WWE SmackDown vs. Raw 2009 Review

SmackDown vs. Raw 2009 successfully returns to the fundamentals of intense, realistic WWE action and impressive, easy-to-use creation tools.

In the WWE, it's not uncommon for upstart new wrestlers to suffer a few humiliating losses before they earn their first victory. After a severely disappointing Wii debut last year, THQ's venerable SmackDown vs. Raw series has returned to the ring, having spent the year bulking up and working on the fundamentals. The work has paid off: There are more match types, the controls feel more responsive, and there are two new single-player modes that complement the multiplayer fun nicely. Though it's still hampered by a number of lingering issues, WWE SmackDown vs. Raw 2009 shows that the series can be a contender on the Wii.

The most notable improvements are in the single-player realm. The lackluster Main Event mode has been ditched in favor of a lengthy Career mode and the scripted Road to Wrestlemania. In the Career mode, you choose a superstar (existing or created) and enter a bracket to make a bid for the title belt. Each bracket has five opponents, including the current champion, and you'll have to earn stars by winning matches to get a shot at the title. You win up to five stars for each match by earning points in three areas: match results, technical, and excitement. These categories encourage you to get into the WWE superstar mindset by rewarding you for both pummeling and mocking your opponent. At the end of each match, your attributes will increase, and your health will replenish automatically based on how the match went--no micromanagement here. You'll also earn amusing awards for things such as striking your opponent 35 times or breaking a barbed-wire-wrapped plank over his or her back. It takes only a handful of successful matches to earn you a title shot, which is great because it keeps your career moving along at a good clip. This action-packed Career mode is the perfect complement to the Create a Superstar mode, and winning belt after belt as you bulk up your created character is satisfying and fun.
The other single-player mode, Road to Wrestlemania, features six unique story arcs that let you play as various WWE superstars (including The Undertaker and Triple H) and defeat numerous foes (and a few nemeses) on your quest for Wrestlemania glory. Matches are interspersed with story scenes packed with typical WWE action, so fans of outrageous melodrama will be pleased. In keeping with traditional SmackDown vs. RAW strengths, the superstar models and entrances are impressive, but these stand in stark contrast to the crowds that, though fine from a distance, look like Nintendo 64 rejects up close. Character animations are quite good, though they are prone to clipping and still lack fluidity when maneuvering around the ring. The audio remains a weak point, dampening the hard-hitting action, and though the dismal announcers from years past have been improved quite a bit, the sound design is still in need of an upgrade.
Despite how it may sound, the action is indeed hard-hitting. Flicking the remote executes punches, kicks, and the like, and doing so while holding A will trigger a simple grapple. Holding B and flicking the remote results in a strong grapple, one that requires you to move the remote when prompted to fully execute the move. Usually this can be accomplished by merely flailing the remote briefly (or sometimes doing nothing at all), but if you're more technically inclined, you can follow the onscreen prompts to do specific moves. These prompts also crop up when you perform a signature or finishing move. The camera adjusts to a cinematic angle and the action slows down as you grab, punch, elbow, kick, or slam your opponent by swinging the remote. Giving your foe Triple H's Pedigree is so much more satisfying when you can swing the remote up to lift him or her into the air, and then swing it down to send him or her crashing to the floor. The motion-sensitive controls also generate some extra excitement during character entrances, which are now interactive and let you throw up your arms in triumph or gesture to the crowd. There is still some imprecision to deal with, especially during uninterruptible animations, but overall the control scheme feels much improved and the motion controls spice things up nicely.

The wide variety of new match types range from ladder and table contests to a 30-man Royal Rumble, and cover everything in between. The under-the-mat arsenal is much improved, offering such implements as kendo sticks, sledgehammers, and fire extinguishers. Larger matches can get a bit tricky because the camera sometimes seems confused as to how to frame the action, and it's possible to walk off the screen in tag-team battles. Regardless, these improvements are a welcome change from last year's barren offering.
In addition to the Career and Road to Wrestlemania modes, the competent AI and unique wrestler abilities make playing single-player much more appealing in SmackDown vs. Raw 2009. No longer content to stand around drooling, computer opponents will actively attack you, tag their partners (you included), and use environmental elements reasonably well. Though the Road to Wrestlemania and early stages of the Career mode will seem easy to experienced players, it won't feel like you're playing against brainless apes. There are also new, unique wrestler abilities that existing superstars have and created superstars can earn. The effects range from attribute boosts (the ability to remove the belt in a ladder match more quickly) to enhanced abilities (the ability to regenerate a small amount of health). Although these abilities aren't particularly powerful, they can come in handy during tight matches.
You might not have tight matches against the computer, but you are sure to find tough competition online. You can use SmackDown, Raw, ECW, or created superstars as you face off against friends or strangers in any of the match types that support one to four players. (Six-man matches and Royal Rumbles are available locally only.) Against tougher players, any miscues due to bad position or odd animation are likely to cost you dearly, and once your opponent has you on the ropes, you'll be hard-pressed to reverse your way out of them. You'll also find yourself frantically spinning the analog stick a lot; it's the ill-conceived and thumb-fatiguing way to make you recover quickly. Impressively, the matches are generally lag-free, though you might have trouble filling a four-man match during odd hours.

Of course, SmackDown vs. Raw wouldn't be itself without the still-impressive Create a Superstar tool. Once again, with a little time and patience, you can create almost anyone you like, from famous celebrities to hideous abominations. You can then customize your character's move set to craft a fighting style and choreograph your ring entrance to truly strut your stuff.
WWE SmackDown vs. Raw 2009 benefits greatly by increasing its scope. You can now participate in almost any type of match your heart desires, and even pull a wider variety of weapons from under the mat. The new single-player modes offer hours of entertainment, and online play further extends replayability. The tweaked motion controls add an extra bit of excitement to the proceedings, and though some elements still need improvement, SmackDown vs. Raw 2009 is ultimately successful because it embraces the dramatic fights and outrageous showmanship that are the heart and soul of the WWE.

By Chris Watters, GameSpot

Call of Duty: World at War Review

Impressive controls, exciting multiplayer, and a dramatic campaign make Call of Duty: World at War a great success.

After getting passed over by 2007's stellar Call of Duty 4: Modern Warfare, Wii owners get their first shot at the revitalized series with Call of Duty: World at War. Though World at War treads the familiar ground of World War II, the detailed, realistic locations and dramatic story elements make this trip to the past feel fresh. The remote and Nunchuk perform admirably in combat, despite a few missteps, and the well-tuned weapons make firefights intense and satisfying. Add in the engaging multiplayer system that made Modern Warfare a smash hit, and you've got one of the best shooters available for the Wii.

There are a number of great components in Call of Duty: World at War, but none of them would work without the fully capable control scheme. You move with the analog stick and aim by pointing the remote. As a handy aid to newcomers and veterans alike, there are plenty of options to tweak various sensitivities and movement speeds. In the default control scheme, you pull the B trigger to fire and use the Z button to look down your sights, which is a crucially important ability, especially in multiplayer. The C button toggles your stance, and the A button lets you sprint or, when stationary or strafing, lock the camera for steadier aiming. There are a number of slightly tweaked alternate control schemes, including a Wii Zapper mode that, if you can endure the frequent twisting it requires, is actually pretty fun.
The default controls feel balanced and well-mapped, but there are a few hang-ups. The fast and deadly melee attack is performed by shaking the Wii Remote or hitting down on the D pad. Unfortunately, shaking will shift your aim abruptly, often causing you to miss your target. The D pad is the better option, but melee attacks will still tend to go astray more often than they should. The D pad is also used for switching weapons, so resting your thumb in the A-button/D-pad area is generally advisable. Unfortunately, grenades are mapped to the + button, and shifting your thumb halfway down the remote can be awkward. It's a minor inconvenience, though, and all things considered, World at War's control scheme is well-suited for the rigors of war.
In the campaign, you split time between two soldiers in two offensive theaters: the Russian push out of their homeland and into the heart of Germany, and the American struggle to wrest Pacific islands from the Japanese. Though you'll alternate between them every few levels, the campaign feels like one solid progression thanks to the adept pacing. Each soldier's journey begins at a low point. Weaponless and surrounded by the enemy, you get a taste of the despair that many soldiers are never rescued from. Though the emotional tone eventually rises toward triumph, you never quite forget the fate you nearly met. The first few levels are a hard scrabble as you and your fellow soldiers try to gain a foothold for your country, whereas later levels are suffused with a sense of hard-won momentum as you fight bigger battles and push closer to your enemies' capitals. On your journey, you'll traverse a number of diverse, well-detailed environments that set an impressive and immersive backdrop for the action.

Throughout each level, you are accompanied by a superior officer who sets the emotional tone through well-acted dialogue. The vengeful, spitfire Russian pumps up your adrenaline to intoxicating levels, whereas the grim, determined American provides a sobering influence. This grim sobriety is further enforced by the actual WII videos, photos, and statistics presented in stylish interchapter cutscenes. The message is, by nature, a conflicted one: Though you may feel like an action hero, you are actually participating in the most horrid of human endeavors. How you ultimately feel about this message will depend on your personal disposition, but suffice it to say that the elevated emotional timbre makes for an exciting campaign.
Also exciting? Bayonets and flamethrowers, the two standout weapons in World at War. You wield both in the American campaign, using them to enthusiastically dispatch enemies in trenches and fend off the aggressive banzai raiders. These raiders snipe from the treetops, or pop out of holes and charge you with merciless determination, and this aggression makes the American campaign feel uniquely tense. The Russian campaign is slightly more predictable, but it remains vigorous throughout and ends in a spectacularly satisfying way. Though you'll spend a good amount of time hiding behind cover and picking off enemies, you'll find it somewhat tricky to snipe far-off foes. You may have the patience to become an ace sniper, or you may resort to bold charges shielded by smoke grenades; either way, the campaign is so exciting and well-paced that you're bound to have a blast.
Playing with other folks is a blast as well, and Call of Duty: World at War offers two ways to do this. The first is to play the campaign in cooperative mode. Instead of splitting the screen for two players, World at War relegates the second player to piggyback status. The first player does everything he or she would normally do: move, crouch, aim, shoot, throw grenades, melee attack, and so on. The second player is merely a second target reticle: He or she can shoot, reload, and switch between two guns, but can't control camera or movement. This offers a fun, casual way for a friend to join in the action (with the ability to drop in or out at any time), but it can be a bit disorienting to have your view controlled by someone else.

The other option is to take your skills online and dive into World at War's excellent and engaging multiplayer system. The hook here is experience points, which you gain by winning matches or completing one of the many in-game challenges (such as getting a certain amount of headshots with a certain weapon). As you earn these points, you'll rank up and earn access to new weapons, new accessories (such as sights and suppressors), and new perks. Perks are special abilities that grant you a wide variety of bonuses, but you can choose only three. This introduces an engaging element of customization: Will you choose to toughen up by increasing your health and bullet damage, or will you go the stealth route and increase your sprint speed while becoming invisible to enemy recon planes? Perks are well balanced, and you have multiple save slots that enable you to easily switch between your various pretweaked loadouts and fully take advantage of this deep, engaging system. There are eight maps, but only two game types: Free for All and Team Deathmatch. There are different lobbies based on player skill, and you can travel around from game to game in a party if you exchange friend codes with another player. Matches are fast-paced and rarely hindered by lag, and despite the limited mode options, this is one of the best online multiplayer experiences available to Wii owners.
All told, Call of Duty: World at War is a great first-person shooter and undoubtedly among the best that the Wii has to offer. The controls are smooth, responsive, and immersive, despite a few sundry hang-ups. The lengthy campaign is dramatic and exciting, and it's fun to replay levels with a friend along for the ride. The icing on the cake, the online multiplayer, is a great success despite its somewhat limited scope. So if you're looking for a reason to try a first-person shooter on the Wii, or you're a veteran remote-wielder looking for a new battlefield, look no further than Call of Duty: World at War.

By Chris Watters, GameSpot

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

Disaster: Day of Crisis Review

Wielding more Wii Remote-waggling moves than you can shake a quake at, Disaster's lack of clear gameplay focus has resulted in a game that is competent at best and never compelling.

In Disaster: Day of Crisis, spiky-haired protagonist Ray has to overcome floods, fires, a hurricane, an earthquake, a tsunami, two volcanic eruptions, and even an attack from a bear. And there are as many different gameplay styles in Disaster as there are natural calamities. Practically every Wii Remote-waggling gimmick dreamed up for the Wii (so far) has been thrown into the mix, resulting in a game that's unfocused and scatterbrained.
If you think the laundry list of natural disasters Ray faces in Disaster sounds like a pastiche of bad Hollywood movies, you'd be spot-on. The game certainly has cinematic aspirations, with its over-the-top story told through long and frequent cutscenes interspersed amongst the action. And not only are there enough calamities to send Roland Emmerich into fits of ecstasy, but there's also a terrorist threat: Ex-Marine and now rescue team member Ray has to deal with a group of disgruntled army veterans who have stolen two nuclear warheads. Not that our heroic Ray cares much about that. His main motivation throughout Disaster is to rescue the sister of his dead rescue team partner from the terrorists. The game's dialogue is cheesier than a wheel of cheddar, and the big set pieces are straight-up Michael Bay fever dreams, but it is this relentless absurdity that lifts Disaster's story to "so bad it's good" material. After all, if you don't think an attack chopper getting taken down by a tsunami or our hero getting attacked by a bear as he's trying to escape a volcanic explosion is cool, then you need to redefine your sense of awesome.

What's not so awesome is the constant chopping and changing when it comes to gameplay. Part on-rails shooter, part arcade racer, and part a collection of Wii Remote-based minigames, Disaster is a disjointed experience that has some competent sections but no compelling ones. There are several good concepts here that are woefully underutilised--victims of Disaster's everything-and-the-kitchen-sink approach. The most apparent one is Ray's health system. In addition to having the typical hit points and stamina bar, the system features a heart-rate meter and a lung indicator. If you run too much, Ray's heart rate increases, forcing him to stop. Hanging around in smoky environments will cause Ray's lungs to gradually degrade, and you'll have to find an area with clear air or risk having Ray collapse. Neither of these features is used to any effect in the game; the only time you'll need to be mindful of the lung indicator is late in the game in a level that's set in a smoky forest. The heart rate meter is even less relevant, because at no time will you need to worry about Ray running out of puff.
Most of your time in Disaster is dedicated to its on-rails shooter side, which has a Time Crisis vibe to it thanks to the ability to take cover from enemy fire. Taking cover by pressing the Z button on the Nunchuk makes you invulnerable to enemy fire, although large explosions (such as those from RPG-wielding baddies) can still hurt because of their splash damage. Aiming is as simple as pointing the Wii Remote at the screen, while reloading is done by shaking the Nunchuk. You can carry four different weapons into battle, which can be selected on the fly using the remote's D-pad. Weapon variety isn't a strong point--while there are more than 15 to choose from, many of those are just slight variations (such as firing speed) of the same weapon. Shooting sections are easy for the most part since red reticles will appear on enemies when they're about to fire (once again, like in Time Crisis). And just like in every other light-gun-based on-rails shooter, enemies don't seem to care much about self-preservation and will often stand in the open waiting for you to pop out and shoot them.
When you're not shooting, you'll be navigating disaster-ruined locales, avoiding dangers and helping out any survivors you find in your path. It's here that Disaster's mountain of mixed gameplay comes in, throwing in new controls seemingly every few minutes, many of which get used only once in the entire game. Running away from a raging fire in a subway, for example, requires you to rapidly waggle the remote and Nunchuk. Avoiding obstacles while being swept away in a flash flood sees you having to quickly wave the remote left or right. Using a parachute has the remote and Nunchuk acting as steering toggles to change the angle of descent. There are plenty of these events in Disaster, and none of them are tough. Dealing with survivors is handled in the same minigame style--running across a stranded person in Disaster starts one of several different games. One requires you to wash away dirt from wounds by pointing the remote at the affected areas and then to wrap the injuries in bandages by rapidly twirling the Nunchuk joystick. Another sees you mimicking CPR by rapidly waving the remote down in time with a person's heartbeat. Some are as simple as waving the remote once to reach out to people hanging from ledges or rapidly pressing the A button to lift a heavy object off a victim. All of these actions have to be performed within a set time limit, but the game is extremely forgiving, and you can simply try again if time runs out. The only challenge is in finding the survivors, because some are more difficult to reach than others.

Finally, Disaster also dips its toes into arcade driving. In several instances Ray commandeers a vehicle in order to catch or avoid bad guys or to flee from natural hazards, such as the blast wave from a volcano's explosion. These driving scenes are controlled by holding the remote sideways and using it to steer--the 2 button is for accelerating, 1 is for braking, and A is for handbrake turns. This control scheme doesn't allow for much finesse, so most driving sections are either too easy or too frustrating (particularly since the cars Ray drives have a laughable tendency to flip over at the slightest bump).
Disaster is not a great-looking game, even for the Wii. Textures and environments are rather bland, which is a pity since the game could have looked much more vibrant with all the explosions you'll encounter. Character models are fairly lacklustre and are more reminiscent of late-era PlayStation 2-quality graphics than the sharper, more vibrant visuals of many Wii games. Sound is also poor, particularly when it comes to the unconvincing effects you'll hear. The sound of Ray's shoes is particularly annoying--it sounds as though he's wearing tap shoes most of the time, and the awful clacking noise when his boots hit concrete is certain to drive you batty.
That's not to say the game is all bad in the looks department. Some scenes of immense destruction--such as buildings collapsing practically on top of Ray--are impressive. But that's the problem with Disaster: Day of Crisis. The good is generally overshadowed by the mediocre, leaving you with a game that has potential but never comes close to realising it. It's fun in parts, but as a whole, Disaster is no earth-shattering experience.

By Randolph Ramsay, GameSpot

Manhunt 2 Producer Q&A

The Wii Remote should really come into its own with Manhunt 2. The Wii Remote should really come into its own with Manhunt 2.

Manhunt 2. The road to retail has been anything but smooth for Rockstar Games' Manhunt 2, but next week fans of the first game and attention-seeking suits alike will be able to get their hands on the game. Fascinated by both Manhunt 2 and by all of the work that has gone into earning it an M as opposed to its original AO rating, we caught up with producer Jeronimo Barrera and made with the questions.
GameSpot: So before we get started, can you fill us in on who you are and how long you've been with the company?
Jeronimo Barrera: Since the beginning. I help oversee game production.
GS: Take us back to when the game was being discussed? Why another Manhunt?
JB: Obviously we're very proud of the original Manhunt and we didn't hesitate to start working on another Manhunt when the opportunity presented itself. A big motivation was the fans. We've had games that have sold more copies, but Manhunt did well and gained a very loyal following. That, coupled with the fact we love the horror genre, made it a no-brainer for us.

GS: Why did you guys take the all-new character approach? Where did you look to for inspiration?
JB: Manhunt 2 is not a true sequel to the original story. It expands on the theme of the original. The approach was to put the player in a similar situation of having to make very hard choices about survival, but where in the original the overall goal was very clear, in Manhunt 2 we introduce a heavy psychology that makes the choices to the player much more difficult. I don't want to give out any spoilers, but let's say that Manhunt 2 offers many twists and turns to keep the player on the edge of their seat.
We didn't really draw from any one source for inspiration. We're all very proud of the original game and we were in a unique situation to draw inspiration from our own work. With making sequels to games, sometimes we continue the stories of previous games, but often we feel the story itself is more or less complete and instead we want to expand on the narrative themes and gameplay mechanics and style, which leads to sequels that are related, but not necessarily narrative sequels. We've done this with GTA--where the games are related but not but not sequels--and we will continue to use this approach.
GS: Can you give us an idea of how the game came together? Was there a set plan, or was it more organic and collaborative? How long was development?
JB: There's always a plan and it always ends up getting changed massively as the game takes shape and it's always a collaborative effort. We had the story in place early, and then it was a matter of fleshing out the game using the story as the core and building upon it. From the start we knew we had to really surpass the first game's narrative, so there was an emphasis on having the story in place before we started building the game. One thing that isn't mentioned often is that Manhunt 2 is a very story-driven game. The writers needed to work very closely with the designers to ensure that the game mechanics fit within the world we were creating and that the actions onscreen were being complemented with strong dialogue and audio. Things tend to get more organic once you have all the pieces in place, and then you have to really start critiquing your work, and sometimes that means going back to the drawing board.
GS: There have been a number of survival horror games and quite a few successful stealth action games in the last couple of years. But the original Manhunt really presented something unique in terms of combining the best of both stealth and horror gameplay. What was the motivation to continue in this vein, and what were you looking to improve on with this second installment of Manhunt?
JB: First, the original Manhunt has a very loyal fan base, and when we decided to start working on Manhunt 2 it was immediately decided that we had to stick to certain themes and mechanics to keep the original fans happy--but we also wanted to expand and surpass what the original accomplished so well. That was very difficult, but in the end we created a piece of horror fiction that is not only terrifying at times but incredibly thought-provoking in the themes that we explore.
GS: The first Manhunt went to extraordinary lengths to craft unforgettably creepy--and sometimes very funny--dialogue. The audio experience of Manhunt was quiet memorable. Care to discuss what you have going on this time regarding the audio in Manhunt 2? What have you done to surpass expectations?

JB: The real star of the game is the audio. Not only does it play an important part of the gameplay, it sets the tone and mood for every single experience we throw at the player. We learned so much from the original Manhunt and knew going into writing the dialogue what works well in the game. The emphasis [is] on making the interactions (especially of the Hunters) seem real but so twisted that we blur the lines and it truly comes off sounding psychotic and at times very funny. We hope we have surpassed expectations by maintaining the production quality all Rockstar games have and at the same time increasing the variety of situations people speak in, which aligned to improvements in the AI that should lead to a game world that feels more "alive."
But the PS2 version still has headset functionality! This really helps to enhance the experience. You'll hear Leo, and you can use the mic to make sounds that attract the Hunters. On the Wii, we use the speaker on the Wii-Mote in interesting ways too.
GS: As it was taking shape did the violence stand out at all? Did it raise any flags for anyone?
JB: Since we started out making a horror game, we knew this would be a pretty violent game. The vision for the game was very clear to everybody that was working on it. We wanted a game that created the same feelings as watching a horror movie, similar to the original game but with a greater focus on psychological horror.

GS: How violent is too violent for a game like that?
JB: Of course, that's a matter of opinion, but we always knew the game needed a truly mature storyline that wraps the whole package together and makes the player recognize what's going on. Games are all about choices regardless of content. In Manhunt 2, the question is: What decisions are your characters going to make, given a particularly dire situation, not to mention your inability to trust anyone, including yourself? We are very much of the opinion that games should be judged by the same criteria as movies as they are part of the same culture, and in terms of the horror genre the game does not strike us as particularly violent.
GS: As things were coming together how did the Wii come into the equation?
JB: The Wii version was decided on quite early on. We are excited about the Wii in general, and it's a cool way of making new experiences, although there are still a lack of story-driven games that really work well on it. We hope Manhunt 2 will help to change that.

GS: Were there any concerns on how Nintendo would react?
JB: We're a licensed Nintendo developer. They knew what we were doing. We (Rockstar) are known for our award-winning, cutting-edge adult content. I'm pretty sure Nintendo knew what to expect when they announced that we would be making games for their system.
GS: How was it working on controls for it?
JB: Incredibly fun. It wasn't an afterthought; we were developing it simultaneously to the PS2 and PSP. We couldn't be happier with the results.
GS: To dwell on the executions for a moment, can you elaborate on the new weapons and environmental executions--how does that work?
JB: The player is presented with more options than in the original. Not just by variety of weapons but also how to best use the environment. There are what we call "environmental executions"; these can be very useful when you don't have access to a weapon. For example, you only have a tin can and you can see an open manhole just off in the distance. You can throw the tin can near the manhole. The noise from the tin can will cause the Hunter to go and investigate. You can then sneak up on the Hunter and...well, I'm not going to tell you what happens next but you get the picture.
Truly shocked. I know that sounds strange since the media has played this up as the most violent piece of media ever! We still believe that the original submission was well within the bounds of an M rating.
GS: Did you ever think it would go where it did?
JB: Not at all. We made a horror game, the contents of which are more interesting than any contemporary piece of horror fiction available on any medium. We're very proud of that. If this was a book, graphic novel, or a movie we wouldn't have this conversation.
GS: How do you all feel about the focus on the game? Is it good to get the word out or are you all cautious?
JB: I'd love to have us just focus on the gameplay. It's an amazing game. In a genre were few people get it right I think we've got something really special. I think the game now is going to be an unjust target. Who knows what people's expectations are going to be now that so many strange things have transpired? But we're very proud of it. We made a compelling horror game for a mature audience. The fact people still want to pick on video games is a strange and unfortunate reality.
GS: Tell us about what the mood was when the word came it was going to be AO?
JB: We were floored. We really couldn't believe it. There seemed to be no logic behind it, given other ratings decisions they have taken recently, and given the kind of content in other contemporary media.
GS: About the changes, was there talk of simply scrapping the game? How difficult was it to agree to edits? How did you end up cutting it without affecting storytelling and pacing? How much extra work did that process entail?
JB: It never crossed our minds to scrap this. Never. The challenge became how we were going to get the game out with the vision and story intact. And I think the team did an amazing job in the end.

The problem was that we didn't really get any direction. You don't get a list from the ESRB. We stuck to our vision, and we are happy with the outcome. All the levels stayed intact. And we originally came up with the effect for the executions to show how Danny's psychosis would affect his vision during violent moments.
GS: At any point, did you all see this coming?
JB: Not at all. I knew there would be one or two out there that would be offended by this game, but we aren't making this for everybody. This is a mature title and was designed as such.

GS: Now that this is all done and the game's shipping, can you tell us about the aspects of the game you all don't want overshadowed by all the controversy?
JB: There are so many things that need to get mentioned. We've elevated every aspect of the original and added so many new cool things. The interactions between Danny and Leo. The story of these two is the stuff of nightmares! The stealth gameplay is as great as ever. The environments are very dynamic. It doesn't look or feel repetitive. The animations are top-notch. Manhunt evolved out of a weakness we felt in stealth games--that people were hiding, but they weren't afraid of the people they were hiding from. For us, the most compelling reason to hide from someone is because you are frightened of them. This was the inspiration for the original Manhunt and it remains true for the sequel--to make the player feel like they are cowering in the shadows.
GS: Given the hassle on this title do you think this might mean the end of the Manhunt series?
JB: We enjoy making them, and if you enjoy playing them there is a good chance we'll see more in the series, but only time will tell. If we feel like we can make another compelling stealth game, we will.
GS: Thanks for your time.

By Staff, GameSpot

Crash of the Titans

Crash of the Titans. Ever since series creator Naughty Dog said goodbye to Crash Bandicoot on the original PlayStation, the series has floundered. While the reasons for the inconsistent quality are myriad, one of the key problems has been an inability to establish a tone that is consistent and compelling on the part of the short parade of developers who've tried their hand at the series. There's just no signature Crash Bandicoot feel anymore, which has made for a trail of indistinct, forgettable games. Now Radical Entertainment is at the helm for Crash of the Titans, and though it's a solid effort--arguably better than the past few Crash games--it still kind of feels like Yet Another Mascot Platformer.

Crash of the Titans doesn't overexert itself with its story, which is pretty boilerplate. After teaming up in 2004's Crash Twinsanity, Crash Bandicoot and his nemesis Dr. Neo Cortex are back at each other's throats at the beginning of Crash of the Titans. The game kicks off with Crash and friends relaxing at home, attempting to recycle butter, when the quaintly insane doctor shows up in a blimp to kidnap Coco and Aku-Aku. It's unclear how the kidnapping figures into his plan to take over the world with hulking, mutated monsters and seems like a force of habit more than anything else. Still, Radical manages to tuck some good humor into the proceedings, which, more often than not, is thanks to some strong readings from a cast of veteran voice actors.
A solid but predictable setup gives way to some solid but predictable platforming action. Although it's not as microscopically focused as the first three Crash games, the path you walk in Crash of the Titans is still pretty narrow. In terms of volume, there's not a great deal of actual platforming here nor is it terribly challenging, but a physics system that causes platforms to wobble precariously at least makes it interesting. There are also a number of hoverboard sequences wedged in there, which seem totally random both in terms of placement and length. There's certainly a greater focus on combat, and every level contains several sequences where you have to take out a large group of enemies before you can progress. As you defeat enemies and smash environmental objects, you'll pick up mojo orbs. These orbs can earn you ability upgrades and new moves, though the combat never gets more complicated than three- or four-button combos.
The big twist in Crash of the Titans comes from your ability to jack the giant freaks that Cortex has deployed against you. When you start wailing on one of these monstrosities, a star meter will appear over its head and begin to fill up as your attacks connect. Once full, you can hop onto the shoulders of the monster and ride it around, like some kind of fleshy tank. You'll find that there's a good variety to these monsters because they have wildly different suites of attacks, as well as their own sets of strengths and weaknesses. Certain monsters are impossible for Crash to successfully attack on his own, requiring you to jack another monster first. Having to daisy-chain a series of monster-jacks during boss fights represents some of the most satisfying action in Crash of the Titans.
The game does a pretty good job of introducing new monsters at regular intervals to keep you guessing, but once you've figured out the basic tactics necessary to jack all the different enemy types, it loses a lot of its steam. Crash of the Titans tries to compensate later on with larger numbers of enemies, though this can lead to frustrating moments where you're being pummeled from all sides and unable to defend yourself or retaliate. It should take about six or seven hours to play through Crash of the Titans on the default difficulty level. The game naturally tries to lure you back with hidden items and secondary goals that can earn you some unlockable extras, as well as a cooperative mode. But you'll probably have had your fill of double-jumping, hoverboarding, and monster-jacking by the time you reach the end the first time through.

Crash of the Titans offers pretty much the same experience on the Xbox 360, Wii, and PlayStation 2. The Xbox 360 version is naturally the best-looking, with the cleanest textures, as well as the nicest lighting and particle effects. However, the motion-blur effects can get a little carried away on Crash, which have the odd effect of making him look prerendered, like he was in a Donkey Kong Country game. The Wii and PlayStation 2 versions are pretty comparable from a presentation perspective. However, the Wii version's particle effects look nicer, and it also looks better on an HDTV. Crash of the Titans shows some restraint when it comes to the Wii motion controls, which the game only really uses for performing some of the monsters' special attacks.
Radical has created a reasonably fun experience here that's frothy, intermittently funny, and a breeze to play. The big underlying problem with Crash of the Titans is that you could swap Crash out for any number of other cartoony platforming heroes and not really know the difference. Without much of a distinct style to call its own, it's hard to get too excited.

By Ryan Davis, GameSpot