Monkey Island 2 Special Edition:LeChuck's Revenge

Monkey Island 2 Special Edition: LeChuck's Revenge

Reviewer: Steven Hopper

Back in the bygone era of PC gaming, the adventure genre was at once a unique and flourishing one, allowing for experiences that you simply couldn’t find on consoles at the time. Publishers like Sierra and LucasArts were releasing classic games left and right, many of which would be considered the best titles the genre has to offer even today. Certainly at the top of the heap was LucasArts’ Monkey Island franchise. Combining classic point-and-click mechanics, great puzzles, and extremely funny dialogue, the Monkey Island series was a hit with gamers and definitely fantastic for adventure fans at the time.

Last year marked a great moment for fans of the Monkey Island franchise and its swashbuckling hero, Guybrush Threepwood, as LucasArts released an updated HD version of the classic first entry to the series. Now, LucasArts has revisited the original franchise yet again with the release of Monkey Island 2: Special Edition. Monkey Island 2: Special Edition applies the same model to the original game’s sequel, updating it for modern consoles and PCs with streamlined controls and high-def visuals while still keeping the original foundation of the game in place, including great puzzles and snappy humor. If you loved last year’s trip back to Monkey Island, then you should definitely check this follow-up remake out.
Monkey Island 2 finds our hero in a precarious position, dangling from a rope with one hand while holding onto a full treasure chest with the other. Your potential love interest Elaine Marley seems to drop down on a rope to assist Guybrush, demanding an explanation. It seems that following LeChuck’s defeat at the end of the first game, Guybrush has become somewhat of a blowhard, regaling his exploits and courageous journey to anyone within earshot. Sporting a sprouty pubescent beard and wearing fancy pirate regalia, Guybrush is searching for a mythical treasure, known as Big Whoop, when it appears that the once ghost pirate (now zombie pirate) LeChuck is back and champing at the bit for revenge against his one-time dispatcher.

The original game’s sharp wit and sense of humor return in fine form in this updated sequel. The characters are rife with snappy one-liners, and the game’s puzzles are pretty funny, often requiring you to think a bit unconventionally in order to complete them. This can mean enticing a rat into a trap with the clever use of cheese doodles, or positioning a practical joke above a bully’s door in order to proceed.
Instead of simply updating the game exactly the way last year’s The Secret of Monkey Island: Special Edition did, the crew at LucasArts did one further and updated the interface. The game is even more polished to work on the Xbox 360 controller, moving the control of the cursor to the right thumbstick, while controlling Guybrush’s walking with the left thumbstick. By pressing on the right trigger when highlighting an object of interest in the environment, you’re able to open up a menu of contextual actions, while the left trigger will open your inventory. The new control scheme is comfortable, and does a great job of modernizing the overall experience.
The new controls are definitely an improvement over the first Monkey Island remake, but they’re still not perfect. While it’s generally agreeable, using the analog stick to walk can cause you to get stuck on objects in the environment, can feel a little cumbersome at times. For some reason, Guybrush gets slow and twitchy when moving at an angle as well.

Graphically, Monkey Island 2: Special Edition has received a comparable update to last year’s Monkey Island: Special Edition, and looks even better. The hand-drawn environments and character models fit well with the overall humorous tone of the game, sporting a clean, cartoonish look. The music and sound have also gotten a once-over, with the soundtrack being updated very nicely and great voice work throughout. Additionally, Monkey Island 2 allows you to listen to the developer’s commentary, listening to the creators’ for a inside look at the game’s creation. Of course, if you’re an old-school purist, the game is playable in with classic graphics, MIDI-based music, and the original SCUMM interface, just like last year’s iteration.
Aside from some finicky movements, Monkey Island 2: Special Edition is another outstanding remake of a true adventure game classic. Whether you’re a gamer that missed out on this game the first time around (shame on you), or someone who simply wants to experience this hilarious adventure in a new light, this is your chance.

By gamezone

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

Rise of the Argonauts Review

Jason spends too much time talking and not nearly enough time fighting in this Greek mythology-inspired action-RPG.

Loosely based on the same Greek myth that inspired the 1963 movie Jason and the Argonauts, Rise of the Argonauts is an action-oriented role-playing game in which you assume the role of King Jason of Iolcus and go in search of the legendary Golden Fleece. All manner of monsters stand between you and your prize, and doing battle with them is a lot of fun. The same can't be said for all of the time you have to spend wandering around and talking to other characters, unfortunately, and the wildly inconsistent frame rate makes even the stop-motion special effects in the aforementioned movie look silky smooth by comparison.

Rise of the Argonauts gets off to a shaky start. The assassination of Jason's bride on their wedding day in the intro sequence ensure that the story is instantly compelling, but poor voice acting, awkward camera angles, questionable animation (Jason negotiating stairs is a must-see for all the wrong reasons), and numerous visual quirks waste no time in conspiring against it. Furthermore, there's not much combat early on, so much of your time is spent trying to navigate Jason's labyrinthine palace and conversing with guards who, save for their different-colored uniforms, all look identical. Iolcus, like the handful of other locations you'll visit after acquiring the Argo, affords very few opportunities for exploration, but it still manages to be confusing enough in its design that you need to refer to the crudely drawn map to locate mission objectives in a timely fashion.
The high point of Rise of the Argonauts is undoubtedly the combat; Jason is skilled in the use of swords, spears, and maces, and he carries one of each as well as a shield at all times. The controls are uncomplicated and responsive, and it's good that they're the same no matter which weapon you're wielding, because you're encouraged to switch between them on the fly. None of the enemies are particularly intelligent, but they're varied enough that you need to employ different weapons and strategies to get the better of them. Your spear can be used to keep overly aggressive enemies at a distance, while your mace is a good choice for destroying the shields of enemies attempting to hide behind them, for example. Putting your own indestructible shield to good use is crucial early on, but as you progress you become much more powerful and can spend more time on the offensive.
Interestingly, you need to go into the options menu if you want any kind of heads-up display for your health during combat. By default, you're supposed to look for visual clues such as blood on the clothing of Jason and his allies to know when they're in trouble, but the combat is so fast-paced that this isn't always possible. Adding the HUD makes it much easier to know when Jason's health is low, though it's not always important because, in keeping with his mythological status, he's a tough guy to keep down. When your health drops to zero you don't die; rather, you enter a "state of grace" in which the screen blurs and you have 10 seconds or so to avoid taking any more damage before you regenerate around half of your health. You'll die if you sustain a single hit during that time, but there are very few enemies who can keep up as you frantically run and roll around.

There are a number of ways in which you become a more formidable fighter as the story progresses. You'll be joined by a handful of allies who will fight alongside you two at a time, you'll be able to add more powerful weapons and armor to your arsenal, and you'll learn new abilities by gaining favor with the gods Ares, Apollo, Athena, and Hermes. Each of the four gods has a skill tree composed of around 25 different "aspects" arranged into tiers so that more powerful ones become available only late in the game. The aspects vary a great deal and include both passive abilities and god powers that must be triggered manually in combat. Passive abilities include things like regenerating health anytime you kill an enemy, doing more damage to shields, and making your allies more powerful. God powers, which are fun but rarely needed outside of the most challenging difficulty mode, include temporary effects such as increased damage, explosions, and the ability to turn enemies into stone.
To purchase any given aspect you need to earn enough favor with the appropriate god to unlock it, which can be an interesting challenge in itself. The most obvious way to earn favor with gods is by dedicating to them any deeds you've accomplished. You can do this at shrines scattered throughout the world or, less elegantly, via an option in the pause menu. When you dedicate a deed to one of the gods, you earn an amount of favor proportional to the scale of your accomplishment. Settling a dispute among two traders is unlikely to impress in the same way that lopping off the heads of 25 enemies is, for example. The second way to curry favor with a god is by selecting dialogue choices that are clearly labeled as being appreciated by them. This can make the act of choosing dialogue a mechanical one if you care more about pleasing a specific god than you do about your interaction with whomever you're talking to, but the conversations feel so unnatural anyway that this is as good a way as any to get through them quickly.
It's unfortunate that so much of your time in Rise of the Argonauts is spent in conversation, because much of the dialogue is poorly written and the voice acting is even worse. It's conceivable that one is the victim of the other, but certainly neither deserves any credit for keeping the story compelling. Even on the rare occasions that the script and the actors work well together, poor sound design results in unnatural pauses and in volume levels that compete with background noise or have you reaching for your TV remote. The lack of believable expressions on characters' faces doesn't help matters, nor do the load screens that frequently appear at the most inopportune times--occasionally so quickly after a piece of dialogue that there's some doubt as to whether or not the character talking was even allowed to finish.

To say that Rise of the Argonauts has pacing issues would be an understatement of Olympian proportions; so much of your time is spent running around and talking to people that combat feels like a rare treat rather than a focus of the game. It's a real shame that getting to the end of this adventure is as much a test of patience as it is a test of skill, because the combat gets increasingly satisfying as your arsenal of moves and equipment grows. It's true that only boss encounters will pose any real challenge on the default difficulty setting toward the end, but by then that feels appropriate because you're wielding godlike weapons and powers that can literally call down lightning from the heavens. With a greater emphasis on combat and fewer technical shortcomings, Rise of the Argonauts could have been easy to recommend. As it is, though, this is a great story poorly told.

By Justin Calvert, 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

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

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

Sonic Unleashed Review

Terrible level design, unresponsive controls, and a poor camera are just the beginning of the problems in this awful adventure.

Every new Sonic release carries a hope that Sega's blue hedgehog will be able to regain the form that made him a star in the early '90s. And most every venture into the third dimension has resulted in various degrees of failure. Sonic Unleashed was supposed to provide the unrelenting speed fans have been clamoring for, and it does finally offer a healthy dose of turbo-charged levels to burn through. Unfortunately, even with Sonic's trademark speed finally on full display, Unleashed lacks one very important element: fun. The imprecise platforming, absentminded camera, and poor level design make Sonic's levels an unplayable mess, while his baffling transformation into lumbering werehog comes with a whole new slew of problems. Put simply, there is no reason to play Sonic Unleashed.

The story begins with Dr. Eggman shooting the world with a giant ray gun. Predictably, the planet breaks apart, but there is an unexpected side effect as well. Innocuous Sonic gets transformed into a giant, mean-looking creature called a werehog. This abomination emerges only when the sun goes down, and the game allows you to play stages during the day and at night to make full use of your dual personalities. Even though there are an equal number of hedgehog and werehog stages, most of your time in Sonic Unleashed will be spent at night, since the arduous combat levels take far longer to complete than the sprint-to-the-finish-line hedgehog races.
The werehog levels are extremely tedious. The levels are evenly divided between platforming and fighting, but both elements offer more frustration than excitement. Even though you can unlock more combos as you progress through the journey, your combat strategy never evolves beyond mindlessly tapping two attack buttons with an occasional jump thrown in for good measure. You're given a shield for when things get too hectic, but it's hardly ever necessary. The enemies are stupid, blithely standing around until you take the fight to them, and their lack of variety becomes oppressively obvious after just a few hours. You’ll be given a few checkpoints in each level, but these are awkwardly placed, so you'll have to repeatedly mash through the same battalion of enemies if you can't properly navigate the woeful platforming sections.
As a werehog you're equipped with stretchable arms and the ability to grab onto ledges. This should come in handy when venturing around these stages, but a few arbitrary restrictions have been tossed in to make even simple navigation annoying. First of all, you can only grab onto certain surfaces. If you mistime a jump, you often won't be able to grab a nearby ledge to save yourself, resulting in a quick death. Second, your arms' stretchiness varies at random, so while it may be possible to grab a ledge from a certain distance at one point, from that same distance later on in the level, you'll find your reach stunted. The camera also hinders your progress. You are given free control over your view when standing in the middle of a large plot of land. But when placed on a precarious walkway where a perfect line of sight is necessary, your camera control will be severely restricted, allowing only slight shifts to either side of your character. Because the punishment system is so immediate and severe (falling in water results in instant death), these miscues will quickly steal away your precious lives, leaving only frustration in their wake.

The Sonic levels don't fare any better than the lousy werehog parts. Your goal is to run as quickly as possible to the finish line, but the camera is rarely able to give you an optimal view and the controls are far too loose to provide the pinpoint accuracy you'll need. These technical problems mean you'll have to memorize stages before you can breeze through them. The game is not responsive enough to allow you to consistently avoid obstacles the first time you encounter them, so you'll find yourself repeatedly plowing headfirst into spikes and falling down countless bottomless pits before you finally know where each obstacle lays ahead of time. Extra lives--something you’re usually happy to see in a game--actually serve as a warning in Sonic Unleashed. Particularly cheap sections are often adorned by these markers, ensuring you can play them repeatedly to memorize their cruel layout and hope luck is on your side.
Even after you commit these stages to memory, though, you'll still die over and over again because of the unresponsive controls. A few levels take place on the water, making you sprint at top speeds to keep from sinking below the surface. Moving laterally while blazing through waves is sluggish, but you'll still have to swerve to and fro to complete the missions. In other stages, you'll have to perform wall jumps to succeed. This ability only works on certain surfaces, but even when you find an ideal place to ricochet from, the finicky timing means you'll try and fail until you do it perfectly. Certain sections require you to slow down and perform precise jumps across tiny platforms. The controls are built for speed, though, so a slight push on the analog stick will send Sonic sprinting to his death. The game also tosses in quicktime events at random moments. Some of these will catapult you to different parts of the level, but other times you'll be hit with an instant death if you can't meet their strict deadlines.
Even the between-stage hub is a total drag. Though the professor is supposed to guide you to the next goal, he does little more than point you in a general direction and send you on your way. You'll have to talk to specific citizens to open some levels, and trying to track down the one person with pertinent information is an out-of-place burden. The level entrances are often hidden in random locations and hunting them down can be maddening. Worse, when you finally find one of these entrances, you'll often be kept from entering it until you collect a certain number of moon and sun pieces from previous levels. Collecting items in platformers is expected, but the loose controls and obstinate camera make searching for missing pieces grueling.

The boss fights follow the theme of the other elements in Sonic Unleashed. These battles are long and tedious, forcing you to play the waiting game for minutes on end until the giant beasts open themselves up for attack. The sheer length of these ordeals makes the fights far more aggravating than they would otherwise be. The attack patterns are easy to learn, so you'll spend more time standing around waiting for them to let their guard down than actually attacking them. Even worse, their attack patterns don't drastically change through the fight, so you'll be repeating the same basic dodge maneuvers until you can finally vanquish these oversized annoyances.
The lone bright spot in this otherwise painful mess are some cheery, bright visuals. The graphics are far from cutting-edge, but the frame rate stays high even when you're sprinting at top speeds, and the levels are pleasantly colorful. The game is at its best when your interaction with it is minimal and you're able to simply admire the view. The camera adjusts for cinematic impact while you tear through loops and grind rails as Sonic, and though you're doing little more than pushing right on the analog stick during these sections, it is entertaining to watch Sonic swoop by. It's sad that Sonic Unleashed is only enjoyable during the moments when you're hardly in control of it.
Pretty pictures aren't enough to make up for the miserable gameplay. Almost nothing else in this game even reaches the level of mediocrity. The Sonic levels are poorly laid out and have unresponsive controls, the werehog portions have monotonous combat and a wonky camera, and even the hub world is so difficult to navigate, you'll spend way too much time searching for the next level. There just isn't any fun to be had in Sonic Unleashed.

By Tom Mc Shea, 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

The Chronicles of Riddick: Assault on Dark Athena Updated Impressions

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

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

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

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

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

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

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

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

By Brian Ekberg, GameSpot

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

Sega Rally Revo

Sega Rally Revo for the Xbox 360 and PlayStation 3 brought the years-old Sega Rally franchise into the current generation of consoles, crafting a fun, though sometimes overly challenging arcade rally racer around the series' trademark powerslide-happy gameplay. Revo was also released for the PSP, and it attempts to do the same thing as the console games, albeit with far less enjoyable results. In a sense, Revo on the PSP suffers from opposite issues of its console counterparts. Whereas the Xbox 360 and PS3 versions featured overly tough computer opponents that you couldn't bump off their racing lines to save your life, in the PSP game the opponents are total pushovers. There is next to no challenge in this game, and what little there is has more to do with the off-kilter controls than anything else.

Your first impression of Sega Rally Revo is likely to be the one you'll keep all throughout your time with the game because for as much as things change in the game, they ultimately stay the same. The second you get on a track, you'll know that this is pure arcade driving. Cars are incapable of going off track, with invisible barriers causing vehicles to bounce off everything from trees to minor shrubs. Powerslides are the name of the game, no matter the surface on which you might be driving. And there is a wide variety of surfaces on display. From mud-bogged jungles and sandy beaches to the icy, snowy mountains, you'll encounter all manner of terrain as you drive.
Maintaining tight, accurate powerslides on the PSP, however, is something of an exercise in futility. Whether you try to use the D pad or the analog stick, cars have an innate tendency to slide out and spin you too far in whatever direction you're turning. The amount of precision needed to make accurate powerslides just isn't there with this control setup, and you'll find yourself sliding every which way far more than you'd prefer. It's not impossible to keep a handle on the controls, but it requires more babysitting than it should to do so.
Granted, no matter how much you slide around like butter on a skillet, you'll probably still end up winning most of your races. The opponent drivers in Sega Rally Revo don't have much interest in keeping you from victory. Oh, sure, they'll try to cut you off when you steer around them, but that's not much of an issue because you can just bowl right into them and send their cars flying. All the cars in this game feel like tin cans on plastic wheels. A simple rear bumper tap will send the bumped car flying into the air for a second, and most times, the rear section of an opponent's car will fall down on your car. Simple taps from the side will send cars spinning like crazy. Granted, such wrecks will often lead to you losing some control of your car as well, but usually, you can get by without any other cars sneaking up and passing you.
Sega Rally Revo offers a few different modes of play. Apart from the standard quick race mode, there is a time trial mode, as well as a championship mode. There are three championship tiers, each tied to the three car classes in the game. You start out with the premier league, which consists of standard rally rides, such as the Subaru WRX STi and Mitsubishi Lancer Evo IX. Then you move on to the modified league, with such cars as the VW Golf GTI and Grande Punto Rally. Then finally, you hit the masters league and drive rally classics, such as the Lancia Super Delta HF Integrale and Lancia Stratos. Each league also has several unlockable cars, many of which are often much faster than the default rides (though at the same time, often more challenging to handle). With such a limited number of tracks, you end up repeating a lot of them again and again as you progress through each championship, though with the differences in speed between car classes, each step upward often results in a race that feels somewhat different.
Finally, there is multiplayer. Up to four players can play wirelessly via both ad hoc and infrastructure. The online play is functional, though we hardly ever found anyone playing. There is also a game sharing option, though only two cars and three tracks are available.

Graphically, Sega Rally Revo looks pretty solid, though it is a bit on the grainy side. This version of the game does have the dynamic track deformation that the console versions did, though not to quite the same degree. You do tear up the tracks as you go, but it doesn't really seem to have any effect on how you drive one way or the other, so it's more of just a visual trinket in this version--and not all that great of one either. Car models look great, and as each race goes on, you can cake them up with dirt or mud pretty nicely. In terms of performance, the frame rate holds steady, though the load times are pretty lengthy.
There are elements of Sega Rally Revo that provide some enjoyable moments, but too many irritations and issues get in the way of those moments. It might look good, as well as offer up a number of ways to play, but the suspect controls and relative ease of the gameplay prevent this from being a particularly captivating racer. When you factor in how many better and more interesting driving games there are on the PSP, you're ultimately better off skipping this one.

By Alex Navarro, GameSpot