Wipeout Pulse Hands-On Impressions

Studio Liverpool is no stranger to the Wipeout franchise, having created 2005's well-received Wipeout Pure, a game that helped the PlayStation Portable establish a foothold in the handheld market. Two years on and Liverpool is back at it again with a new game for the PSP: Wipeout Pulse. We got some early hands-on time with the new title and took it out for a thrash in anticipation of the game's December global release.
Just in case you're new to the series, Wipeout is a futuristic driving game with high-speed antigravity vehicles which race above increasingly convoluted tracks--usually accompanied by a thumping dance soundtrack. Regardless of what kind of racer you are--whether your penchant is time trials, competitive AI slog-fests in the single-player campaign, or just blowing stuff up--Pulse seems to have all the major bases covered. Several different modes are available to play, including head-to-head, which sees you and another AI-controlled competitor race to be first past the post. There's also the obligatory time trial mode that lets you race the clock and break your own personal best times. Then there are speed laps, which are almost identical to time trials except that you receive one "boost" power-up per lap to be used at your discretion. Speed laps also allow you to do up to seven laps of the same circuit per attempt, and experience tells us that even on well-known venues, the last few tend to be your best as you Zen out and hit the perfect amount of airbrake per corner.
Zone and eliminator make up the last two modes. In the case of eliminator, players will try to destroy fellow drivers' rides while staying on course and protecting themselves from attacks. Zone is much like a crossover between speed lap and time trial mode in that you race it solo and without power-ups, but you race for as long as you can survive. This mode is particularly useful for first-timers to the Wipeout series or those who want a quick indication of their skill level. A dynamically generated rank flashes up above the vehicle as you do laps showing you what level you should be competing at. All the weapons and power-ups you've come to love from the Wipeout series make a return, with energy shields, machine guns, rockets, and mines randomly assigned once you drive over a power-up panel on the track's surface.
The single-player racing campaign in our demo included 16 grids, with each grid made up of between eight and 16 stages. These include various challenges from the six types listed above, and while you'll race across only three different tracks in the first grid, there's enough variety in the modes to keep it interesting. The mixture of time trials and races also helps you quickly learn the acceleration, braking, and power-up points of each track--skills that become invaluable when you take on other AI-controlled players.
Based on our race times and general progress through the demo code, completing each of the challenges per grid and then all the grids themselves means you won't blow through this game in one afternoon. Once the game is completed, you have the option of replaying to unlock more high scores and gold medals, or you can simply bump the difficulty and start all over again with faster vehicles and smarter AI. If after all that you're struggling for things to do, Wipeout Pulse will also offer both ad hoc and infrastructure wireless modes and Internet play. Sony has also said that it has plans to offer new tracks and vehicles via download once the game goes on sale, and while we have no idea what the intended release schedule looks like for this content, it's nice to know there will be extra content straight away as well as further down the line.
As always, music plays a huge role in the Wipeout series, and Pulse is no exception, drawing on licensed music from known DJs and artists such as Dopamine, Stanton Warriors, Aphex Twin, and Kraftwerk to provide the game's soundtrack. The range of tracks contributes to the gameplay, and we found ourselves dodging and weaving through traffic in time with the music on more than one occasion.
Wipeout Pulse will include a photo mode, allowing drivers to snap a couple of photos once their race is finished. Simply hit the select button after your race is done to enter the mode. From here you'll be able to cycle through internal camera, external front, and above-vehicle views, as well as shots of the track. You can use the PSP's analogue stick to cycle around the camera or zoom in or out depending on which view you're in.
So far, Wipeout Pulse doesn't present any significant departures from the games that helped make it a PlayStation identity. Fans of Wipeout won't be disappointed by the franticness and pace of the driving, while the arsenal of weapons at your fingertips means if you can't outrace your fellow competitors, you can always just blow them away. There's plenty here for both returning gamers and those who may have missed the boat earlier on in the series.

By Dan Chiappini, GameSpot AU

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

Crysis DirectX 9 VS DirectX 10

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

By: Sarju Shah

Empire Earth III Faction Preview -The Far East Region

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

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

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

By Staff, GameSpot

Harvey Birdman grounded until 2008

Harvey Birdman: Attorney at Law needs some room to soar. That's the basic reasoning Capcom gave this weekend for delaying the release of Harvey Birdman: Attorney at Law for the PlayStation 2, PlayStation Portable, and Wii until next year.
Capcom's senior director of strategic planning and research Christian Svensson responded to a message board post on Saturday asking why online retailers were listing the game with a 2008 launch date.
"The game is and has been finished, submitted and approved," Svensson wrote, "however we felt releasing the game on the same day 112 other SKUs released was not ideal for its chances. Retail buyers agreed."
"As such, we've opted to move the title out into a slightly cleaner release window. This will allow us to get on more shelves, do a bit more outreach to the media and hopefully get the fans in on the action a bit more."
Some of the competition Capcom hoped to get away from is actually going to be joining Harvey Birdman in 2008, as Electronic Arts today delayed Army of Two until next year as well. Both games had previously been scheduled for release on November 13.
A Capcom representative has narrowed the new release window for Harvey Birdman, telling GameSpot that the title is now expected to ship in January.

By Brendan Sinclair, GameSpot

Manhunt 2 Producer Q&A

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

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

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

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

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

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

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

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

By Staff, GameSpot

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

Naruto: Uzumaki Chronicles 2

Naruto: Uzumaki Chronicles 2. Namco Bandai's unrelenting barrage of Naruto-licensed games continues with Naruto: Uzumaki Chronicles 2. It's been roughly nine months since the original Uzumaki Chronicles hit the US, and though the sequel features a few new bells and whistles, these do little to mitigate the fact that the combat's too simple and too easy to be particularly entertaining.
The threat faced in Uzumaki Chronicles 2 stems from the Shirogane clan, a nearly extinct group of ninjas that specializes in puppet mastery. In an attempt to release their master puppet from an ethereal prison, the remaining clan members have been savaging the countryside with their puppet army while looking for a set of mystical orbs. It's not a bad setup for a brawler like this, given that the puppets are basically robots, and robots are some of the finest cannon fodder you'll find. However, once it's up and running, you'll be constantly tormented with cutscenes of characters standing around and talking, all of which seem to drag on forever. Nothing terribly exciting ever happens during these cutscenes, and even the voice actors sound bored. Fortunately, you can skip these sequences without much consequence. Your mission objectives are always spelled out for you, and they usually just involve beating everyone up anyway.

Uzumaki Chronicles 2 establishes a pattern very early on in the story mode. You start out at your base of operations in the Hidden Leaf Village, where you'll be given a mission objective. Once you leave the village, you'll be shown an overworld map with paths connecting various points of interest. As you travel toward your objective on the map, your journey will be regularly interrupted by surprise attacks from puppets or bandits, and you'll have to beat up everyone before you can continue. Once you've reached your destination, you'll more likely than not have to beat up more puppets and/or bandits. Some light puzzle-solving and platforming are peppered into the missions, but they're either too straightforward or too unclear to add much to the experience. After that, it's yet more random encounters as you head back to the Hidden Leaf Village to take on a new mission and do it all over again. Occasional boss fights mix things up a little, but not much.
The simple, repetitive structure of the story mode wouldn't be so oppressive if the combat itself were more interesting. You can lock on to enemies, perform a few different jump and dash maneuvers, and juggle opponents with combos, but your basic ninjitsu abilities--which include an energized dash attack and the ability to generate a quartet of aggressive if short-lived clones--prove so potent right from the start that most fights don't require your full attention. You can goose your power levels to make the fights even shorter in a few different ways. Enemies drop copious amounts of virtue orbs, which can be used to boost character attributes. They also drop money, which can be used to buy health- and chakra-restoring items, as well as chips that can be placed on the skill plate. Chips can raise attribute levels, imbue you with new abilities, and more. Like the original Uzumaki Chronicles, one of the most engaging aspects of this game is organizing the chips on the skill plate so that you can fit as many on there as possible--and when inventory management is a game's high point, look out.
The game makes a few ineffective gestures to differentiate itself from its predecessor, all of them flawed. In addition to playing as Naruto, there's a rotating cast of other ninjas that you can tag in and play as on the fly, but it's a totally inessential feature, considering that it's rare to find a situation that you can't easily handle with Naruto alone. Pouring all of your virtue orbs and cash into Naruto is simply more effective than spreading it out across multiple ninjas, especially because you don't always have access to the same support characters from mission to mission. There are side missions you can take on for various rewards, but their actual content isn't different enough from what you'll be doing in the main missions, and the rewards are unnecessary. There's two-player co-op support in the story mode, as well as some self-contained, one-on-one brawling, but both are sabotaged by the game's inherently disengaging combat.

If Uzumaki Chronicles 2 offered some flashy visuals, it might've made the low-impact combat more fun to watch. What you get instead are stiff and blocky characters in small, repetitive environments, and an occasionally squirrelly camera. The sound is boilerplate Naruto, with some phoned-in voice acting and background music riddled with Japanese woodwinds.
With less than a year between the release of Naruto: Uzumaki Chronicles 2 and its predecessor, it shouldn't come as much of a surprise that the game hasn't changed very radically. At the same time, the proximity of the releases, and the consistently middling level of quality, make this sequel feel that much more superfluous.

By Ryan Davis, GameSpot

Final Fantasy Tactics: War of the Lions

Final Fantasy Tactics: War of the Lions. While some games don't withstand the test of time, others, like the commonly praised Final Fantasy Tactics, exist in a state of pristine stasis: never changing, yet standing proud at the head of the class, and rarely bested by legions of pretenders to the throne. In other words, you won't need the rose-hued goggles of nostalgia to appreciate Final Fantasy Tactics: War of the Lions, since it's a great game even by modern standards. If you're new to Tactics, you'll find a strategy role-playing game with plenty of deep gameplay and one of the finest stories in a Final Fantasy game to date. If you've already experienced the 1998 PlayStation original, you'll enjoy some nifty additions in this enhanced port, including terrific cutscenes, new character classes, and new playable characters. There are some noticeable issues in the presentation, and some lurking frustrations in the gameplay remain. In the context of such satisfying gameplay, though, the annoyances are easy to forgive--especially considering you can squeeze 60 or 70 hours of quality entertainment out of it.

One of the original's many strengths was its complex, moving story. Almost 10 years later, Tactics expresses more excitement and romance in a single moment than many modern games can manage in their entirety. It helps tremendously that the awkward localization of the original has been replaced with realistic dialogue devoid of grammatical errors (well, except for a few famous ones). There's also another major storytelling enhancement: beautiful, fully acted cutscenes that provide an even greater sense of atmosphere. Calling these scenes cel-shaded wouldn't do them justice, though, since they have a grainy texture to them that resemble a painting more than a cartoon. Suffice it to say, it won't take you long to get caught up in the internal struggles of Ivalice's House of Beoulve, the binding ties of friendship, and the social stigmas of the lower classes.
But if the story ropes you in, it will be the gameplay that keeps you coming back for more. A word of warning to new players, however: War of the Lions throws you into the fire, expecting you to figure out the convoluted class and character systems on your own. As a result, you may find yourself getting your butt handed to you until you get used to the mechanics. Once you do, however, you'll find an engaging character development scheme that will keep you constantly reevaluating the makeup of your adventuring party. Every party member begins as either a squire or a chemist, but can ultimately evolve into a monk, mage, assassin, oracle, and more. But you also have a secondary job slot to equip, as well as other ability slots that can be lifted from other classes.
As you gain experience in battle, not only do your characters level up, but so do your job classes. In turn, you are then able to purchase new abilities within those classes. It's a terrific system, for while it gives you the freedom to customize characters in endless ways, your party members still retain the core strengths that lend them to certain roles. There are two new classes to play around with, too: Onion Knight and Dark Knight. Experienced players will probably get more use from the Onion Knight than new players will, since its jack-of-all-trades nature requires some patience. Dark Knights, on the other hand, are deadly from the start, though you have to master multiple classes before you gain access to this profession.
Battles are generally intense, though the downside of the class system's flexibility is that the level of difficulty can vary wildly, depending on how you set up your parties. You may find some early battles almost impossible to get through without a bit of grinding first, while you will absolutely breeze through others. Still, most battles are quite challenging, requiring you to closely examine each move before committing to it. It's perfectly plausible (and if you aren't careful, downright common) to waste a spell because you don't have enough mana, or damage party members in addition to enemies. In light of this, it's too bad you can't take back your move orders once committed, as you can't always tell if a square will put your enemy in attack range until you occupy it.
The Final Fantasy I & II Anniversary Editions released earlier this year featured more striking visual upgrades than does War of the Lions. Yet the graphics hold up remarkably well, using familiar (and charmingly noseless) 2D sprites on 3D maps. The presentation has been enhanced to take advantage of the PSP's widescreen resolution, yet there are some awkward moments during scenes in the game engine where the map is cut off to the right or left, since it wasn't created to fill the wider screen. Some spells and attacks have new effects to go along with them, though the slowdown that accompanied some attacks in the original is still present in War of the Lions--as is the lack of synchronization of certain sounds that accompany them. The soundtrack is slightly enhanced, yet even without the tweaking, it remains one of the finest Final Fantasy scores to date, featuring tracks by both Hitoshi Sakimoto and Masaharu Iwata.

War of the Lions adds both cooperative and competitive ad-hoc multiplayer options, accessible from taverns within the game. One-on-one matches are fine provided you have a buddy with characters of approximately the same level, though we don't recommend exploring the inherent frustration of imbalanced battles between a weak party and a strong one. Co-op play fares better, but even then, a player with a less experienced party may not enjoy the relatively strong monsters that spawn in, thanks to the other player's higher level. Two players on equal footing, however, should have a blast, especially because there is new equipment up for grabs.
There are other small annoyances that the new version retains, such as its camera, which can be rotated and tilted, but may not always give you the most helpful view. But by and large, Final Fantasy Tactics remains a great game even by modern standards, thanks to its finely tuned character development system and challenging battles that will have you using every trick in your arsenal. Whether you are a newcomer to Final Fantasy Tactics or an experienced fan, you will lose countless hours falling to War of the Lions' insistence that you take just...one...more...turn.

By Kevin VanOrd, 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

Crash of the Titans

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

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

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

By Ryan Davis, GameSpot

Warriors Orochi

On the scale of exciting crossover fights, Warriors Orochi ranks somewhere just below Lawrence Taylor wrestling Bam Bam Bigelow, and just above the Gobots fighting the Rock Lords.

There are 77 warriors that you can use to fight the same five enemy types over and over and over.

Warriors Orochi. Koei's Warriors games are essentially critic-proof at this point. You are either in love with the games' utter unwillingness to evolve, or you aren't. Perhaps nowhere is this more the case than with Warriors Orochi. A mash-up of the Dynasty Warriors and Samurai Warriors franchises into a single product, this is pure, unadulterated fan service for the squadron of hardcore fans that both brands have amassed over the years. We can sit here and tell you that this is yet another mediocre beat-'em-up that rehashes the same haggard-looking graphics, the same tired mission objectives, and the same "so old it should be in a museum for crummy combat systems" combat system, but we probably don't even have to do that. A single look at a screenshot for this game is probably all you need to decide one way or the other. If you like this sort of thing, this is the sort of thing you'll like, and vice versa.

If you're one of the few out there who's never encountered one of these games in any form, here's the lowdown. Dynasty Warriors takes a bunch of ancient warriors from Chinese history, dolls them up in severely colorful costumes, gives them gigantic novelty weapons, and then has them fight each other in addition to scads and scads of mouth-breathing grunt soldiers over the course of a bunch of beat-'em-up levels that kinda, sorta mimic historical battles, but not really. Samurai Warriors is the same thing, except that it swaps out ancient China for Japan's sengoku period. The premise for Warriors Orochi is that an evil serpent/sorcerer/king/demon...thing, named Orochi, has ripped a hole in the fabric of time and space and kidnapped all of the Dynasty and Samurai Warriors. OK, we'll bite, why exactly would someone do this? Well, because he's bored and wants to "test his strength" against the world's mightiest warriors. Hey, why not, right? If you're so powerful that you can rip open time itself, what else would you do for kicks?
Let's face it: Koei and developer Omega Force have never been great fiction writers, and though the old Dynasty and Samurai games were all steeped in the same historical scenarios over and over again, at least this is something different. Certainly, longtime fans of these games will take some delight in some of the scenarios that have been built out. For what it's worth, the game doesn't take its premise remotely seriously, and instead is content to try to create any fan's dream match-ups and fights--provided that there is such a thing. Seeing Nobunaga Oda jokingly get mistaken for Cao Cao, or watching Zhao Yun team up with Yukimura Sanada is probably enough to send some fans into hysterics. There seems to be a lot of that stuff on offer.
There are four different main story campaigns in Warriors Orochi, three of which involve the Wu, Wei, and Shu factions from Dynasty Warriors, and one of which is an all-purpose Samurai Warriors group. The storylines are obviously different from faction to faction, though the missions and combat are just as repetitive and dull as they've ever been. Like in every other Warriors game of the last decade, you drop into battle against hordes of the stupidest soldiers on the planet, fight off a few boss and sub-boss officers, and move on to the next stage. All you need to do is mash on the two main attack buttons while periodically tossing in a special attack, and you're pretty much good to go. The game tries to dress things up a bit by having you escort certain officers to safety, capture specific points on a map, or make alliances with other officers, but none of this really does much to quell the sensation of monotony.
To be fair, there are a couple of small differences to the gameplay in Orochi. For one, the game has something of a team-based mechanic where you can play as three different warriors within the same battle. Unfortunately, you get only one warrior at a time, and you simply switch between them on the fly. As you play through each stage, you'll unlock more warriors that you can swap into your group. There are 77 in all, so at least fans will be kept busy. The other change is to the prebattle setup. After each battle, you'll have likely collected a few different weapons on the battlefield, each with different bonuses and attacks attached to them. Now you can actually merge two of these weapons into one superweapon, if you so desire. You just hop into the menu, pick two weapons, and merge them. It's as simple as that. The tangible differences between the weapons aren't ever that great, but hey, at least the option is there.
Outside of the story campaigns, there's really not much to Orochi. There's a free mode in which you can pick any three warriors and take on a battle outside of the story, as well as a few gallery unlockables, but that's basically it. You can play through the story cooperatively if you find a willing friend, but the game really isn't much more interesting in multiplayer than it is in single-player.
Graphically, Warriors Orochi maintains the same level of quality of the last few games that hit both the PlayStation 2 and Xbox 360. The game is very clearly built off the old PS2 engine, and then ported upward to the 360. As a result, the 360 game looks more like an original Xbox 360 game than anything else. Sure, it's a great deal more colorful than its PS2 counterpart, and there's more visual flair with the special attacks and whatnot, but otherwise, this is a rather ugly game. Both versions' primary character models are at least detailed, but the battle environments are plain to the point of drab. Likewise, even though this game has a totally different storyline, it's still recycling the same battlefields from previous games.

At least all the dialogue is new, though it's not exactly well written, and the voice acting is predictably horrific. Furthermore, there's no Japanese language track, so you're stuck with the overenthusiastic and underenthusiastic English actors. Also, the thumping techno soundtrack and the hyperrepetitive shrieks of the warriors on the battlefield are enough to give someone a seizure.
If all that's been said previously isn't enough to dissuade you from taking Warriors Orochi for a spin, this probably means you're one of the dedicated faithful who would play anything with the word "Warriors" on the box. In that case, this game is clearly designed for you, and by all means you should take it for a spin. For the rest of humanity, Warriors Orochi can safely be ignored.

By Alex Navarro, GameSpot

RealPlay Puzzlesphere Hands On

Hang on a minute lads, I've got a great idea.

Three lives, many drops.

RealPlay Puzzlesphere Hands On. In2Games has long been attempting to get motion-sensing controls into its PlayStation 2 games. After its Gametrak system for the PS2 won critical acclaim but failed to achieve serious commercial success, the company is back for what could be one last crack at the PS2 market before the launch of its PS3 and Xbox 360 products in 2008.
The company has a number of RealPlay-branded titles out in the UK this Christmas, which all ship with their own bespoke motion-sensitive controllers. The games coming up include what is essentially a follow-up to last year's Real World Golf 2007, a racing title, and a pool game.
The standout game among those we've seen in the series so far is RealPlay Puzzlesphere. The game presents you with the familiar premise of a ball--in this case called a Xorb--traveling through a treacherous three-dimensional course to a target area.

What makes Puzzlesphere different from others in the genre is that you control it not with your DualShock 2, but with a wireless sphere that will ship with the game.
The internal hardware of the sphere is very similar to the Wii Remote's--we're told that the tilt chips are marginally more sensitive than those in the pointer for Nintendo's console, but other than that the principle is the same.
The control scheme seems at once both very simple and amazingly difficult. You tilt the sphere in any direction to increase the momentum of the onscreen Xorb in that direction...and that's it. The sphere picks up speed very quickly, and commensurately with the degree of tilt, so delicacy is most definitely the order of the day.
The various courses feature checkpoints along the way, which both ensure you don't take any unauthorised shortcuts as you progress toward the goal and act as respawn points if the Xorb does fall out of bounds. The number of attempts you get at each level before being forced to start over is relatively small, at least for the moment, which adds to the game's overall difficulty. To help out, the Xorb has an air brake that applies a force in the opposite direction to your current motion. This allows you to bring the Xorb to a fairly sharp halt, and even allows you to stop yourself from falling over the edge if you catch it in time. It's not of much use once you've fallen, though.

The courses are challenging from the get-go; unguarded spiralling ramps, precise deliberate blind drops, jumps that require a certain speed to be maintained, and fans installed to blow you off course all present obvious challenges across the levels we saw. Power-ups such as improvements to your air brake should make things a little easier, if you can reach them without coming a cropper.
In its current state, the game is fairly difficult and unforgiving, but it's rewarding when you do complete courses--although this can take quite some time. Toward the end of our brief hands-on we found ourselves feeling as if we were edging into the zone where the ball's motions started to suddenly make much more sense, but it's possible this was just due to the onset of madness caused by having seen our Xorb plummet off the edge for the umpteenth time.
The game promises a large number of courses--the menu system we saw showed at least 50 levels over four different environments, which included a futuristic cityscape and a sunburnt desert.
There are still improvements to be made in terms of the way the aerial camera pans around as your ball moves in certain areas, but the developer has a while before the game hits the store yet. We hope to get a bit more hands-on time nearer the game's release to look at the environments and the later levels, so watch this space.

By Alex Sassoon Coby, GameSpot UK

Guitar Hero III Developer Diary #2

...to the rock-ready final product. Hey, anyone got a light?

From a computer model...

Guitar Hero III Developer Diary #2. Sure, most rock clubs smell like a strange mixture of alcohol and body fluids, but as any fan can tell you, the right atmosphere can make a good concert great or turn a bad show into something you won't soon forget. The same goes for the virtual spaces you'll be rocking out in the upcoming Guitar Hero III. In our last developer diary, we got to learn about the process of transforming the music into guitar-shredding gameplay. This time around, two Neversoft venue artists--Jake Geiger and Ryan Magid--talk about what it takes to bring the rockin' dive bar from concept to (virtual) reality.
Rock This Joint
By Jake Geiger and Ryan Magid, Neversoft
Jake Geiger, venue art lead, and Ryan Magid, senior venue artist, here to tell you a little bit about the venue art that went into the latest version of Guitar Hero III: Legends of Rock.
The Guitar Hero franchise has such a huge fan base already that you want to make a seamless transition into the next installment of the series. Thankfully, with a group of talented artists and wonderful programmers, we were able to exceed even what we thought was possible. We knew from the start that we wanted to keep with the general style and look of the previous games, but we wanted to add a certain spark to push the concept even further.

Typically, our process starts with a brainstorming session. The environment art team will get together and throw around ideas for venues. Some are good, and some are not so good. Once we have a good list of potential candidates, we'll head off and gather reference for each one of the ideas. After finding reference for each, we will usually meet again to whittle the list down more until we have the final list of venues that we want to have in the game.
Now is when the concept stage will begin. Our concept department will take the ideas and flesh them out into 2D concept paintings of each venue. Once the concept paintings have been approved, the venue moves into what we call the "pop up" stage. We call it that because once done, the venue resembles a large pop-up book.
At this stage, the concept drawings are taken, cut up, and placed into the 3D scene as rough draft of what the final 3D geometry will be like. This helps us to visualize placement and layout of stage props and gear so that the animation department can start to put in cameras, band members can be placed, and lightshows can be started. It also provides a general feel for what the final venue will be like.
Once the "pop up" has been approved and any logistical problems have been worked out, the venue moves into the final art stage. This is the time when all of the 2D pop-up elements are fleshed out and made into fully realized working stage props. Various scripts and animations are used to make them move and give life to the stage. Our concept team works hand in hand with the environment artists. Most objects will be broken down and the concept artists will paint textures for an object while the environment artists build it in 3D.

The goal is to make all of the geometry, textures, and lighting look as much like the approved concept work that was done in the initial planning stages as possible. In the end, we made a game that we are not only happy to have worked on but also love to play, and it takes lots of guys coming together at the same time to pull this off.

By Staff, GameSpot

MX vs. ATV Untamed Hands-On

MX vs. ATV Untamed Hands-On. Recently we brought you an exclusive first look at the next-generation versions of MX vs. ATV Untamed for the Xbox 360 and PlayStation 3. The game seems to be tracking well for Rainbow Studio's first next-generation MX title, with a raft of new features, tweaks, and in some cases, total rewrites in the form of AI and physics.
Untamed is an incredibly ambitious project, not only transitioning to more powerful console hardware from Microsoft and Sony, but also being developed for two handhelds and two other home consoles--the Wii and PlayStation 2--at the same time. Rather than offer a simple dumbed-down port of the top tier version, the four remaining games have been outsourced to other development teams. In the case of the Wii and PS2 versions, THQ studio Incinerator Studios has been given the nod to create the title. The studio is probably best known for their Cars game based on the Disney movie, and while they've made vehicular-based games before, MX vs. ATV swaps out cute for grunt.
Instead of being the same game as the Xbox 360 or PS3 version with a reworked control system, the Wii and PS2 versions offer a completely different gameplay experience. For a start, the heavy vehicles such as monster trucks and offroad buggies have been stripped out in favour of focusing on the core MX and ATV dynamic. In both versions of the game you'll be limited to 250cc, 550cc MX bikes, and a choice of four ATV quads. Given the generally harder nature of steering trucks, it makes a lot of sense to focus on smaller agile vehicles as you flail your arms. The Wii version uses the A button on the Wiimote to accelerate, and the analogue thumb stick on the nunchuck to steer your rider. After playing the PS3 and Xbox 360 versions, the Wii game seems to be much less twitchy and as a result more forgiving when landing tricks. The Z button on the front of the nunchuck is used to engage the trick mode, and once activated simple hand gestures perform tricks like the Superman and Lazyboy.
The mini-game selection has also been changed, swapping out the 360 and PS3's section racing, graffiti, snake, tag, and hockey for more gesture friendly games like hill-climbing, gap jumping events, and our favourite, the downhill ski jump. The ski jump requires you to build up speed, drop onto the ramp, and perform your most insane trick combo in the air. The tough part is landing it, but if you can stick it clean, there's a second hill you can use for another crack at increasing your score.
The PS2 version of Untamed is a bit of an oddity, combining the interface and gameplay of the Wii title with the analogue control system of the Xbox 360 and PS3 games. Graphics are typical for a PS2 title, and the control pad actually makes pulling off the big combos slightly easier. We found we had more fine control than with the Wiimote since stunts only required a button press and the left thumb stick movement.
Both versions feature staples of the MX series, with clutching, power-slides, and pre-loading allowing you to get big air off the edge of jumps. Inside you'll find six series to play: supercross, nationals, opencross, supermoto, freestyle, and rally. Unfortunately there are none of those badass little 50cc minimoto races that seem perfect for the Wii audience. These are limited to the Xbox 360 and PlayStation 3 version.
Both games will include online multiplayer, with the PS2 offering six player online competitive racing, and Wii sneaking two more in per game for a total of 8. Both versions of the game are set to ship this holiday season.

By Dan Chiappini, GameSpot AU

NBA 2K8

Though he'd sometimes dribble the clock away last year, Kidd will get a shot up before time expires in this version.

Big Ben points out how many new game modes there are in NBA 2K8.

NBA 2K8.If you're a sports fan stuck with a PlayStation 2 as your only option, you're probably used to reading the phrase "it's the same as last year" with regard to this year's crop of sports games. If not, this should help--NBA 2K8 on the PlayStation 2 is basically the same as it was last year. It's a decent game, but none of the new features from the Xbox 360 and PlayStation 3 versions made it to the PS2 edition, which is extremely disappointing.

There's no shortage of ways to stay busy in 2K8--there's just a shortage of new ways to stay busy. The series has had a street-ball component for a number of years, and it's back again. You can participate in full- or half-court games, one-on-one, and even 21 using real NBA players. The slam-dunk contest from the current generation is MIA. The street-ball mode is OK, but if you're looking for street ball there are much better games out there. In addition to that, you can create your own playoff scenarios. This option isn't all that useful or interesting, but it's worth mentioning because it's one of the only new features. Once again, the NBA 2K series sets the standard for online play. There's something for everyone to enjoy here. Hardcore fans can participate in an entire season, complete with online draft. You can create tournaments, as well as play ranked and unranked matches. We had some problems with drops and disconnects, but when we did get to play, the game ran smoothly.
The association is the bread and butter of the series. It's still the deepest basketball sim out there on the PS2, but not a whole lot has changed, and it's starting to feel a bit stale. The menus have been redone, but they are still a chore to navigate. A lot of the tasks aren't much fun either, such as scheduling practices and scouting future draft picks. All of these options may make it seem as if going through a season of the association is a lot of work, but the effect the options have on your team is minimal. It's possible to never schedule any practices and scout very little, and yet still do just fine. But you get what you put into the mode. If you really immerse yourself in the life of an NBA GM and coach, there's a lot to enjoy here. The new hoopcast simulator lets you monitor a game as it's simulated. You can watch text play-by-play, view team and player stats, check out a shot chart, and most importantly adjust team settings on the fly. Should you decide to worry only about the rigors of a single season, you can do that in the aptly named season mode.
Save for a few tweaks to the artificial intelligence and some new dunks, 2K8 performs just like its predecessor on the court. The games are generally up-tempo, and there's usually plenty of scoring. AI opponents are better about getting shots up before time expires, which will be a relief to anyone who watched it dribble out the clock instead of attempting a game-winning shot in 2K7. However, players still walk out of bounds and toss up shots from behind the backboard on occasion. The Xbox 360 and PlayStation 3 versions of the game have a significant problem with missed layups. It's an issue here, but to a lesser extent because characters are much more inclined to dunking the ball, even in situations where they probably couldn't dunk the ball in real life. Is it unrealistic? Yes. Is it better than missing an absurd amount of layups? Yes. Although it's good the PS2 version didn't inherit that "feature" from the current generation, it would have been nice if it had received at least something worthwhile. Neither the new dribble controls nor the defensive-lockdown feature made it over.

NBA 2K8 looks so similar to NBA 2K7 that you have to wonder if even the developer could tell the difference between screenshots from the two games. There are some new animations, and the signature-style moves look nice, but they're nowhere near as extensive as on the Xbox 360 and PS3. The frame rate is steady, which is impressive considering just how much is happening at once onscreen. Player models are still pretty good. They're all super-shiny during replays, but you can tell who most players are with little problem. The announcers do a nice job of calling the action, and they mix in a fair amount of game analysis as well. They do occasionally miss some big plays, and there are a few situations where you'll repeatedly hear the same call, but they're generally good.
If you own last year's game, and you're cool with dropping 30 dollars for what amounts to little more than a patch and some new rosters, you'll be reasonably satisfied with NBA 2K8. Just don't buy the game expecting any of the new features from the Xbox 360 and PS3--they aren't here.

By Aaron Thomas, GameSpot