the shoes of a gruff soldier named Sev and keeps you there for its duration. Throughout the campaign, you'll follow Sev and his similarly rough-and-tumble Alpha Squad buddies as they push deeper into the Helghast home planet in an opposite scenario of the invasion that occurred in the first game. Sev isn't the most vocal guy in the world, but you'll hear plenty of quips from teammates like jokester Dante Garza and the perpetually vulgar Rico Velasquez. Most of the story unfolds in the heat of battle via dialogue delivered from these squadmates, though occasional cutscenes give you fleeting glimpses of what's going on deep within the Helghast quarters.
One thing becomes immediately apparent when you begin Killzone 2's campaign: This is not an easy game. The first chapter, Corinth River--an area Sony has shown several times before--drops you right into a heated firefight with no shortage of heavily armed Helghast soldiers trying to take you out from scattered perches. It feels like every balcony, bridge, and window has a pair of glowing red Helghast eyes staring down at you. Starting you off like this seems like Killzone 2's way of saying that running and gunning won't cut it; you're going to learn to be patient and deliberate with your targets, and you're going to learn right away.

To do this, you'll need to become good friends with the game's cover system. It's a sticky cover mechanic where you pull L2 to snap right onto nearby walls or low barriers. From there, you have the standard move set that includes leaning into a doorway or popping up over a barricade, with the ability to look down your gun's iron sights to help you get a bit more precise. What makes this system unique and challenging is that you remain in the first-person perspective at all times, so your vision is partially obscured as you stay out of harm's way. In a third-person shooter you can see almost every target thanks to a wide camera, but here you'll need to poke your head up fast and get to shooting even faster--making that initial moment when you leave cover that much more thrilling.
The cover system is less critical in close quarters when you don't have Helghast soldiers trying to kill you from every which way. The second chapter in the campaign, Blood Meridian, trades in Corinth River's expansive industrial shipping yards and warehouses in favor of tight urban alleyways. In this locale you can become a bit more mobile, charging through the narrow corridors with more close-quarters weaponry, such as shotguns, submachine guns, and your trusty infinite-ammo pistol. But before you get too comfortable, Killzone switches things up in the next chapter, Visari Square, by pitting you against a seemingly endless flood of Helghast in a series of prolonged standoffs. One of these is a small, desperate scuffle with you and two squadmates in a small alley trying to fend off incoming Helghast for 10 or so minutes. However, that's quickly followed by a huge battle in a wide-open city square where you and dozens of newly reunited squadmates need to hold down the fort as Helghast foot soldiers, tanks, and walking piles of metal and Kevlar known as "heavies" come at you in wave after wave.

These two moments are a nice little microcosm of the way Killzone 2 keeps you guessing by sharply switching up the scale and intimacy of battles. Later chapters perform a similar trick by quickly altering the setting. The first few hours of the game will be spent running through demolished cities, but later you'll find yourself in different locales like an elaborate Visari palace and a windswept mining town that wouldn't feel entirely out of place in a Star Wars movie. Fights tend to last a while due to clever AI on the part of the Helghast soldiers. They seem to have attended the same school of cover techniques you have, because they'll be spending just as much time behind crates and walls. What makes things interesting is that their behavior seems to change as the odds of their survival are whittled down. You'll see them get brave in a group and pop up quite often, but when they're in a bad spot they'll stay put and frantically blind fire while defiling your good name.

Of course, you do have teammates alongside to lend you a helping hand at nearly every point in the game. It can be anywhere between one and several dozen at once, but the ebb and flow of battle is something you determine on your own since you're generally taking the lead and letting the others follow you. You won't need to worry about any sort of squad commands, but a bit of teamwork is required when a buddy goes down. In situations like this, you'll need to pull out your trusty medic gun and zap him back to health with a quick spark of life. It's an oddly simple mechanic, but a critical one because your buddies are expert shots who help a lot in battle. Along with constant banter, this helps to provide a feeling of belonging to a greater group despite the fact that you're taking the fight into your own hands most of the time.
Finally, with this being Killzone 2, we would be remiss if we didn't mention the graphics--or more specifically, how awesome they are. It wouldn't be much of a stretch to say Killzone 2 is the best-looking console game we've seen. The use of lighting is probably the most impressive of the game's technical feats: with so much of the game taking place in demolished urban centers with gray steel, concrete, and asphalt, those moments when you're flushed with color are extremely striking. This might include an orange street lamp, the blue glow of a faulty electrical tower, or the green haze in a sewer tunnel, but the way it all reflects off nearby objects like your gun and character models looks terrific. Add in sharp textures, great smoke and explosion effects, terrific depth of field, and an ominous sky that looks like the world might cave in at any moment and you've got a combination of technical and artistic brilliance that's hard to understate. Best of all: the framerate does a good job of keeping up, with the only noticeable hitches arriving during an autosave between checkpoints.
If you were to nitpick the presentation, most people's attention would probably fall on the audio. While the sound effects and music are both great, the voice acting could give Gears of War's Delta Squad a run for its money in terms of smoldering, manly rage. In fact, it can often be difficult to separate one gruff voice from another when your vision isn't fixed on a squadmate's face. It's not exactly an abrasive fault, but it does stick out when you consider how stellar the rest of the presentation is.
Small gripes aside, we had a thoroughly enjoyable experience with Killzone 2's single-player campaign. The combat is intense, the visual aesthetics are amazing, and the level of difficulty provides a rewarding challenge. It seems that PlayStation 3 owners will have a lot to look forward to when the game is finally released. You can expect that to happen on February 27.

Prince of Persia Review

Prince of Persia's shimmering veneer and joyous platforming will cast a spell on you.

In many modern games, you rain death upon your enemies; how refreshing, then, that your main task in Prince of Persia is to breathe life into a darkening world. That doesn't mean that the forces of evil aren't on your tail in this open-world platformer, but the most indelible moments of this enchanting journey are uplifting, rather than destructive. Similarly, the latest iteration in this long-running franchise is a rejuvenation for the series, and it's an ambitious one, offering up a new titular prince and casting certain game traditions aside in favor of player immersion. And for the most part it succeeds, eliminating illusion-breaking mechanics like game-over screens and long loading times in the process. This re-imagining comes with a few caveats, however, and if you're a longtime series fan, you'll quickly discover--and possibly resent--that Prince of Persia is, far and away, the easiest game in the series. But if you can clear your mind and let the game's magic wash over you, its easygoing joy and visual beauty will charm you into forgiving a sprinkling of flaws.

In some ways, Prince of Persia represents a return to Sands of Time's storybook vibe, which had been somewhat lost in that game's two sequels. Yet our new hero isn't exactly Prince Charming, but rather a wisecracking nomad interested only in his donkey (named Farah, in one of several nods to previous games) and the riches she apparently carries. His royal status is referenced but never fully explored, though his companion Elika is clearly a princess, and as the game progresses, you'll become much more invested in her past than the prince's. Together, they seek to imprison the evil god Ahriman, who has been inexplicably set free by Elika's own father. To do so, they must restore a series of fertile grounds to their former fecund glory, thereby banishing the inky black corruption that has enveloped the land. Storytelling isn't the game's strong suit, and the dismissive, often unlikeable prince is hardly beguiling, a poor fit for the captivating journey ahead. Thankfully, Elika exudes enough charm for the both of them, and the relationship they slowly forge lends plenty of emotional impact to the game's final moments.
This relationship enriches the very core of the experience, given that Elika is not your standard game sidekick. She isn't just a helpless companion, but an important part of a number of gameplay mechanics. As the prince, you will pull off moves familiar to franchise fans: jumping, climbing, scaling, and wallrunning among them. There are also a few new acrobatics to play with, such as the aptly named roofrun, where the prince scuttles along the roof in a vaguely simian manner. But if the moves are familiar, Elika's presence enriches and enhances them. She will jump on your back as you scale across vines, reach for your helping hand as you climb, and perform an elegant pas de deux with you when you need to pass her on a narrow beam. In some ways, this relationship recalls that of Ico and Yorda in 2001's ICO.
While in ICO Yorda was totally dependent on her companion, here Elika is far more helpful to the prince than he is to her. She is, in fact, your constant savior, because she will not, and cannot, allow you to die. Should you fall, Elika will grab you by the wrist and whisk you to safety--meaning the last checkpoint. There is a checkpoint at almost every platform, so aside from possibly having to repeat a few seconds of gameplay, there is absolutely no penalty for plummeting to your doom. You will never see the words "game over," and you won't need to save and reload before difficult sequences. Nor will you need to ever puzzle over how to make it from point A to point B: Elika can fire off a magical homing orb that will show you the precise way of getting to your destination. Combined with simple platforming controls that require a minimum of button presses, these facets make Prince of Persia one of the easiest games you'll play all year.

This ease of use makes each individual action seem relatively meaningless as you string moves together. For many, this will translate to a diminished feeling of reward; aside from a few exceptions, there is no sequence that feels remotely challenging, certainly not for players familiar with the old-school difficulties wrought by the early games in the series. Yet while the unique satisfaction of overcoming hurdles is missing, it is tempered by other kinds of rewards. The platforming is fluid, and seamlessly chaining a number of moves together is simple but visually appealing, making for some silky-smooth motion that you'll get a kick out of. Additionally, as you progress through the game and explore some of the more intricate environments, you'll find some truly impressive level design. Each area flows organically into the next, and while the overall design feels a bit more synthetic than it did in Assassin's Creed, platform placement and other architectural features don't feel overtly artificial.
The stupendous level design becomes more apparent when you begin to unlock Elika's various powers--though calling them powers is a bit of a stretch. As you unlock new explorable areas by collecting glowing orbs called light seeds, you will be able to utilize the various colored plates that dot walls and ceilings. There are four types of plates, and each kind initiates a high-flying feat. Red and blue plates are functionally the same (though visually unique), propelling you automatically toward the next plate or platform. Green plates turn you into a sort of Persian Spider-Man, causing you to quickly scale up walls and ceilings while avoiding obstacles. Finally, yellow plates initiate on-rails flight sequences that give you limited room to maneuver around obstructions, sort of like a 3D version of Nights Into Dreams, the Saturn platformer. Many of the sequences combining plate jumps and standard platforming are exhilarating, and the manner in which some of them utilize all three dimensions make the level design all the more impressive. And amazingly, the camera is rarely a liability, which is quite an achievement. Unfortunately, the flying initiated by leaping from yellow plates is a clear weakness. The constant camera movement and overwhelming visual effect used here make for a few annoying sections, and it is never clear whether you need to go left or right, up or down to avoid certain objects. Given that most of the plate-initiated bits are terrific fun, it's a shame these particular flights of fancy were so poorly crafted.
There is some combat, and while it's hardly Prince of Persia's focus, it looks mightily spectacular. You fight only a single enemy at a time, including the four main bosses, which you'll take on multiple times. Battles are on the simple side: you have four main attacks--sword, gauntlet, Elika's magic, and acrobatic vault--that you can string into various combos. Enemies can change states, making certain attacks ineffective, and there are some other occasional twists. Yet like the platforming, it is on the easy side; even if Elika is bound by corrupted tentacles or rendered unconscious, she's always there to pluck you from death's cold embrace should you miss an important quick-time button event (of which there are many). But battles are still uniquely satisfying and look fantastic. The prince throws Elika into the air with ease, stringing throws, slices, and magic attacks together as the camera zooms in and out to showcase the slashes and backflips. The stringent enemy-focused camera and odd scuttling motions of the prince feel confining but work just fine in most of these battles, though they're a bit less successful during certain boss fights that require some environmental manipulation.

Combat's not the only thing that looks spectacular. Prince of Persia is beautiful to look at, thanks to vibrant cel-shading and some sumptuous environments. Tendrils of corruption reach toward you as you navigate the cold, colorless caverns of infertile regions. The contrast between these areas and the beautifully lit vistas and thriving vegetation of healed locales is palpable, and the transformation of a fertile ground from darkness to light may remind you of similarly impressive moments in Okami. There are a few rough spots here and there, in the way of glitched animations and tiny frame rate stutters, but they barely detract from the lovely visual design. While there are some minor differences, all three versions look great and well represent the capabilities of their respective platforms. And all three feature the same lovely ambient music, which sounds more Persian than the very American-sounding prince.
Most will be able to finish Prince of Persia in around a dozen hours, though if you want to collect every scattered light seed and avoid quick travel (you can teleport from one healed ground to another instantly), you could add a few more hours to the total. But while a few unlockable skins may not seem like enough reason to return, this game is so enjoyable and delightful that you may want to return to it as you would return to a favorite fantasy novel or film. While its lack of challenge may lull fans, its ease of use will delight newcomers and draw in anyone who appreciates a touch of magic.

By Kevin VanOrd, GameSpot

Wanted: Weapons of Fate Updated Hands-On

We check out the bullet-bending action in this Grin-developed game based on the Hollywood blockbuster.

Comic book fans might have been taken aback by the cinematic reimagining of the Wanted comic series from creators Mark Millar and J.G. Jones, but there's little doubt that the movie, which starred Angelina Jolie and Morgan Freeman, had a vision all its own. Full of sexy assassins, global conspiracies, curving bullets, and bloody, bloody kills, the film was the kind of setting and story that just begs for a video game adaptation, and the developers at Grin have been hard at work on their latest project, Wanted: Weapons of Fate. We had a chance to play the game for the first time at a press event in San Francisco this week, and it seems like the game is bringing a good deal of the film's flair to consoles.

The press event featured three brief demo levels from Weapons of Fate, two of which starred Wesley Gibson, the weasely office-slug-turned-superassassin (played by James McAvoy in the film). The third mission starred Cross, Wesley's father. As it turns out, Weapons of Fate will have both Wesley and Cross as playable characters, and the plot of the game (which picks up where the movie leaves off) will focus on the mystery of Cross' background and what happened to Wesley's mother. The first demo level we played had Cross looking to rendezvous with an associate on the well-worn streets of a French village. Standing between him and his objective are a number of bad guys. As Cross, we had to wind our way through buildings and alleyways, taking down enemies in whatever way we could. Weapons of Fate is a third-person action game that makes heavy use of both gunplay and close-quarters kills. The close-quarters kills are vicious and easy to pull off; you simply sneak up on an enemy and press the B button (circle on the PS3) when the icon appears onscreen. If you pull it off, you'll be treated to a quick and bloody animation of a brutal takedown--a knee to the face, a knife to the junk, that kind of thing.

Close-quarters combat is fun, but the real meat of Weapons of Fate is when dealing lead. Both Wesley and Cross have the ability to bend bullets around corners, hitting enemies who otherwise would be safely tucked behind cover. As cool as this ability is, it takes some getting used to. First of all, the ability to curve bullets is mediated by your adrenaline level. To pump up your adrenaline, you need to make some standard kills. Once the adrenaline icon in the upper right-hand corner of the screen turns blue, you can pull off your curved shots.
The mechanics behind curving bullets take some practice. To start the process, you press and hold the right bumper (R1 on the PS3), which brings up potential targets in red (even if they're behind cover). A curved arc also appears, showing you the general trajectory the bullet will take once you fire; the goal is to move the left stick until the red target turns white, which indicates that your bullet will hit its intended target. Once the target turns white, you simply let go of the bumper, and Wesley (or Cross) will fire his weapon with the familiar sidearm whip.
While the first demo level featured some good bullet-curving action, it was the second demo that really put our lead-twisting skills to the test. Here, Wesley was caught in a small courtyard, outnumbered by a horde of bad guys. The first goal was to grab an unwitting enemy and use him as a human shield while the rest of the bad guys poured into the courtyard. Once the guy was riddled with bullets, we had to guide Wesley around the ample cover in the courtyard--the game has a cover system similar to that in the Gears of War series--spraying bullets around corners and cover to take down all of the baddies. The most challenging of the bunch were soldiers who came complete with huge riot shields. Curving bullets around the shields was effective, though it sometimes took more than one shot to finish them off. We found that getting close enough for some close quarters work was also an effective technique

While the first two demos were fun, and the bullet-curving mechanic is undeniably cool, the stop-and-pop gameplay felt a bit derivative. The third demo, by contrast, was where Weapons of Fate came alive. It might have been because of the head-to-toe black leather assassin's getup that Wesley was rocking (a sartorial nod to the Millar/Jones comic series), or it could have been because of the large amounts of butt-kicking featured in the level. In this level, Wesley was invading a warehouse full of bad guys, and the gameplay cut between animated scenes of Wesley moving through the warehouse, causing mayhem as he went, and quick interactive bullet-time events, where we were tasked with taking out one or more bad guys or hitting a specific target with a bullet to set off a chain of explosions. Though the interactive sequence lasted for only a few encounters (followed by more straightforward action), it was a great change of pace that we hope continues throughout the entirety of the game.
The game is running off the same engine that's powering another Grin game, Bionic Commando, but while BC is focused on huge open levels, the action in Weapons of Fate is more personal and claustrophobic. With all of the great set pieces from the film (we're thinking in particular of the car chases and the fantastic sequence in the train), we're curious as to how the Grin folks will push the BC engine in different directions. Here's hoping that the combat action is mixed up with some great set pieces to give Weapons of Fate the momentum it needs to excel beyond a run-of-the-mill movie port. So far, the signs are encouraging, and we'll keep our sights trained on the game in the coming months to follow its progress. Wanted: Weapons of Fate is currently scheduled for release in 2009.

By Brian Ekberg, GameSpot

Resistance 2 Review

Resistance 2 is bigger, better, and broader--everything a stellar sequel should be.

Almost two years after Resistance: Fall of Man gave PlayStation 3 owners their first great exclusive shooter, Resistance 2 has arrived bearing more great news. No, humanity hasn't gained an edge in its desperate fight against the alien Chimera (quite the opposite, in fact). The news is that Resistance 2 takes the grand apocalyptic setting and tight, fast-paced action of its predecessor and improves upon it in almost every way. Bigger battles, richer environments, and an outstanding new eight-player cooperative mode elevate Resistance 2 above almost every other shooter on the PS3.

From the first moments of the single-player campaign, Resistance 2 proclaims its dedication to grandeur. As you crawl from the wreckage of your transport helicopter, you look up to see a sinister, towering machine laying waste to your surroundings, its shiny black bulk standing in stark relief to the smoky blue sky and green Nordic scrub. Environments (and enemies) like these, vividly colored and remarkably big, are prevalent throughout the campaign. Your journey will take you across North America, where you'll visit a fantastic variety of rural, suburban, urban, and alien landscapes. You'll see attention to detail in the plants under your feet, in the towering skyscrapers above your head, and everywhere in between. The scars of the Chimeran invasion clash dramatically against the technicolor mid-century American backdrop, setting a superb stage for exciting action.

And make no mistake, the action is the real star here. The protagonist, Nathan Hale, and his fellow soldiers are run-of-the-mill characters, and the functional story is a bit too vague to be interesting. Intel documents scattered about each level provide intriguing background and foreshadowing, but most of them are hidden away and require too much errant exploration to find. The only time you'll feel any emotional connection to the proceedings is when you stop to listen to the radio. The scattered monologues from radioman Henry Stillman provide a wrenching window into the despair of a nation overrun, and they're the lone narrative highlight.
Despite the lackluster story, Resistance 2's excellent single-player campaign is a thrilling roller coaster ride across dozens of varied locales, each infested with Chimera. Your horrible alien foes run the gamut from tiny chittering scorpions to fanged foot soldiers, from shielded two-story titans to lumbering forty-story leviathans. They come at you in waves of increasing size and intensity; they are quick, aggressive, and accurate, and dispatching them will take skill and persistence. Resistance 2 isn't an easy game, but that just makes your hard-fought victories sweeter.
To achieve these victories, you'll need to stay alive. You can fully recover your health by ducking out of the line of fire for a few seconds, a tactic you'll need to use often. While you usually aren't too far from a checkpoint, you're often far enough to make death very unappealing. This is particularly true during the massive boss battles and the large-scale conflicts that pit you against legions of increasingly nasty Chimera. These are the most exciting encounters in the game, and though the former are less challenging than the latter, there's nothing quite like squaring off against a beast the size of the Chrysler Building.

The 12 guns you wield throughout the campaign are also quite satisfying. Some old favorites have returned, like the workhorse M5A2 Carbine, and there are a few great additions, like the .44 Magnum that shoots bullets that double as remote-detonated explosives. Secondary attacks like this one are a feature on every gun, and they effectively double the destructive options at your disposal. Though the weapons don't feel particularly realistic, they are so uniquely deadly and fun to use that you'll hardly notice. You can only carry two guns at a time, but the game does a good job of making sure you have a chance to use them all. There are also a few different types of powerful grenades at your disposal (notably the fiery air-fuel and spiky hedgehog), and they round out your very effective and very gratifying arsenal.
While the campaign is a lengthy (about 10 hours) and satisfying endeavor, the online cooperative mode is what really sets Resistance 2 apart. In this mode, up to eight players fight their way through hordes of Chimera to accomplish a set of objectives. Each player must choose one of three specific classes, each with its own guns and special abilities. The Medic drains enemy health and passes it on to teammates, an essential function because no one can regenerate health. The Special Ops uses a battle rifle of sorts and is the only source of ammunition refills. The Soldier carries a gatling gun that can generate a protective shield, defending his teammates and shredding the Chimera simultaneously. This interdependency binds players together and creates a frantic, engaging team dynamic.
As a further incentive, each player earns experience and currency throughout the mission that can be used to unlock more weapons, special abilities, and stat-enhancing gear. These powerful bonuses aren't easy to attain, which makes earning them all the more satisfying. The action plays out on a variety of sizable multiplayer maps inspired by the campaign levels. These maps each have a bevy of objectives, and every mission takes a few objectives at random and strings them together, so subsequent playthroughs of the same map feel different. This is a good thing, because you'll have to run a number of successful missions on the first map before you unlock the next, and so on. Each map is designed so that enemies can (and will) come at you from a number of directions. Missions are hard and demand teamwork and skill, so each time you vanquish a wave of enemies it feels like a small victory. Add this sense of accomplishment to the addictive and rewarding experience system, and you've got a game mode that's truly excellent.

If you're not feeling cooperative, Resistance 2 boasts a robust competitive mode as well. Maps accommodate as few as two and as many as 60 players, and do so with virtually no lag. The usual Deathmatch, Team Deathmatch, and Capture the Flag ("Core Control") modes are available, but the best of the bunch is Skirmish. In this mode, teams are divided up into squads, and each squad receives on-the-fly objectives to complete. Objectives are updated often and can change the flow of battle drastically, so each match has a unique, frantic feel. Unlike in the cooperative mode, you have all the abilities and weapons in the single-player campaign readily available to you, so everyone is more or less evenly matched. You can also play ranked matches to earn experience and upgrades, and even though it's not quite as engaging as the cooperative mode, the competitive multiplayer is still a blast.
All in all, Resistance 2 is an excellent game. The stirring scale of the single-player levels is impressive and the pervasive details make them truly awesome. Despite the squandered story, blasting your way through the campaign is electrifying, thanks largely to the deadly weapons in your arsenal. The cooperative multiplayer is a resounding success, and the competitive modes are terrific in their own right. Anyone looking for a superb shooter experience need look no further than Resistance 2.

By Chris Watters, GameSpot

Mortal Kombat vs. DC Universe Review

The MK and DC crowds are a surprisingly good combo, but questionable roster balancing keeps this enjoyable fighter from achieving greatness.

In a way, it feels as if many fighting game characters have stepped right out of the pages of a comic book. They wear bizarre costumes, spend a lot of time punching and kicking other people, and possess inexplicable powers. Pitting fighting game characters against comic book heroes and villains has been done before, and in Mortal Kombat vs. DC Universe, the meshing of Raiden's crew and Superman's posse makes for some pretty exciting action--especially online. But even as the game moves the series back toward the fundamental strengths of Mortal Kombat in some ways, it departs from the series' essence in others. As a result, longtime fans may be left with mixed feelings, and newcomers drawn to the series for the first time by the inclusion of DC characters may find it hard to get a handle on things.

The story that explains just how these two distinct sets of outlandishly attired, superpowered beings clash is such pure, unabashed comic book silliness that you'll have a hard time not being won over. Simultaneous mishaps involving Darkseid in the DC universe and Shao Kahn in the MK universe result in these two evil beings merging into the exponentially evil Dark Kahn. Dark Kahn's power causes the two universes to begin fusing, and the heroes and villains on each side of the universal divide mistakenly blame the weirdos from the other side for invading their land. This merging of universes also causes severe imbalances in the powers of some characters, and serves as a convenient excuse for how the Joker can go toe-to-toe with Superman and have a fighting chance. As you play through the game's two story mode offerings, the flimsy excuses that cause the unlikely matchups almost become something of a running joke, and help make these modes fun for the few hours that they last.

Unless you've somehow managed to avoid playing a fighting game for your entire life, you'll immediately grasp the basic concept of MK vs. DC: punch, kick, throw, and otherwise bludgeon your opponent into submission before they do the same to you. While some Mortal Kombat games have offered two or three fighting styles per character, MK vs. DC does away with that, creating a back-to-basics feel that switches the emphasis back to the special moves that really differentiate the characters. And while the action takes place in 3D and you can move left and right in the environment as well as back and forth, sidestepping is slow and only occasionally useful. The majority of the action takes place on a 2D plane, which also contributes to the game feeling very much like a solid return to the roots of the Mortal Kombat series. The action is fast-paced, controls tightly, and is just a lot of fun.

With a total of 22 playable characters, the roster may be a bit short compared to what fans of the series have come to expect, but it makes up for that by making each character play very differently from the others. The 11 Mortal Kombat warriors on hand are all top-shelf, and while one or two of the DC characters may seem like odd choices the majority of them mesh surprisingly well with the MK crowd. While the powers of some DC characters have been toned down a bit as a result of that darn universe-merging fluctuation of energies, the characters themselves have been created here with a great deal of loyalty to the source material. Their personalities are intact, and the arsenals of special attacks at their disposal are impressive.

While the core gameplay is largely a return to the feel of the early Mortal Kombat games, there are some elements here that are pretty minor when taken individually, but add up to make MK vs. DC distinctly different from its predecessors. There are a few minigames that pop up when certain circumstances occur, and they all blend in to the action seamlessly. For example, if you're close to your opponent, you can attempt to grab him or her and initiate Klose Kombat. If you're successful, the camera will pull in, and for a short time, you can perform a variety of painful-looking moves by pressing one of the four face buttons. There's a great risk-versus-reward dynamic at play: your button presses are displayed onscreen, and if your opponents match them, they'll counter your attack with powerful blows of their own and escape from Klose Kombat in the process. It's a cool system that gives the attacker a decent advantage but still offers the defender a pretty good chance of turning the tables.

A very similar minigame is initiated any time one player knocks another to a lower level of the arena. As in Klose Kombat, the attacker can pummel the defender by pushing face buttons, and the defender can turn the tables by matching the attacker's inputs. In Free Fall Kombat, the attacker is able, after a damage meter has been filled to a certain point with standard attacks, to execute a special move that sends the opponent flying into the ground below in a particularly painful, damaging way. Like Klose Kombat, there's a good risk-versus-reward principle at work here, and the fact that these fisticuffs are taking place while the characters dramatically plummet through the air gives the action a larger-than-life, comic book feel.

Last and least among the minigames is Test Your Might, which occurs in certain areas when one combatant lands a powerful attack on the other and sends the opponent flying back against a wall. The initiator then charges at the defender and propels the latter through the walls of the office building or dungeon. Both parties then pound on the buttons as furiously as they can. If the attacker out-pounds the defender, more damage will be done, while the defender pounds buttons in the hopes of reducing the amount of damage he or she suffers. The simplicity of this minigame makes it less compelling than the other two, and only three of the game's 14 arenas have the horizontal arrangement for it, so it occurs far less frequently.

One final, important addition to the action here is the rage meter, which fills up as you take damage or are blocked by your opponent. Your build-up of rage can be used for one of two things. If the meter is halfway full or more, you can spend one full segment of it on a combo breaker, immediately putting a stop to the flurry of attacks your opponent is unleashing. If both sections are full, you can opt to spend the whole thing to enter rage mode, which allows you to pummel your opponent uninterrupted by his or her attacks and fight your way through his or her blocks, though you'll still take damage from any blows he or she lands. Either of these can turn the tables in a fight if used well, and since using rage for one purpose sacrifices your ability to use it for the other, this seemingly simple feature calls for some significant and often split-second decision-making.

On the default difficulty setting, the game seems to adjust dramatically in response to your skill level. Lose a match in the story or arcade modes a few times and it suddenly gets a whole lot easier, which means that players of just about any skill level can fumble their way through these modes. That's not necessarily a bad thing, but it makes the game feel more like a brawler in which you can button-mash your way through just about anything, rather than a well-tuned fighting game that rewards precise, skillful play. This impression is deceiving, though, and upping the difficulty of the AI, or better yet, playing against other people, reveals the depth of a fighting system that's sure to please veteran fighters. With precise timing, you can chain together combo attacks that juggle your enemies in the air helplessly for a bit, but these are extremely difficult to pull off. Neophytes drawn to the game by the DC characters may find themselves a bit out of their league, and while there's a standard practice mode in which you can attempt attacks at your leisure, the finer points can be difficult to pick up without a proper training mode.

Of course, past Mortal Kombat games have been known as much for their over-the-top gore as for their gameplay, and for those fans who feel this is an intrinsic part of what makes Mortal Kombat what it is, MK vs. DC will be disappointing. While there are still ridiculous amounts of blood that go flying each time you so much as punch your opponent, you won't see any comically grisly beheadings, dismemberments, and other bombastic acts of violence that have characterized the series. The victor still gets the opportunity to pull off an extremely painful fatality or, in the case of the good guys on the DC side, a heroic brutality. Many of them are clever and funny, but they're still far tamer than what we've seen in the past. Ultimately, this change doesn’t impact the gameplay itself, but that gore is part of the MK experience, so the way it's been toned down here may turn some fans off.

A more material issue is the surprisingly limited amount of content you get in this package. There are the two stories that don't take you long to complete, and after you finish them, you'll have unlocked only two additional characters and seen just about everything the game has to offer. There's an arcade mode which, in typical Mortal Kombat fashion, has you fight your way to the top of a ladder, and in a nice touch, you can choose to have your opponents made up of exclusively Mortal Kombat characters, DC characters, or a combination of the two. But the short, disappointing endings you get for finishing arcade mode with any given character provide little incentive to come back to it much. There's also a mode called Kombo Challenge in which you pick a character and choose one of 10 combo attacks to attempt to pull off. At first glance, this looks like a useful mode to help newcomers pick up the finer points of the game's combat, but the timing required to successfully do even the easiest of the combos in Kombo Challenge is unforgivingly precise. With only 22 characters, 14 arenas, and no special costumes or anything else worth unlocking, the single-player experience dries up a little too quickly.

So ultimately, whatever longevity the game has lies in its multiplayer offerings, and playing the game with others, either locally or online, is great fun. There aren't any special modes available online. It's all just no-frills, one-on-one matches, which is really all you need. Xbox 360 's online setup is a bit more fleshed out, with options to jump right into a ranked or unranked match, and a TrueSkill matchmaking system for ranked matches. On the PlayStation 3, you need to enter a lobby where you'll see a list of everyone else hanging out in the room, and you can challenge or accept challenges from the other players. In both cases, once you're actually down to the business of punching and kicking each other, the action plays smoothly, provided both parties have a steady connection. The only caveat about online play in our experience is that a disproportionate number of players are currently trying to rack up wins using the same few overpowered special attacks by The Flash (and a couple of other characters) ad nauseam, and while this isn't impossible to defeat, it sure is annoying. You might prefer to quit a match than bother with it when you come across such a cheap competitor, but doing so counts as a loss, and in the case of ranked matches on the 360, hurts your TrueSkill ranking.

The game looks great. The characters animate well, their attacks look powerful, and there's a consistency of design that helps make the bizarre crossover seem natural. There's an especially great detail to the game's presentation in the way that damage isn't just reflected in the energy bars across the top of the screen. As characters suffer attacks, their skin gets bruised and bloody, their costumes get torn, and by the end, if the loser put up a good fight, even the victor will look much worse for wear. Of the 14 arenas, most of them look pretty cool. There are a few Mortal Kombat arenas, but the majority of locales come from the DC side, or reflect a merger of the two universes. There's a devastated downtown Metropolis and a high-tech Batcave, among other noteworthy locations, and they're packed with details that will please fans of the characters. Dynamic elements such as the elevated train you see rattling below you as you plummet from one level of Gotham City to another also help bring the environments to life.

The game’s audio isn’t amazing, but it gets the job done--matches definitely sound like those in previous Mortal Kombat offerings, and the voice acting for the characters is solid, but sadly you rarely hear them outside of the cutscenes of the story mode. The music doesn't draw much attention to itself and isn't exciting enough to match the action. If you're trying to decide between versions, it's a bit of a toss-up. They both look and play pretty much identically. The Xbox 360 's online system makes it more convenient for just jumping into a match, but the PS3's D pad is better suited to fighting games and feels more precise. The PS3 version has trophies to match the 360's achievements.
Mortal Kombat vs. DC Universe feels a bit like a mutant of a game. On one hand, the fighting mechanics are solid and fun and represent a refreshing return to the fundamental strengths that made Mortal Kombat's gameplay so compelling in the first place. On the other hand, the shift in tone from completely insane amounts of gore to only outrageous amounts of blood will put off some fans of the series’ usual ultra-violence. Newcomers, on the other hand, will have little trouble button-mashing their way through the game's single-player offerings, but may find it difficult coming to grips with the more technical aspects of the gameplay necessary to get the most from the multiplayer. If the idea of beating the hell out of Liu Kang with Lex Luthor (or vice versa) appeals to you and you don't mind going online for serious competition, you'll find a satisfying fighting game in this strange but enjoyable crossover.

By Carolyn Petit, GameSpot

TNA iMPACT! Review

Professional wrestling has long been maligned as a place where spandex-clad ogre-men go to act out contrived rivalries and pretend to actually wrestle. While these derisions certainly hit on some truths about "sports entertainment," the remarkable talents and impressive athleticism of its practitioners cannot be denied. If you're the kind of person who enjoys the high-flying, hard-hitting spectacle of pro wrestling in spite of its myriad absurdities, then TNA Impact may be the game for you. It has some aggravating problems, but it does a good job of translating the excitement of TNA Wrestling into fluid action and visceral fun.

A wrestling game is only as fun as the moves you can perform, and in this regard, TNA Impact does quite well. You ratchet up your basic punch and kick attacks by holding the strong modifier or by performing them from a run or in a grapple. This simple layering allows for a wide range of moves without requiring complex button combinations, so it's easy to unleash your nastiest attacks right from the get-go. You can also reverse almost any attack with a well-timed button press, and many reversals can be reversed again. The accessible variety of attacks and the ever-looming possibility of reversals make the action fast and furious.

The more you mix up your moves, the more likely you are to come across some of the game's many technical hitches. When the animations run smoothly, they look good and produce satisfying impacts. When they don't quite line up, you see fists and feet clipping through torsos, as well as apparent misses registering as hits. These oddities are a minor distraction, though, because at least you are still performing the moves you want. The more frustrating glitches cause your character to perform an unintended maneuver, often with disastrous results.

The glitches are prone to surface in a few situations, the most frequent of which are transitions, such as when your character is getting up off the mat, climbing a turnbuckle, or exiting the ring. Because your attack changes depending on your opponent's position, you may often find yourself aiming to punch an enemy as soon as he stands up, only to execute an elbow drop and lay yourself out at his stomp-happy feet. You can also dodge grapples or attacks when you're near the edge of the ring because the animation of rolling out of the ring will often negate incoming moves. Then, there's the particularly tricky situation when your opponent is down near the edge of the ring. Climbing up on the turnbuckle, rolling out of the ring, and pinning an opponent are all mapped to the same button, which makes it very difficult to figure out how to position yourself to execute the action you want. In this case, you're better off avoiding those three actions altogether.

When you're playing against other human players, these hang-ups don't feel so frustrating because you are all subject to the same pitfalls. In the single-player Story mode you can suffer a few miscues and still scrape out a win a win early on. You'll hit a wall when the foes get tougher, though, because the room for error diminishes so much so that a missed move or missed opportunity can cost you the match. This is vexing enough when it's an honest mistake, but it becomes downright infuriating when it's an animation glitch.

The punishing difficulty in the latter part of the Story mode isn't its only weak point. The voice acting feels flat in contrast with the vigorous banter featured on the actual show, and the actor who voices your character is just terrible, dragging every other character down with his lifeless tone (the closest thing you'll find to personality is in the training videos featured in the extras menu). The only incentive to play the Story mode is to unlock new characters and arenas. With each victory, you earn style points, and the more various and risky your moves are, the more points you'll earn. Unlike in the PlayStation 3 and Xbox 360 versions, these points don't actually appear to earn you anything, given that you don't actually customize your character or move set. As if to compensate for the puzzling lack of character creation, there are a lot more unlockable wrestlers in the PlayStation 2 version, though many of them are no-name goons.

Multiplayer is the best way to enjoy TNA Impact, and there's a full array of match types available. One-on-one matches, three-way free-for-alls, tag-team brawls, handicap contests, and the signature Ultimate X matches are all playable, though only two players can actually compete at a time. Ultimate X matches, while dramatic on television, often feel less exciting than normal matches because the focus becomes staying aloft on the cables rather than pummeling your opponents. There's nothing unexciting about that per se, but the hanging combat is awkward and limited. Actually grabbing the X also requires you to tap a button when a moving cursor lines up with a target area--an action that could be diplomatically described as "anticlimactic."
So, TNA Impact is not without its flaws. The character models are good, and the animation is fluid and lively, but the unpolished physics of fighting can create some frustrating situations, and the lo-fi audio often sounds flat. Yet despite these technical shortcomings (and silly costumes), it's still good fun to clothesline, drop-kick, and power-bomb your friends all around the ring. And, ultimately, isn't that what pro wrestling is all about?

By Chris Watters, GameSpot

Star Wars: The Force Unleashed Review

You hear the big chord and the brass fanfare, and you know what's coming. It's easy to get excited when you hear the rousing Star Wars theme, though the franchise has hardly been known for exceeding expectations in recent years. If you're interested in Star Wars: The Force Unleashed for its story and theme, you won't be disappointed: It supplies a weighty plot with a few stunning surprises. If you're more interested in the action, you'll find that the game is a mixture of fun and frustration that you'll get some enjoyment from, but ultimately fails to live up to its potential.

You're cast as Galen Marek, aka Starkiller, Darth Vader's secret apprentice. The Clone Wars have ended, and Vader orders you to hunt and destroy the last of the remaining Jedi. Exploring the universe from this dark perspective is remarkably compelling. The story is brief (expect to finish the campaign in about seven hours), but it contains multiple twists, features some friendly and not-so-friendly faces, and is both explosive and remarkably intimate. You'll interact with Vader, of course, but Starkiller spends most of his time with an android called PROXY and his female pilot, Juno Eclipse. Sharing the details of the trio's adventures would spoil too much, so suffice it to say that you'll grow remarkably fond of Starkiller and his companions, and their moral conflicts carry a lot of weight.

Unfortunately, the game's limited visual capabilities somewhat soften the story's dramatic impact. The cutscenes are rendered within the game engine, and are undercut by stiff animations and abrupt, jarring transitions in and out of gameplay, as well as some odd-looking character models and occasional glitches, such as blinking geometry. Audio also takes a hit, which is odd, considering that much of the voice-over work is lifted directly from the Xbox 360/PlayStation 3 version of the game. Poor compression is the culprit here, and it makes the dialogue sound as if you're listening to it on an old record player.

That's not to say that Force Unleashed looks and sounds bad, considering the aging hardware pumping these elements out. The moderately sized environments are fairly detailed, and the saber action and powerful-looking Force abilities produce flurries of particles and other special effects. However, there are some brief moments of slowdown not seen in the Wii version, which uses the same graphics engine (and looks essentially the same). John Williams' music and some original tracks, as well as the familiar swooshes of sabers, sound like you'd expect, and they only occasionally suffer from the poor compression to which the voice-over was subjected.

The star of the visual parade is the robust physics engine that powers your most impressive moves. Using Force grip, you can grab and fling any number of objects, including your enemies; with Force push, you can shove items and foes out of your path. These skills and their variants deliver the game's best moments. Whether you're flinging Felucians into each other or offing swarms of rebels with a burst of energy, there are a number of "did you see that?" moments that will have you grabbing your friends to show them your saber-slinging prowess. Nevertheless, it's disappointing that these moves can't be strung together more easily. The controls can be unresponsive and sometimes lack the fluidity of the other versions. At times, you might be mashing on the square button and wondering why you aren't swinging your saber, or tapping X but not making the corresponding jump. Additionally, it's odd that the triangle button does double duty, activating both Force push (if you tap it) and Force grip (if you hold it). The other versions use separate buttons to perform these powers, which is a more logical choice and feels more intuitive.

Although the environments aren't totally cluttered with useful objects, this actually works to the game's advantage, considering that the targeting problems prevalent in the other console versions are diminished as a result. There are still some moments when you'll grab a different object than you intended, but given that there are fewer objects to grab, these moments will provide only the occasional frustration. The annoying camera of the Wii version has been leashed and tamed a bit on the PlayStation 2 thanks to the right analog stick, which gives you the full camera control that you would expect. However, many of the levels are claustrophobic, which makes it difficult to move the camera into helpful positions, especially when you are fending off multiple enemies.

Nevertheless, the game moves along at a relatively quick pace, so between droid encounters and boss battles, you'll always be in the thick of the action. You won't find much challenge here; there are plenty of health drops scattered around, including respawning ones during boss battles. Should you die, you'll restart at the most recent checkpoint with all of the damage you've already done to your enemies still intact. This is probably for the best because it keeps the pace moving. Some variety comes by way of Force Unleashed's God of War-style quick-time events, which result in some terrific, flashy-looking moves, whether you're smashing on an opposing Jedi or defeating a rancor in a series of thrilling acrobatics. And it's a welcome sort of variety, given that you'll be visiting the same exact levels several times over.

Unlockable costumes and other extras won't give you much reason to return, but some extra levels lengthen the playtime over the mostly similar Wii version. So if you're in the mood to slash up Jawas, this is your chance, though The Force Unleashed may not be as raucously entertaining as you may have expected. Nevertheless, if you've got six or seven hours to kill, this is a fair way to spend them, particularly if you're a Star Wars devotee looking to fill in the gaps between Episodes III and IV.

By Kevin VanOrd, GameSpot

Burnout cruising to Paradise

At first glance, the term "burnout paradise" conjures up images of a coffee shop in Amsterdam--or a plush drug-rehab clinic in the Carribean. However, it's also the title of the next installment in Electronic Arts' destructive racing series, which will mark its PlayStation 3 debut. Burnout Paradise will arrive on the Xbox 360 and PS3 "this winter," which typically means a December or January release.
As evidenced by its first trailer, Burnout Paradise will feature the same sort of urban racing as previous Burnouts. However, its developer, UK-based Criterion games, has greatly improved the game's graphics. In the trailer, they are noticeably more detailed than those of Burnout Revenge for the Xbox 360, the only next-gen Burnout to date.

Though none of the series' trademark car crashes are present in the trailer, the accompanying press release promised the game would have more of them than ever before. That's because instead of the series' traditional event-based gameplay, Burnout Paradise will sport an open-world environment where players can "explore the city and discover events," according to EA. They can also run amok, committing random acts of wanton destruction with their cars, earning points that can eventually be used to acquire newer, faster cars.
"We have been working towards Burnout Paradise for quite some time," said the game's executive producer, Pete Hawley, in a statement. "Next generation consoles have opened up a raft of new gameplay opportunities and the Criterion team has leapt at the chance to innovate." Hawley boasted that EA had some "big surprises" in terms of new features and online capabilities," but promised the title's gameplay would remain true to the series."

By Tor Thorsen, GameSpot

Medal of Honor Heroes 2

Heroes 2 supports a whopping 32 players in online multiplayer matches.

The EA Nation login should help simplify getting up and running online.

Medal of Honor Heroes 2. The online-shooter category may be dominated these days by the Xbox 360 and, to a lesser extent, the PlayStation 3. But that hasn't stopped Electronic Arts' studio in Vancouver from bringing frantic, large-scale action to the Wii and PSP with the forthcoming Medal of Honor Heroes 2, which is due to hit both platforms in the second week of November. The game supports 32 players in-game across six maps, which are set across a number of World War II-esque strongholds and crater-pocked battlefields. We went a few rounds online with both versions to see how things are shaping up.

On the Wii, the game has a pretty robust control model that seems as if it will afford you precise shooting when you get past its learning curve. You move with the analog stick and aim with the remote, as per most Wii shooters. You can also go to a view that zooms in through your weapon's sights, and when you're in this view you can twist the Nunchuk left and right to subtly lean in those directions, which will naturally come in handy for firing around corners. In the single-player campaign, you'll have a powerful melee attack that requires you to thrust both controllers forward simultaneously. That attack is still available in the online mode, but as you'd imagine, it can be hard to pull off while you're engaged in a firefight. So the designers have also added a weaker one-button melee attack that won't kill in one hit but is much easier to execute.
You'll get an exceptionally large crosshair in the multiplayer game, which sometimes makes it tough to gauge where exactly you're shooting at when facing an opponent. At first, it felt as if we were emptying entire clips at our opponents and hitting only air, but after a few minutes we were able to figure out where we ought to be aiming to score effective hits. However, even a headshot won't necessarily guarantee you a kill. Often when you get a headshot, you'll see your enemy's helmet go flying, accompanied by a satisfying metal clang sound. Once your opponent is bare-headed, your shots will certainly kill, but that helmet can sometimes make the difference between life and death when the action is moving quickly.
New to the Wii game's single-player campaign is a number of gesture-based control mechanics intended to enhance the realism of the combat experience. For instance, when you want to use the bazooka, you'll have to actually hoist the Wii Remote over your shoulder before you fire, as you would the real weapon. (The Wii will look for the remote to be upside down to verify you're doing it right.) There's also a pump-action shotgun that you actually need to pump to reload after each shot--by making a pumping motion with the remote, naturally.
These gestures have made their way into the multiplayer, but in a modified form. In a multiplayer match, you're permitted to fire the bazooka from the hip for a quick response time, but you'll lose some accuracy. On the other hand, you'll have full aiming precision if you hold it up over your shoulder. You can similarly disable the shotgun-pump requirement via a menu option if that seems too laborious for you during a fast-paced multiplayer match (as it did to us). There's also a motion-based grenade-toss mechanic that has you arm the grenade, then hit the fire button to designate a rough target, and finally make a throwing motion with the remote itself. The strength of your motion here will ultimately determine the grenade's trajectory.

There will be three modes--deathmatch, team deathmatch, and capture the flag--that will occur on the game's maps, and all of them play out exactly as you'd expect. Luckily, getting into a match will be much easier than with most online Nintendo-based games. No friend codes to be seen here--instead, you'll use EA's "EA Nation" Web portal to set up an account and then log in through the game's front end itself. The EA Nation login will let you browse for running games online, and you'll be able to jump into or out of games that are running at any time, rather than being required to join a game's lobby before it starts. The PSP version's matchmaking works the same way, though it's inherently less noteworthy there because Sony's online multiplayer strictures are less severe than Nintendo's.
It looks as if EA Canada has made a real effort to get solid multiplayer into Heroes 2, especially given that the game is on two platforms that don't typically excel at online multiplayer. We'll bring you the final verdict for both the multiplayer and the game's story-driven single-player campaign when it ships in mid-November.

By Brad Shoemaker, GameSpot