A review of "Run Like Hell," or "RLH," from my backlog...
* * *
Since its release in 2002, “Run Like Hell” has been given a fairly undeserved bad wrap. Sure, the game seems lost somewhere between mediocre action and less-than-terrifying survival horror, devoid at all turns of anything that so much as resembles atmosphere, and this coupled with some less than stellar visuals, but there’s a certain charm to its “Star Trek” meets “Alien” storyline and all that… running like hell.
Speaking of the plot, it’s definitely more Paul Anderson than James Cameron or Ridley Scott – that is to say it’s cheesy, but enjoyably so more often than not. You’re captain Nicholas Connor, and your ship has suddenly become infested with aliens. Aliens of the not-so-friendly sort, that is, since there are extraterrestrial crew members aboard as well, like Dag’rek, of a warrior-like race and Nick’s bosom buddy when things get serious. It would seem that Nick’s fiancé, Samantha, is in distress somewhere on board the besieged vessel, and with everybody else pretty much dead or dying, it’s up to Nick and Dag and a few others to swoop in and rescue her. Well, mainly Nick. This is the basic premise of “Run Like Hell.”
They say every story has already been told, and it’s all in how it’s told that makes it special. Well, “Run Like Hell” is derivative from the word go, complete with generic riffs on H.R. Giger’s xenomorph design and the generally drab layout of the beleaguered spaceship. Everything is generic, like an exclusive movie that premiers on the Sci-Fi channel sometime after dark. That said, it’s still intriguing, thanks in large part to some generally good voice work by veteran actors such as Lance Henriksen (as Nick), Clancy Brown, Michael Ironside, and Brad Dourif. With the help of an unusually solid cast this side of “Grand Theft Auto,” you do sort of become attached to the characters they portray. Also, the nature of the alien menace is, as you would expect, doled out only gradually, and if you’re into this sort of thing you’ll feel right at home, and while you certainly won’t be wowed “System Shock” style (to understate), you may still be pleasantly enmeshed in the familiarity of it all.
In terms of gameplay, “ Strafe Like Hell” may have been a more appropriate moniker, as that’s really the only winning strategy when it comes down to combat – and there’s a lot of combat to be had here. Targeting your enemies at random is no problem, but selecting the gravest threat in the midst of a thick fray is sometimes nearly impossible. At least it’s easy to know which enemy is in your sights, thanks to a huge (and I mean huge) blue ring that encircles said opponent. The game can be forgiving during these situations, however, thanks to some pretty stupid artificial intelligence and Nick’s ability to, as mentioned, strafe outside of harm’s way while emptying his clips. Sooner or later you’ll hit what you were aiming at. The developers attempt to negate their stupid baddies on occasion by cheaply surrounding you, however, which is as irritating as it sounds. Still, laying out the gunfire while back or sidestepping to avoid the incoming danger lends it all that sense of desperation that it really should have. Your enemies are mean, and you don’t want them getting too close to you, et cetera, et cetera.
“Run Like Hell,” as a survival horror game, is not very scary, however. This is due in large part to the graphics engine on display, which seemingly couldn’t render a moody, tensely atmospheric sequence if it tried. The lighting throughout “RLH” is generally garish and bright, point of fact, and this outlines the failings of the graphics themselves, which are a little on the blocky side. That said, the principle characters are rendered with enough personality that they seem to overcome their ample limitations. This is not true of the aliens themselves, though, thanks to uninspired design.
Unlike other games of this ilk, at least it’s hard to get lost in “Run Like Hell.” To some, its fairly linear structure may be detrimental to the package, but I found it refreshing that I could navigate the ship’s similar-looking halls and corridors without feeling overwhelmed by not knowing where to go or what to do. The game makes this pretty clear by breaking itself into contained chapters, and keeping certain sections of the ship locked down when they’re not yet necessary. Even so, there is still room for some exploration, but if you prefer free reign then you’ll probably be disappointed by this aspect of “RLH” as well.
There’s much to frown about in this game, it’s true – and this is a fact that’s been touched on harshly by many of its critics. Regardless, there is a charm to it that is less touted, thanks to the delightfully hokey storyline, its participating characters, and gameplay that, as a whole, isn’t nearly as bad as you might think, even based on the aforementioned issues it suffers from. While some of its parts don’t function properly on their own, together they do at least conjoin into something decent and by no means unplayable (as some would have you believe). Not the most glaring praise for a video game, certainly, but there’s nothing to condemn here either. Think of “Run Like Hell” as a guilty pleasure, like that ridiculous “Mansquito” movie that aired on Sci-Fi, and you watched it despite your better judgment. Hours of your life you’ll never get back, sure, but if you’re a fan of the genre, complete with all its stereotypes, you could do worse than this.
FINAL SCORE: 6.8 (Fair)
Tuesday, March 2, 2010
In Retro: "Red Dead Revolver" Review (Xbox)
With "Red Dead Redemption" on the way, it seems like a good enough time to post this, my review of the first game in the "Red Dead" series circa 2004...
* * *
If you're an avid fan of the western and a gamer to boot, then "Red Dead Revolver" is the only game in town that should get a tip of your hat. Western-themed games are rare to say the least, and good ones are rarer still. This is the latter kind, and its mature themes make it even more remarkable - it's as close as you'll ever get to playing through an old Clint Eastwood film.
You're cast as Red, a bounty hunter who's seeking to avenge the murder of his parents. His quest takes him through many bizarre locations and pits him against a wide variety of murderous outlaws. It's his job to shoot first and ask questions later... then again, he doesn't really ask questions, he just shoots people and leaves it at that.
The game's levels are usually brief affairs that revolve around one particular set piece or another and are jam-packed full of people to kill. Fortunately, all that killing is mighty satisfying. There's hardly a wide variety of weapons to help you along despite the designers' best efforts to bring variety to the period setting, but the weapons that exist are cool enough to compensate. Area specific damage and gouts of blood and gore keep things visceral and compelling. Red can fire from cover if things get too hectic, but it's generally not an essential tactic - even if it is a welcome option. He's also got a Max Payne-like ability called "Dead Eye," which allows him to slow time and take steady aim at his opponents.
You don't only play as Red during the course of the game. There are several other characters and storylines to delve into, and while they sometimes steer the focus of the game's story in the wrong direction, it's generally a welcome change of pace. Red's native cousin, Shadow Wolf, enjoys a particularly entertaining mission that encourages stealth and a fair aim with a bow and arrow. Some of the other character missions feel tacked on, though - such as the Buffalo Soldier's wagon ride back to town.
What's a western-themed action game without the occasional duel? Drawing on opponents is handled like a sort of mini-game that generally fits well into the scheme of things. Unfortunately, it's too frustrating, particularly later in the game. It's more a matter of a luck than skill, and certainly could have been handled with more flair.
It's far from perfect, but "Red Dead Revolver" should provide hours of fairly mindless but addictive fun. With the lack of competition, it easily earns its place as the best western-themed game ever released. If this kind of thing rubs you the right way, go grab a copy.
FINAL SCORE: 7.9 (Good)
* * *
If you're an avid fan of the western and a gamer to boot, then "Red Dead Revolver" is the only game in town that should get a tip of your hat. Western-themed games are rare to say the least, and good ones are rarer still. This is the latter kind, and its mature themes make it even more remarkable - it's as close as you'll ever get to playing through an old Clint Eastwood film.
You're cast as Red, a bounty hunter who's seeking to avenge the murder of his parents. His quest takes him through many bizarre locations and pits him against a wide variety of murderous outlaws. It's his job to shoot first and ask questions later... then again, he doesn't really ask questions, he just shoots people and leaves it at that.
The game's levels are usually brief affairs that revolve around one particular set piece or another and are jam-packed full of people to kill. Fortunately, all that killing is mighty satisfying. There's hardly a wide variety of weapons to help you along despite the designers' best efforts to bring variety to the period setting, but the weapons that exist are cool enough to compensate. Area specific damage and gouts of blood and gore keep things visceral and compelling. Red can fire from cover if things get too hectic, but it's generally not an essential tactic - even if it is a welcome option. He's also got a Max Payne-like ability called "Dead Eye," which allows him to slow time and take steady aim at his opponents.
You don't only play as Red during the course of the game. There are several other characters and storylines to delve into, and while they sometimes steer the focus of the game's story in the wrong direction, it's generally a welcome change of pace. Red's native cousin, Shadow Wolf, enjoys a particularly entertaining mission that encourages stealth and a fair aim with a bow and arrow. Some of the other character missions feel tacked on, though - such as the Buffalo Soldier's wagon ride back to town.
What's a western-themed action game without the occasional duel? Drawing on opponents is handled like a sort of mini-game that generally fits well into the scheme of things. Unfortunately, it's too frustrating, particularly later in the game. It's more a matter of a luck than skill, and certainly could have been handled with more flair.
It's far from perfect, but "Red Dead Revolver" should provide hours of fairly mindless but addictive fun. With the lack of competition, it easily earns its place as the best western-themed game ever released. If this kind of thing rubs you the right way, go grab a copy.
FINAL SCORE: 7.9 (Good)
In Retro: "Raze's Hell" Review (Xbox)
Another old written review, one I wrote upon completing the game when it was still fairly new...
* * *
Even as a full-priced game, “Raze’s Hell” would offer something of worth to fans of third person action games. It’s got a clever premise, an original setting, a handful of unique weapons and character abilities, challenging combat, and bloody, over-the-top action in spades. When you factor in the game’s budget price tag, it’s difficult not to recommend it to fans of this genre despite its otherwise apparent faults.
In the game, you’re cast as Raze, a sort of monstrous reject from the “Starcraft” or “Warcraft” series (more like a mixture of both). His people have been ethnically cleansed by a race of unbearably cute and cuddlies that revel in their own righteous quest to purge the world of ugliness. The game’s designers take ample opportunity to criticize real world politics within the confines of this setup, and chuckles abound. Despite its “Mature” rating and some blood and carnage, however, “Raze’s Hell” knows better than to take itself too seriously. It essentially boils down to a quest for vengeance, Raze seizing every opportunity he has to off some of the most (intentionally) annoying bad guys ever seen in a video game.
Raze has at his disposal several unique means of defending himself. Early on, the most important of these is perhaps the sword blade attached to his arm, which he can use to slice and dice his adorable opponents into quivering globs of flesh. It’s not long, however, before “firearms” become essential to survival. Though only four types of ammunition can be carried at once, most of these weapons are remarkable in some way – some stand in as the game’s machine guns, flamethrowers, and shotguns, while others are completely unique and allow you to fill your foes full of helium and send them skyward. In truth these weapons are some alien form of plant life that only Raze can harness in battle. Ammunition is acquired by hacking said plants and then sucking up the glowing lights that pop out of them, and it fits in perfectly with the game’s wacky tone. Likewise, Raze can restore his health by gibbing his adversaries and then sucking up their bloody bits to restore himself.
Perhaps the coolest of Raze’s abilities, however, is his capacity to roll up into a ball “Metroid” style and race across the game’s environments. This not only alleviates traipsing to and fro in the typical third-person fashion, it also provides some of the most amusing means of killing your enemies. With good momentum going for you, you can literally roll right over them, which generally provides a hilarious image of said foe smashing against the camera like a bug splatting against a car windshield. Very nice.
Melee combat is a simple, monotonous matter of tapping the attack button and watching Raze slash his foes to bits. Ranged attacks are thankfully much more interesting to play around with, though the single player campaign hosts an unfortunate lack of diversity in terms of these weapons. Too often you’ll use very basic and very specific types of attacks because of their abundant ammunitions, even as gems like the flamethrower and others crop up far too rarely. This adds a sense of monotony to combat that is otherwise pretty frenetic and surprisingly challenging even on the easiest difficulty setting.
In fact, the game’s single greatest flaw is its repetitive nature. Each level, though complete with varying objectives, ultimately plays like the one before it, similar in layout and design. The lack of variety in terms of weapons, and enemies that you’ll soon grow accustomed to, really give this one a “fun in short spurts” kind of vibe. That said, when you keep in mind the asking price, these issues are much, much easier to forgive when you consider how fun this kind of razing hell can be in strategic doses.
“Raze’s Hell” is kind enough to pack in some pretty graphics – nothing amazing per se, but certainly colorful and adept at conveying the tone of the experience. Likewise, the music and sound effects get the job done, and some funny yet appropriately obnoxious quips from the bad guys make them pretty fun to kill on a fairly regular basis.
In the end, this is a unique and enjoyable action game that shouldn’t be overlooked despite its sometimes monotonous gameplay. Factor in the price, and that’s doubly true.
FINAL SCORE: 7.4 (Good)
* * *
Even as a full-priced game, “Raze’s Hell” would offer something of worth to fans of third person action games. It’s got a clever premise, an original setting, a handful of unique weapons and character abilities, challenging combat, and bloody, over-the-top action in spades. When you factor in the game’s budget price tag, it’s difficult not to recommend it to fans of this genre despite its otherwise apparent faults.
In the game, you’re cast as Raze, a sort of monstrous reject from the “Starcraft” or “Warcraft” series (more like a mixture of both). His people have been ethnically cleansed by a race of unbearably cute and cuddlies that revel in their own righteous quest to purge the world of ugliness. The game’s designers take ample opportunity to criticize real world politics within the confines of this setup, and chuckles abound. Despite its “Mature” rating and some blood and carnage, however, “Raze’s Hell” knows better than to take itself too seriously. It essentially boils down to a quest for vengeance, Raze seizing every opportunity he has to off some of the most (intentionally) annoying bad guys ever seen in a video game.
Raze has at his disposal several unique means of defending himself. Early on, the most important of these is perhaps the sword blade attached to his arm, which he can use to slice and dice his adorable opponents into quivering globs of flesh. It’s not long, however, before “firearms” become essential to survival. Though only four types of ammunition can be carried at once, most of these weapons are remarkable in some way – some stand in as the game’s machine guns, flamethrowers, and shotguns, while others are completely unique and allow you to fill your foes full of helium and send them skyward. In truth these weapons are some alien form of plant life that only Raze can harness in battle. Ammunition is acquired by hacking said plants and then sucking up the glowing lights that pop out of them, and it fits in perfectly with the game’s wacky tone. Likewise, Raze can restore his health by gibbing his adversaries and then sucking up their bloody bits to restore himself.
Perhaps the coolest of Raze’s abilities, however, is his capacity to roll up into a ball “Metroid” style and race across the game’s environments. This not only alleviates traipsing to and fro in the typical third-person fashion, it also provides some of the most amusing means of killing your enemies. With good momentum going for you, you can literally roll right over them, which generally provides a hilarious image of said foe smashing against the camera like a bug splatting against a car windshield. Very nice.
Melee combat is a simple, monotonous matter of tapping the attack button and watching Raze slash his foes to bits. Ranged attacks are thankfully much more interesting to play around with, though the single player campaign hosts an unfortunate lack of diversity in terms of these weapons. Too often you’ll use very basic and very specific types of attacks because of their abundant ammunitions, even as gems like the flamethrower and others crop up far too rarely. This adds a sense of monotony to combat that is otherwise pretty frenetic and surprisingly challenging even on the easiest difficulty setting.
In fact, the game’s single greatest flaw is its repetitive nature. Each level, though complete with varying objectives, ultimately plays like the one before it, similar in layout and design. The lack of variety in terms of weapons, and enemies that you’ll soon grow accustomed to, really give this one a “fun in short spurts” kind of vibe. That said, when you keep in mind the asking price, these issues are much, much easier to forgive when you consider how fun this kind of razing hell can be in strategic doses.
“Raze’s Hell” is kind enough to pack in some pretty graphics – nothing amazing per se, but certainly colorful and adept at conveying the tone of the experience. Likewise, the music and sound effects get the job done, and some funny yet appropriately obnoxious quips from the bad guys make them pretty fun to kill on a fairly regular basis.
In the end, this is a unique and enjoyable action game that shouldn’t be overlooked despite its sometimes monotonous gameplay. Factor in the price, and that’s doubly true.
FINAL SCORE: 7.4 (Good)
In Retro: "Psi-Ops" Review (Xbox)
My review of a cool and very underlooked action title circa 2004 -- that, coincidentally, had a lot in common with another similarly-themed (and likewise cool) title called "Second Sight." Just a little FYI...
* * *
Right off, let me say that “Psi-Ops” is one of those rare action games that’s so gleefully compelling you’ll be hard-pressed to put it away even when life’s responsibilities come calling. Because of that, and also in spite of that, it’s a relatively short ride. That and a few other minor issues come into play to keep it from being an instant classic, but if you think Max Payne could benefit from some Jedi-like superpowers, then “Psi-Ops” is absolutely, positively, definitely for you.
You’re cast as ex-psi-operative Nick Scryer. Like many video games heroes of late, he’s having a hard time remembering who and what he is, and why so many people would like to see him dead. The conspiracy never amounts to anything serious, but ultimately reveals our man’s heroic edge – he’s gifted with the ability to use his mind to manipulate and, ultimately, to destroy. As per usual, he’s all that stands between a madman and said madman’s bid to rule the world.
“Psi-Ops” initially plays like a standard third person shooter (think “Dead to Rights” or “Kill.switch”) and its shooter elements do the job nicely even if you surgically remove all the other elements from the game. But what ultimately keeps this one from becoming just another face in the crowd are Scryer’s psionic superpowers, which allow him to immolate, possess, and otherwise hurl his opponents around like so much paper in the wind. Many of your powers can work in unison with the game’s various firearms, but your trigger finger won’t see the same level of taxation as your in-game persona’s very effective brain. No, you as the player will only have to juggle some light puzzle-solving, but Nick’s got to use his head to get the edge on the competition.
Thankfully, “Psi-Ops” is a game that doesn’t dictate how you play it, for the most part. You might see a sniper in the distance and use your gift of telekinesis to hurl him from his perch and to the ground so many feet below, or instead you might invade his mind, turn around, shoot his comrade, and then force him into a suicidal leap even as you return to your physical body. Or maybe you could pick up that explosive barrel and lob it at him and watch the delicious explosion that ensues. Your death-dealing options are plentiful, and though you’ll probably pick a favorite firearm early on (you can only carry a pistol and one larger weapon at any given time) and lean toward a favorite special power (telekinesis, anyone?), it just never gets old. And that’s despite a few of the game’s own limitations, which force you to clash with the same types of enemies over and over again.
“Psi-Ops” isn’t perfect, though, as any avid gamer might expect. The level designs are sometimes cryptic, and too often you’ll battle your way through high tech facilities that emit an unmistakable “been there, done that” quality. Again, enemy types are few, and boss encounters, while engaging, take place in a semi-predictable fashion. Even so, the game’s only serious flaw is its length. I felt like I’d only just begun when the credits started to roll. The anti-climactic finale doesn’t serve to help matters either, it goes without saying. There are unlockable extras and even bonus missions, but a longer game would have been nice. Even so, it demands a few run-throughs.
“Psi-Ops,” like many recent games, only narrowly escapes greatness, and instead settles with being extraordinarily good. It’s just too bad the game didn’t offer a few more missions to keep you up early into the morning. Even so, it comes highly recommended, and here’s hoping the sequel promised at its conclusion lives up to its full potential.
FINAL SCORE: 7.9 (Good)
* * *
Right off, let me say that “Psi-Ops” is one of those rare action games that’s so gleefully compelling you’ll be hard-pressed to put it away even when life’s responsibilities come calling. Because of that, and also in spite of that, it’s a relatively short ride. That and a few other minor issues come into play to keep it from being an instant classic, but if you think Max Payne could benefit from some Jedi-like superpowers, then “Psi-Ops” is absolutely, positively, definitely for you.
You’re cast as ex-psi-operative Nick Scryer. Like many video games heroes of late, he’s having a hard time remembering who and what he is, and why so many people would like to see him dead. The conspiracy never amounts to anything serious, but ultimately reveals our man’s heroic edge – he’s gifted with the ability to use his mind to manipulate and, ultimately, to destroy. As per usual, he’s all that stands between a madman and said madman’s bid to rule the world.
“Psi-Ops” initially plays like a standard third person shooter (think “Dead to Rights” or “Kill.switch”) and its shooter elements do the job nicely even if you surgically remove all the other elements from the game. But what ultimately keeps this one from becoming just another face in the crowd are Scryer’s psionic superpowers, which allow him to immolate, possess, and otherwise hurl his opponents around like so much paper in the wind. Many of your powers can work in unison with the game’s various firearms, but your trigger finger won’t see the same level of taxation as your in-game persona’s very effective brain. No, you as the player will only have to juggle some light puzzle-solving, but Nick’s got to use his head to get the edge on the competition.
Thankfully, “Psi-Ops” is a game that doesn’t dictate how you play it, for the most part. You might see a sniper in the distance and use your gift of telekinesis to hurl him from his perch and to the ground so many feet below, or instead you might invade his mind, turn around, shoot his comrade, and then force him into a suicidal leap even as you return to your physical body. Or maybe you could pick up that explosive barrel and lob it at him and watch the delicious explosion that ensues. Your death-dealing options are plentiful, and though you’ll probably pick a favorite firearm early on (you can only carry a pistol and one larger weapon at any given time) and lean toward a favorite special power (telekinesis, anyone?), it just never gets old. And that’s despite a few of the game’s own limitations, which force you to clash with the same types of enemies over and over again.
“Psi-Ops” isn’t perfect, though, as any avid gamer might expect. The level designs are sometimes cryptic, and too often you’ll battle your way through high tech facilities that emit an unmistakable “been there, done that” quality. Again, enemy types are few, and boss encounters, while engaging, take place in a semi-predictable fashion. Even so, the game’s only serious flaw is its length. I felt like I’d only just begun when the credits started to roll. The anti-climactic finale doesn’t serve to help matters either, it goes without saying. There are unlockable extras and even bonus missions, but a longer game would have been nice. Even so, it demands a few run-throughs.
“Psi-Ops,” like many recent games, only narrowly escapes greatness, and instead settles with being extraordinarily good. It’s just too bad the game didn’t offer a few more missions to keep you up early into the morning. Even so, it comes highly recommended, and here’s hoping the sequel promised at its conclusion lives up to its full potential.
FINAL SCORE: 7.9 (Good)
In Retro: "Obscure" Review (Xbox)
My review of this fresh (and budget-friendly!) take on the survival horror genre circa 2005...
* * *
“Obscure” is a slick, enjoyable survival horror game that compensates for its flaws with budget appeal and a high school setting that, while trite by now in the realm of Hollywood feature films, is virgin territory for a video game. Whether or not the setting and characters suit your tastes as a gamer is entirely another matter. Even so, most fans of the survival horror experience will find something to enjoy in “Obscure.”
The storyline is a bit contrived and convoluted, ultimately boiling down to the usual illegal genetic experimentation. Predictably, this work results in horrific mutations and zombies that stalk the living. Oh well, at least the fact that all of this takes place within the confines of a high school sets it apart from all the other games recycling that premise. And like 1998’s The Faculty, it’s ultimately up to a ragtag band of grade schoolers to step up and save the day. Yes, definitely keep The Faculty in mind and see if you can’t spot the similarities – the resemblance of the hoodlum character to said feature’s Josh Hartnett being almost criminal. Despite the fact that the game’s developers are French, the depiction of American high school students is not as offensive as it could have been save for a few misfires here and there, primarily each and every character’s obsession with basketball.
Each of the five different characters represents a sort of high school archetype, such as the aforementioned hoodlum (easily the most likable of the gang), the jock (not as bad as it sounds), and the nerd (so irritating it’s hard to convince yourself to take on his mantle). They have their own personal strengths and weaknesses, most of which make sense given the nature of their characters. For instance, the jock is the strongest of the bunch while the hoodlum can pick locks. When it comes down to gunplay, however, each and every one of the five is, perhaps disturbingly, quite adapt with a firearm to the point where it’s hard to tell if any one is more qualified than another.
When all five characters are available, you can choose to play as one while a second computer-controlled companion joins you – switching back and forth between them is a snap. Unfortunately the rest of the game’s interface is a chore. Switching between weapons in times of desperate need is maddening, as is using that first aid kit before you take a final, killer blow. Compensating for this, however, is a game that’s fairly merciful in terms of its difficulty on the normal settings.
The game’s environments are quite well done, if not very subtle. You’ve never seen a high school like this one – it looks more like an insane asylum that’s been shut down for years than a place of study. Each room and location still has a functionality to it, though. None of them feel like they were designed by guys making a video game so much as guys trying to create a fairly convincing high school setting that just happens to serve as the backdrop for a video game, complete with horrific overtones. All in all, the ambience is perhaps the game’s strongest quality.
The monsters in “Obscure” are the usual sort, for the most part, but a few of them do stand out (particularly the nasties that appear later on, very H.P. Lovecraft in appearance). In any case killing them is more interesting than it might have been thanks to some satisfying weapons and, more importantly, the use of real or artificial light. Light actually harms these creatures, so taping a high-powered torch to your pump action shotgun is a good way to even the odds. Each monster comes complete with its own shadowy field, however, and only the strongest beams can break through it, making said creatures particularly vulnerable to physical attacks for a short period of time. This element gives combat a little extra something.
The puzzles in “Obscure” are boilerplate for the genre – nothing really special or mind-bending is on display here. On top of this, the game is a fairly brief affair, so gamers looking for more to sink their teeth into may want to look elsewhere. However, one of the best features of “Obscure” is its budget price. Though it would have been a decent game at normal cost, the added bonus of paying less here equals getting more, and must be factored in to any review. In other words, “Obscure” doesn’t break the mold, but it does what it does pretty well, complete with some impressive production values – and at this price, it’s hard to go wrong if you’ve even a passing interest in the material.
FINAL SCORE: 7.9 (Good)
* * *
I have since played through this game in co-op mode with a like-minded gamer friend, and, I must say, it just further sweetened the deal for me. I never played the PS2 and Wii-based sequel, but I can say, I definitely recommend this one to anyone who missed it.
* * *
“Obscure” is a slick, enjoyable survival horror game that compensates for its flaws with budget appeal and a high school setting that, while trite by now in the realm of Hollywood feature films, is virgin territory for a video game. Whether or not the setting and characters suit your tastes as a gamer is entirely another matter. Even so, most fans of the survival horror experience will find something to enjoy in “Obscure.”
The storyline is a bit contrived and convoluted, ultimately boiling down to the usual illegal genetic experimentation. Predictably, this work results in horrific mutations and zombies that stalk the living. Oh well, at least the fact that all of this takes place within the confines of a high school sets it apart from all the other games recycling that premise. And like 1998’s The Faculty, it’s ultimately up to a ragtag band of grade schoolers to step up and save the day. Yes, definitely keep The Faculty in mind and see if you can’t spot the similarities – the resemblance of the hoodlum character to said feature’s Josh Hartnett being almost criminal. Despite the fact that the game’s developers are French, the depiction of American high school students is not as offensive as it could have been save for a few misfires here and there, primarily each and every character’s obsession with basketball.
Each of the five different characters represents a sort of high school archetype, such as the aforementioned hoodlum (easily the most likable of the gang), the jock (not as bad as it sounds), and the nerd (so irritating it’s hard to convince yourself to take on his mantle). They have their own personal strengths and weaknesses, most of which make sense given the nature of their characters. For instance, the jock is the strongest of the bunch while the hoodlum can pick locks. When it comes down to gunplay, however, each and every one of the five is, perhaps disturbingly, quite adapt with a firearm to the point where it’s hard to tell if any one is more qualified than another.
When all five characters are available, you can choose to play as one while a second computer-controlled companion joins you – switching back and forth between them is a snap. Unfortunately the rest of the game’s interface is a chore. Switching between weapons in times of desperate need is maddening, as is using that first aid kit before you take a final, killer blow. Compensating for this, however, is a game that’s fairly merciful in terms of its difficulty on the normal settings.
The game’s environments are quite well done, if not very subtle. You’ve never seen a high school like this one – it looks more like an insane asylum that’s been shut down for years than a place of study. Each room and location still has a functionality to it, though. None of them feel like they were designed by guys making a video game so much as guys trying to create a fairly convincing high school setting that just happens to serve as the backdrop for a video game, complete with horrific overtones. All in all, the ambience is perhaps the game’s strongest quality.
The monsters in “Obscure” are the usual sort, for the most part, but a few of them do stand out (particularly the nasties that appear later on, very H.P. Lovecraft in appearance). In any case killing them is more interesting than it might have been thanks to some satisfying weapons and, more importantly, the use of real or artificial light. Light actually harms these creatures, so taping a high-powered torch to your pump action shotgun is a good way to even the odds. Each monster comes complete with its own shadowy field, however, and only the strongest beams can break through it, making said creatures particularly vulnerable to physical attacks for a short period of time. This element gives combat a little extra something.
The puzzles in “Obscure” are boilerplate for the genre – nothing really special or mind-bending is on display here. On top of this, the game is a fairly brief affair, so gamers looking for more to sink their teeth into may want to look elsewhere. However, one of the best features of “Obscure” is its budget price. Though it would have been a decent game at normal cost, the added bonus of paying less here equals getting more, and must be factored in to any review. In other words, “Obscure” doesn’t break the mold, but it does what it does pretty well, complete with some impressive production values – and at this price, it’s hard to go wrong if you’ve even a passing interest in the material.
FINAL SCORE: 7.9 (Good)
* * *
I have since played through this game in co-op mode with a like-minded gamer friend, and, I must say, it just further sweetened the deal for me. I never played the PS2 and Wii-based sequel, but I can say, I definitely recommend this one to anyone who missed it.
In Retro: "Nano Breaker" Review (PS2)
My review of said game circa 2005...
* * *
Produced by the man behind “Castlevania: Lament of Innocence,” “Nano Breaker” successfully takes that game’s formula and carries it over into more absurd science fiction territory, complete with all of its parent game’s problems and a few extra ones as well.
The story is more of the usual anime-style fluff that you’re probably well accustomed to. It involves a cyborg named Jake, a rival cyborg called Keith, a crazy old scientist and his hot blonde of a daughter, genetic engineering, and military corruption – the usual, in other words, but done with less charm than other stories of this ilk. If the plotline is a deal-breaker, then consider this one broken. It’s completely predictable in every way and lacks interesting characters that might have rescued it from mediocrity. At least the rendered cut-scenes are of splendid quality, and here and there offer some entertainment value (primarily the gory opening and the amusing but tonally inconsistent finale). At any rate, the catastrophe that forces you to kill countless monsters is your basic “Resident Evil” with nanomachines (instead of the usual viruses and plagues), and that’s as creative as this one gets.
The game itself, however, does offer some repetitive fun of the hack-and-slash variety. Jake is armed with a powerful, shape-shifting plasma blade that, while generally in the guise of a broad sword, can, with the appropriate combos, transform into a scythe, an axe, or even a whip-like extension that can jerk enemies into the fray. Only the whip is ever truly useful, however, as attempting the more complex combos in the thick of things can lead to certain death – swift strokes or thrusts with the sword get the job done. Although the game hopes to encourage the player to really go full-bore with these combos (even allowing a combo upgrade system), it’s never necessary to do so, and is sometimes even detrimental.
Fortunately, the combat is relatively fun, if not overly complex. Much of this is owed to the copious amounts of blood that gush from wounded and slain monsters, making the red geysers in “Kill Bill” seem realistic by comparison. Control over Jake is sharp and responsive, and it can be cathartic to hack your enemies to bits. Of course, at several points in the game you don’t even have to do this, as you can simply run past your slow, dim-witted opponents and make for the next corridor or room without a backward glance. This was also true in “Lament of Innocence,” and it’s an inherent flaw in both games’ design. There are points where melee is unavoidable thanks to barriers that dissipate only when all the area’s monsters have been slain, but these circumstances are fewer and further between.
In “Lament of Innocence,” lots of needless backtracking and enemy respawning crept up to detract from the experience, and these issues remain in “Nano Breaker,” and, in fact, are amplified. The layout of the game is far more confusing than in the aforementioned, and there are several points where you’ll have to run from point A all the way to point B without encountering anything new that wasn’t there the first time – a recipe for tedium, as always.
“Nano Breaker” is, in a word, unremarkable. There’s absolutely nothing about its design or presentation that makes it stand out (save perhaps the gallons of blood). Still, the hacking and slashing and overall goofiness of the concept keep it more entertaining than it probably should be, and there are the usual impressive Konami bosses to break things up and keep the game challenging – but can it be recommended wholeheartedly? Like “Lament of Innocence,” absolutely not.
FINAL SCORE: 6.3 (Fair)
* * *
Produced by the man behind “Castlevania: Lament of Innocence,” “Nano Breaker” successfully takes that game’s formula and carries it over into more absurd science fiction territory, complete with all of its parent game’s problems and a few extra ones as well.
The story is more of the usual anime-style fluff that you’re probably well accustomed to. It involves a cyborg named Jake, a rival cyborg called Keith, a crazy old scientist and his hot blonde of a daughter, genetic engineering, and military corruption – the usual, in other words, but done with less charm than other stories of this ilk. If the plotline is a deal-breaker, then consider this one broken. It’s completely predictable in every way and lacks interesting characters that might have rescued it from mediocrity. At least the rendered cut-scenes are of splendid quality, and here and there offer some entertainment value (primarily the gory opening and the amusing but tonally inconsistent finale). At any rate, the catastrophe that forces you to kill countless monsters is your basic “Resident Evil” with nanomachines (instead of the usual viruses and plagues), and that’s as creative as this one gets.
The game itself, however, does offer some repetitive fun of the hack-and-slash variety. Jake is armed with a powerful, shape-shifting plasma blade that, while generally in the guise of a broad sword, can, with the appropriate combos, transform into a scythe, an axe, or even a whip-like extension that can jerk enemies into the fray. Only the whip is ever truly useful, however, as attempting the more complex combos in the thick of things can lead to certain death – swift strokes or thrusts with the sword get the job done. Although the game hopes to encourage the player to really go full-bore with these combos (even allowing a combo upgrade system), it’s never necessary to do so, and is sometimes even detrimental.
Fortunately, the combat is relatively fun, if not overly complex. Much of this is owed to the copious amounts of blood that gush from wounded and slain monsters, making the red geysers in “Kill Bill” seem realistic by comparison. Control over Jake is sharp and responsive, and it can be cathartic to hack your enemies to bits. Of course, at several points in the game you don’t even have to do this, as you can simply run past your slow, dim-witted opponents and make for the next corridor or room without a backward glance. This was also true in “Lament of Innocence,” and it’s an inherent flaw in both games’ design. There are points where melee is unavoidable thanks to barriers that dissipate only when all the area’s monsters have been slain, but these circumstances are fewer and further between.
In “Lament of Innocence,” lots of needless backtracking and enemy respawning crept up to detract from the experience, and these issues remain in “Nano Breaker,” and, in fact, are amplified. The layout of the game is far more confusing than in the aforementioned, and there are several points where you’ll have to run from point A all the way to point B without encountering anything new that wasn’t there the first time – a recipe for tedium, as always.
“Nano Breaker” is, in a word, unremarkable. There’s absolutely nothing about its design or presentation that makes it stand out (save perhaps the gallons of blood). Still, the hacking and slashing and overall goofiness of the concept keep it more entertaining than it probably should be, and there are the usual impressive Konami bosses to break things up and keep the game challenging – but can it be recommended wholeheartedly? Like “Lament of Innocence,” absolutely not.
FINAL SCORE: 6.3 (Fair)
"Terminator: Salvation" Review (PS3)
"Terminator." Is there a better science fiction franchise out there? Not in my book. Since the original flick when I was a mere tot, I've been wildly, madly in love with this series. And then came 2009's "Terminator: Salvation," which couldn't quite destroy the franchise despite a script that lacked common sense and failed to touch upon the humanity of the first two films (or even the third). Having said that, I was not excited about the video game adaptation that was forthcoming. But I suffered through those horrible games based on "Terminator 3" back in the day, so I figured, "What the hell? I'll give it a shot."
I was surprised. Why, you ask? Because despite its shortcomings, "Salvation" is a pretty damn decent action game. Hell, it's better than the movie upon which it's based (which I liked okay, for the record, but didn't love), as it serves as a sort of prequel pitting John Connor and company against an army of machines (what else?) as they try to pull off a near-impossible rescue of their comrades trapped behind enemy lines. The plot is simple and to the point, but just good enough to work for an action game. I'm just glad the devs didn't try to shoehorn the film's plot into the video game format, something that rarely if ever works.
Gameplay wise, this is a definite "Gears of War" clone. But hey, it's a good one. The controls are tight and well executed, the weapons do what they're supposed to do in a rather satisfying way, and, best of all, the tone of the films is presented quite well. And when I say films, I don't mean merely the latest installment -- the game manages to feel truer to its roots than that movie for many reasons. For one, it focuses, as it should, on the exploits of John Connor. More importantly, it captures the gritty desperation of a world in which the nuclear bombs have dropped and the last traces of humanity vie for control over a post-apocalyptic Los Angeles, fighting tooth and nail against the machines for dominance. As an added bonus, this longtime "Terminator" fan was thrilled that most of the game's soundtrack seemed truer to the scores in the original films rather than the bastardized music presented in parts 3 and 4.
Okay, sorry, I'm geeking out a bit too much. If you're not a "Terminator" fan to begin with, though, why even consider playing this game, or even reading this review? The point is, the game manages to feel like the source material, and that's no small fete when it comes to lisenced tie-ins.
The single player campaign can be played solo, or co-op with a friend (again, just like "Gears"). One major complaint that can be leveled against it is its lack of enemy variety. Too often you'll find yourself battling the same ole spider bots and Aerostadts (bee-like flying machines). Granted, the spiders at least force you to use some very interesting flanking tactics, as they can only be damaged by small arms fire if their backs are turned, but it would have been nice to see more T-600's (think Arnold with his skin flayed off). Also, while the T-600's certainly qualify as being hard to kill, it would have been nice if they absorbed even more damage before giving up the ghost (so to speak). After all, we all remember how hard these bastards were to bring down in the movies! But hey, I'm geeking out again, and that's just a nitpick.
For my money, the game's only serious flaw as a "Terminator" fanboy is its length -- which, I have to admit, is criminally short if you're intent on paying sixty bones (which I believe was the price point upon the game's initial release in the summer of '09.) Well, that and the fact that John Connor looks nothing like either actors Nick Stahl nor Christian Bale, and instead does for the character with that generic replacement of Matt Damon did for Jason Bourne in his most recent video game adaptation ("The Bourne Conspiracy"). But hey, we're just splitting hairs now.
The question is, are you a fan of the movies? Yes? Okay, so can you find a used copy of this game for about $25? Good. Do yourself a favor and buy it. Just don't expect the experience to last as long as it should have.
FINAL SCORE: 7.1 (Good)
I was surprised. Why, you ask? Because despite its shortcomings, "Salvation" is a pretty damn decent action game. Hell, it's better than the movie upon which it's based (which I liked okay, for the record, but didn't love), as it serves as a sort of prequel pitting John Connor and company against an army of machines (what else?) as they try to pull off a near-impossible rescue of their comrades trapped behind enemy lines. The plot is simple and to the point, but just good enough to work for an action game. I'm just glad the devs didn't try to shoehorn the film's plot into the video game format, something that rarely if ever works.
Gameplay wise, this is a definite "Gears of War" clone. But hey, it's a good one. The controls are tight and well executed, the weapons do what they're supposed to do in a rather satisfying way, and, best of all, the tone of the films is presented quite well. And when I say films, I don't mean merely the latest installment -- the game manages to feel truer to its roots than that movie for many reasons. For one, it focuses, as it should, on the exploits of John Connor. More importantly, it captures the gritty desperation of a world in which the nuclear bombs have dropped and the last traces of humanity vie for control over a post-apocalyptic Los Angeles, fighting tooth and nail against the machines for dominance. As an added bonus, this longtime "Terminator" fan was thrilled that most of the game's soundtrack seemed truer to the scores in the original films rather than the bastardized music presented in parts 3 and 4.
Okay, sorry, I'm geeking out a bit too much. If you're not a "Terminator" fan to begin with, though, why even consider playing this game, or even reading this review? The point is, the game manages to feel like the source material, and that's no small fete when it comes to lisenced tie-ins.
The single player campaign can be played solo, or co-op with a friend (again, just like "Gears"). One major complaint that can be leveled against it is its lack of enemy variety. Too often you'll find yourself battling the same ole spider bots and Aerostadts (bee-like flying machines). Granted, the spiders at least force you to use some very interesting flanking tactics, as they can only be damaged by small arms fire if their backs are turned, but it would have been nice to see more T-600's (think Arnold with his skin flayed off). Also, while the T-600's certainly qualify as being hard to kill, it would have been nice if they absorbed even more damage before giving up the ghost (so to speak). After all, we all remember how hard these bastards were to bring down in the movies! But hey, I'm geeking out again, and that's just a nitpick.
For my money, the game's only serious flaw as a "Terminator" fanboy is its length -- which, I have to admit, is criminally short if you're intent on paying sixty bones (which I believe was the price point upon the game's initial release in the summer of '09.) Well, that and the fact that John Connor looks nothing like either actors Nick Stahl nor Christian Bale, and instead does for the character with that generic replacement of Matt Damon did for Jason Bourne in his most recent video game adaptation ("The Bourne Conspiracy"). But hey, we're just splitting hairs now.
The question is, are you a fan of the movies? Yes? Okay, so can you find a used copy of this game for about $25? Good. Do yourself a favor and buy it. Just don't expect the experience to last as long as it should have.
FINAL SCORE: 7.1 (Good)
In Retro: "Gladiator: Sword of Vengeance" Review (PS2)
My review of this blood-soaked action game circa 2003...
* * *
Ancient Rome and its barbaric gladiatorial arenas have intrigued scholars of history and laymen alike for countless years. Films like “Sparticus,” “Ben Hur,” and the more recent “Gladiator” have captured this period, and the phenomenon of Roman gladiators, in exciting form, but video games have only just begun to jump on the bandwagon – which is strange, since the setting lends itself so incredibly well to the medium. Unfortunately, most of those games have been disappointing, or just plain bad. “Gladiator: Sword of Vengeance” breaks the mold by delivering a solid, action-oriented take on the material.
The game owes more than a passing debt to Ridley Scott’s year 2000 epic, the aforementioned “Gladiator,” from which it borrows its visual style and much of its storyline. However, “Sword of Vengeance” includes elements of the mythic and supernatural, which will pit you, as the gladiator Invictus Thrax, against titans, deathless warriors, even gods. The story is a little thin, but it’s still compelling and provides sufficient incentive.
First, let me just say that “Sword of Vengeance” is a real looker. The graphics are splendid. In fact, the game features unusually solid production values all around. Even the voice acting is excellent, thanks in no small part to Sean Pertwee, the professional actor who voices Thrax. The game’s musical accompaniment is all quite good for the most part, and so are the sound effects that accompany the action.
Now that the superficialities are out of the way, it’s time to get into the gameplay. In many ways, “Sword of Vengeance” is a sort of cutting edge ancestor to classic beat-‘em-up games like “Double Dragon” or “Final Fight.” You’re forced down a fairly linear path from which you can scarcely deviate, and during that time you must pummel virtually everything that moves. Enemy gladiators, animated skeletons, and other creatures will attack in waves, and they will die in waves. Thankfully, combat, the very engine that drives the game, is quite satisfying. It is all melee-based, and it’s suitably brutal (in keeping with the game’s theme). Thrax will eventually be able to pick from three distinct weapons (sword, axe, or gauntlet blades), and each is significantly different than the other. The axe, for example, is slower than the sword but more powerful, and the gauntlet blades are faster but less damaging than the sword or axe. Three weapons may not seem like a lot, but you will frequently find upgrades to each weapon type that will increase that weapon’s potency. Besides that, Thrax builds skill with experience. For example, if you favor the sword, it will become more powerful in Thrax’s hands. If you neglect the axe, it will become harder to wield as the game progresses. Some magical powers also step in to spice up the combat, and do a fairly good job of it.
Unfortunately, the game’s targeting system is flawed. It is far too difficult to lock onto and engage a particular opponent in the midst of a crowded melee, and sometimes, for whatever reason, the game forces you to strike immobile objects during the fray, which is often a needlessly frustrating exorcise. Worse, it draws attention to the faulty targeting system. It’s also worth noting that while Thrax can employ some very devastating and satisfying combos, it’s often easier, and smarter, to just rap the square button, as it seems to provoke the swiftest, most powerful assault. That means the combat can become very repetitive, especially since there’s so much of it.
“Sword of Vengeance” also suffers from some lopsided level design. The game begins and ends in the Roman coliseum, complete with cheering crowds and flesh-and-blood gladiators, and it’s very stirring stuff. Strangely, most of the game takes place outside of the hustle and bustle of Rome, and most of the enemies you face are not human. I found human opponents and a public arena far preferable to the game’s middle portion, which sends you traipsing through half-deserted, same-looking wastelands killing monsters and skeletons. That’s not to say the middle section of the game is bad, but it pales in comparison to the epic gladiatorial conflicts that fall on either side of it.
Boss encounters in the game are a not-so-welcome diversion from the kind of fighting you would rather be doing. What’s more, there are really only two boss characters in the game, and both of them require similar, repetitive tactics to defeat. The endgame confrontation was a complete letdown as well.
All in all, though, “Gladiator: Sword of Vengeance” is a slick-looking action game that is well worth playing, especially if you’re a hack-and-slash/beat-‘em-up fan, but it doesn’t quite live up to its potential. The setting, when utilized, is wonderful, but is ultimately underplayed. Still, it was a good romp, and I enjoyed most of it.
FINAL SCORE: 7.7 (Good)
* * *
Ancient Rome and its barbaric gladiatorial arenas have intrigued scholars of history and laymen alike for countless years. Films like “Sparticus,” “Ben Hur,” and the more recent “Gladiator” have captured this period, and the phenomenon of Roman gladiators, in exciting form, but video games have only just begun to jump on the bandwagon – which is strange, since the setting lends itself so incredibly well to the medium. Unfortunately, most of those games have been disappointing, or just plain bad. “Gladiator: Sword of Vengeance” breaks the mold by delivering a solid, action-oriented take on the material.
The game owes more than a passing debt to Ridley Scott’s year 2000 epic, the aforementioned “Gladiator,” from which it borrows its visual style and much of its storyline. However, “Sword of Vengeance” includes elements of the mythic and supernatural, which will pit you, as the gladiator Invictus Thrax, against titans, deathless warriors, even gods. The story is a little thin, but it’s still compelling and provides sufficient incentive.
First, let me just say that “Sword of Vengeance” is a real looker. The graphics are splendid. In fact, the game features unusually solid production values all around. Even the voice acting is excellent, thanks in no small part to Sean Pertwee, the professional actor who voices Thrax. The game’s musical accompaniment is all quite good for the most part, and so are the sound effects that accompany the action.
Now that the superficialities are out of the way, it’s time to get into the gameplay. In many ways, “Sword of Vengeance” is a sort of cutting edge ancestor to classic beat-‘em-up games like “Double Dragon” or “Final Fight.” You’re forced down a fairly linear path from which you can scarcely deviate, and during that time you must pummel virtually everything that moves. Enemy gladiators, animated skeletons, and other creatures will attack in waves, and they will die in waves. Thankfully, combat, the very engine that drives the game, is quite satisfying. It is all melee-based, and it’s suitably brutal (in keeping with the game’s theme). Thrax will eventually be able to pick from three distinct weapons (sword, axe, or gauntlet blades), and each is significantly different than the other. The axe, for example, is slower than the sword but more powerful, and the gauntlet blades are faster but less damaging than the sword or axe. Three weapons may not seem like a lot, but you will frequently find upgrades to each weapon type that will increase that weapon’s potency. Besides that, Thrax builds skill with experience. For example, if you favor the sword, it will become more powerful in Thrax’s hands. If you neglect the axe, it will become harder to wield as the game progresses. Some magical powers also step in to spice up the combat, and do a fairly good job of it.
Unfortunately, the game’s targeting system is flawed. It is far too difficult to lock onto and engage a particular opponent in the midst of a crowded melee, and sometimes, for whatever reason, the game forces you to strike immobile objects during the fray, which is often a needlessly frustrating exorcise. Worse, it draws attention to the faulty targeting system. It’s also worth noting that while Thrax can employ some very devastating and satisfying combos, it’s often easier, and smarter, to just rap the square button, as it seems to provoke the swiftest, most powerful assault. That means the combat can become very repetitive, especially since there’s so much of it.
“Sword of Vengeance” also suffers from some lopsided level design. The game begins and ends in the Roman coliseum, complete with cheering crowds and flesh-and-blood gladiators, and it’s very stirring stuff. Strangely, most of the game takes place outside of the hustle and bustle of Rome, and most of the enemies you face are not human. I found human opponents and a public arena far preferable to the game’s middle portion, which sends you traipsing through half-deserted, same-looking wastelands killing monsters and skeletons. That’s not to say the middle section of the game is bad, but it pales in comparison to the epic gladiatorial conflicts that fall on either side of it.
Boss encounters in the game are a not-so-welcome diversion from the kind of fighting you would rather be doing. What’s more, there are really only two boss characters in the game, and both of them require similar, repetitive tactics to defeat. The endgame confrontation was a complete letdown as well.
All in all, though, “Gladiator: Sword of Vengeance” is a slick-looking action game that is well worth playing, especially if you’re a hack-and-slash/beat-‘em-up fan, but it doesn’t quite live up to its potential. The setting, when utilized, is wonderful, but is ultimately underplayed. Still, it was a good romp, and I enjoyed most of it.
FINAL SCORE: 7.7 (Good)
In Retro: "Genji: Dawn of the Samurai" Review (PS2)
Though I have played the PS3 exclusive "Genji: Days of the Blade," I must say, it certainly earned its reputation as being a not-great launch title for the aforementioned system. A thoroughly disappointing sequel to "Dawn of the Samurai," a game which, I must confess, I was quite fond of when I reviewed it in 2005...
* * *
"Genji: Dawn of the Samurai" takes a cue or two from the "Onimusha" playbook, though it actually exceeds the two latest entries in that series. Yes, it's another samurai hack and slash on a PS2 full of 'em, but it's easily one of the best. If you are at all a fan of such action games, or just action games in general, you would be remiss if you skipped "Genji."
The storyline centers around a young samurai and his hulking sidekick as they embark on a mission to collect power-granting magic orbs and defeat the bad guys who would use said orbs to gain ultimate power and bring fuedal Japan to the brink of chaos. This too is standard stuff on the surface, but one peek beneath and there's actually something far more interesting going on. The plot, though ultimately disposable and perhaps a little too long-winded for its own good, is solid and lacks the hyper melodrama found in most games in the genre -- and that's a blessing in its own right!
"Genji" grants you the option of playing as either the aforementioned young samurai, who is speed and finesse incarnate, or his gigantic companion, who makes up for what he lacks in both speed and finesse with titanic strength. The combat in the game is responsive and satisfying, especially when you factor in the special focus mode that allows you, if you're reflexes are sharp enough, to instantly kill several opponents with one good stroke. It's good stuff, to be sure.
The graphics on display are crisp and stylish, even if they do portray a fantastic, slightly anime style ancient Japan that we've already seen before countless times. The sounds effects do their job admirably as well, accompanied by some music that fits the themes of the game perfectly. Excellent cinematics further round out the impressive production values.
The game's primary weakness is its length. This one doesn't last all that long. And, again, the samurai hack-and-slash is a derivative action sub-genre that holds very few surprises. That said, if you're a fan of these types of games, don't miss this one. It delivers where most falter and languish in mediocrity.
FINAL SCORE: 7.9 (Good)
* * *
"Genji: Dawn of the Samurai" takes a cue or two from the "Onimusha" playbook, though it actually exceeds the two latest entries in that series. Yes, it's another samurai hack and slash on a PS2 full of 'em, but it's easily one of the best. If you are at all a fan of such action games, or just action games in general, you would be remiss if you skipped "Genji."
The storyline centers around a young samurai and his hulking sidekick as they embark on a mission to collect power-granting magic orbs and defeat the bad guys who would use said orbs to gain ultimate power and bring fuedal Japan to the brink of chaos. This too is standard stuff on the surface, but one peek beneath and there's actually something far more interesting going on. The plot, though ultimately disposable and perhaps a little too long-winded for its own good, is solid and lacks the hyper melodrama found in most games in the genre -- and that's a blessing in its own right!
"Genji" grants you the option of playing as either the aforementioned young samurai, who is speed and finesse incarnate, or his gigantic companion, who makes up for what he lacks in both speed and finesse with titanic strength. The combat in the game is responsive and satisfying, especially when you factor in the special focus mode that allows you, if you're reflexes are sharp enough, to instantly kill several opponents with one good stroke. It's good stuff, to be sure.
The graphics on display are crisp and stylish, even if they do portray a fantastic, slightly anime style ancient Japan that we've already seen before countless times. The sounds effects do their job admirably as well, accompanied by some music that fits the themes of the game perfectly. Excellent cinematics further round out the impressive production values.
The game's primary weakness is its length. This one doesn't last all that long. And, again, the samurai hack-and-slash is a derivative action sub-genre that holds very few surprises. That said, if you're a fan of these types of games, don't miss this one. It delivers where most falter and languish in mediocrity.
FINAL SCORE: 7.9 (Good)
In Retro: "Dungeons & Dragons: Heroes" Review (Xbox)
My review of said game circa 2003...
* * *
“Baldur’s Gate: Dark Alliance,” despite bearing the “Baldur’s Gate” name, was more of a hack-and-slash game in the “Gauntlet” vein than anything as grand or complex as its Dungeons & Dragons heritage might have suggested. Even so, it made for a very fine game, and a quite successful one to boot. Well, all successful games have their imitators, and so “Dungeons & Dragons: Heroes” was born. If “Dark Alliance” was thin on roleplaying, then “Heroes” is downright skeletal. It bears even more of a resemblance to “Gauntlet” than its predecessor… but it’s actually a solid game, despite its flaws.
You get to pick from four different hero types at the beginning of the game (fighter, wizard, rogue, or cleric), you give that character a name, and you’re on your way into the realm of Bael, where an evil wizard is rising to overthrow all that is good and just in the world. A familiar setup, to be sure – yet it gets the job done, particularly since the storyline is clearly not much of an emphasis in the game. Even so, the game’s animated cutscenes are quite well rendered, and convey that tiny sliver of story in an entertaining fashion. The rest of the time, you roam the world in a way that’s highly reminiscent of “Gauntlet” or the aforementioned “Dark Alliance,” except now you have complete control over the game’s camera. You can rotate your view or zoom in or out to your heart’s content. Even so, it tends to be a bit of a hassle, particularly in the cooperative mode. It doesn’t help that playing from the furthest zoom makes you and your enemies so tiny you can barely see what’s happening, or that at the closest zoom the walls and other bits of scenery can completely obscure your vision in the midst of a brutal fight.
Camera niggles aside, the action is well-handled for a game of this type. There are a thousand monsters waiting to throw themselves at your sword, and hacking, slashing, and casting your way through them can be quite enjoyable. The enemies are many and varied, and in later levels become rather challenging (despite the game’s overall simplicity, I mean, but more on that in a second). Each area of the game comes complete with a nasty boss monster as well, and even though they’re exactly what you would expect from a D&D game (beholder, dragon, lich, etc.), they make for some exciting battles. Even so, I never once failed to destroy one of these end level baddies on my first attempt. In fact, I never died only to find myself having to restart from my last saved game, and that’s because the game is so generous with gold that you can literally build a surplus of health potions and continues (or special items that allow you to resurrect on the spot). So despite the swarming opponents you’ll face, you’ll never feel all that threatened. That can be good or bad, I suppose, depending on how you look at it, but because the game is so easy it also feels very short.
The whole thing gets off to a bad start. The first cavernous area you’re forced to explore is the very definition of bland. The next area, which comprises the forest just outside of Castle Bael, is a little better, but not by much, and the aforementioned fortress stronghold isn’t anything to write home about either. Even so, things do start to get a whole lot better as you progress. Even though it’s more than a little contrived, you’ll eventually wander through an ice-encrusted snowscape, a fiery ironworks, and a pyramid-spattered jungle. The variety is nice and makes you forget just how boring the first few episodes actually were.
In the end, I liked “Dungeons & Dragons: Heroes.” If you’re a fan of “Dark Alliance,” this is a good way to spend your time until “Dark Alliance II” comes out. “Gauntlet” fans should also take notice. Still, it has its share of problems, and does not match the quality of either game previously mentioned.
FINAL SCORE: 7.2 (Good)
* * *
“Baldur’s Gate: Dark Alliance,” despite bearing the “Baldur’s Gate” name, was more of a hack-and-slash game in the “Gauntlet” vein than anything as grand or complex as its Dungeons & Dragons heritage might have suggested. Even so, it made for a very fine game, and a quite successful one to boot. Well, all successful games have their imitators, and so “Dungeons & Dragons: Heroes” was born. If “Dark Alliance” was thin on roleplaying, then “Heroes” is downright skeletal. It bears even more of a resemblance to “Gauntlet” than its predecessor… but it’s actually a solid game, despite its flaws.
You get to pick from four different hero types at the beginning of the game (fighter, wizard, rogue, or cleric), you give that character a name, and you’re on your way into the realm of Bael, where an evil wizard is rising to overthrow all that is good and just in the world. A familiar setup, to be sure – yet it gets the job done, particularly since the storyline is clearly not much of an emphasis in the game. Even so, the game’s animated cutscenes are quite well rendered, and convey that tiny sliver of story in an entertaining fashion. The rest of the time, you roam the world in a way that’s highly reminiscent of “Gauntlet” or the aforementioned “Dark Alliance,” except now you have complete control over the game’s camera. You can rotate your view or zoom in or out to your heart’s content. Even so, it tends to be a bit of a hassle, particularly in the cooperative mode. It doesn’t help that playing from the furthest zoom makes you and your enemies so tiny you can barely see what’s happening, or that at the closest zoom the walls and other bits of scenery can completely obscure your vision in the midst of a brutal fight.
Camera niggles aside, the action is well-handled for a game of this type. There are a thousand monsters waiting to throw themselves at your sword, and hacking, slashing, and casting your way through them can be quite enjoyable. The enemies are many and varied, and in later levels become rather challenging (despite the game’s overall simplicity, I mean, but more on that in a second). Each area of the game comes complete with a nasty boss monster as well, and even though they’re exactly what you would expect from a D&D game (beholder, dragon, lich, etc.), they make for some exciting battles. Even so, I never once failed to destroy one of these end level baddies on my first attempt. In fact, I never died only to find myself having to restart from my last saved game, and that’s because the game is so generous with gold that you can literally build a surplus of health potions and continues (or special items that allow you to resurrect on the spot). So despite the swarming opponents you’ll face, you’ll never feel all that threatened. That can be good or bad, I suppose, depending on how you look at it, but because the game is so easy it also feels very short.
The whole thing gets off to a bad start. The first cavernous area you’re forced to explore is the very definition of bland. The next area, which comprises the forest just outside of Castle Bael, is a little better, but not by much, and the aforementioned fortress stronghold isn’t anything to write home about either. Even so, things do start to get a whole lot better as you progress. Even though it’s more than a little contrived, you’ll eventually wander through an ice-encrusted snowscape, a fiery ironworks, and a pyramid-spattered jungle. The variety is nice and makes you forget just how boring the first few episodes actually were.
In the end, I liked “Dungeons & Dragons: Heroes.” If you’re a fan of “Dark Alliance,” this is a good way to spend your time until “Dark Alliance II” comes out. “Gauntlet” fans should also take notice. Still, it has its share of problems, and does not match the quality of either game previously mentioned.
FINAL SCORE: 7.2 (Good)
In Retro: "Drakengard" Review (PS2)
My review of this eccentric hack-and-slash game from around the time it was first released...
* * *
"Drakengard" is what happens when you take "Draken: The Ancients' Gates," mix it liberally with "Dynasty Warriors" and "Panzer Dragoon," and throw in an anmie copy of the plot for the film "Dragonheart." It offers a fun diversion in short spurts, but gulp down too much at a time and you're sure to be hit by the numbing repetition of it all.
You're cast as Caim, a wounded hero who makes a pact with an equally wounded dragon and ultimately sets out to rescue his sister, the goddess Furiae. Does that mean Caim is a god himself? Apparently not. And who captured Furiae? A nameless Empire with secret intentions that ultimately translate into "ruling the world." Some other characters come into the mix, but few of them (despite their extensive biographies in the instruction manual) play into the events of the game in any way that justifies their inclusion. In other words, if you're seeking a game with a good story, "Drakengard" is perhaps the last place you should look. Despite this, it doggedly attempts to tell a story in long, painfully written cut-scenes that ultimately prove incoherent. At least the rendered movies make for some spectacular eye candy, even if they fail to shed any light on the unintelligible plot. The opening cinematic is sure to fire your blood and whet your appetite for the game that follows...
...And the game that follows starts out at a rapid clip, thrusting you into the thick of a siege. You'll wonder almost immediately why you're the only warrior fighting against the Empire even as beleaguered (and apparently invisible) soldiers cry out for assistance. For a game that wants so desperately to stick you square in the middle of a battle royale fantasy style, the lack of allies is a glaring omission. Even if battling comrades were nothing save window dressing, it would have helped to immerse you. As it stands, the action is still furious and fairly engaging. Blood spurts are satisfying, but more so the way your weapons send your enemies soaring in waves (like Sauron in the opening of Peter Jackson's take on "The Fellowship of the Ring"). You only have a few moves at your disposal, so like everything in "Drakengard" it eventually wears thin, but it's good fun for a while.
The monotony of ground combat is broken up by... well, the monotony of aerial combat. This is, in my opinion, the weakest aspect of the game. Caim battles a host of foes from astride his fire-breathing dragon, but the dragon's limited abilities and some poor camera work ultimately weaken the experience. On top of that, the enemies displayed in this mode make no logical sense. It's hard to get excited about frying giant bats and winged chests-of-drawers with the same molten breath over and over and over again. Boss battles, at least, liven things up - and all of them take place in the sky.
"Drakengard" claims to be an RPG, but there's no actual roleplaying. The stats included are useless and amount to nothing, which is just fine since this is clearly an action game - but why the false claims? I don't know. Ignore them. "Drakengard" is as deep as kiddy pool, but it's good for a splash every now and again. Mission objectives are never diverse enough to make one mission feel any different from the last. The scenery changes, but the graphics (all but the main character models) are bland as dirty dishwater, and scenery "pop in" is a noticeable (and laughable) issue.
The game's soundtrack is certainly different, but it tends to perfectly mimic a cat being repeatedly slammed against a pole while Gregorian monks chant in the background. This is not helped by the constant babbling of your "companions," who consistently spout misplaced and distracting anti-wisdom when you'd rather focus on the task at hand.
All in all, it's worth playing if you don't ask too much from your gaming - but wait until it goes down in price before you invest.
FINAL SCORE: 6.5 (Fair)
* * *
"Drakengard" is what happens when you take "Draken: The Ancients' Gates," mix it liberally with "Dynasty Warriors" and "Panzer Dragoon," and throw in an anmie copy of the plot for the film "Dragonheart." It offers a fun diversion in short spurts, but gulp down too much at a time and you're sure to be hit by the numbing repetition of it all.
You're cast as Caim, a wounded hero who makes a pact with an equally wounded dragon and ultimately sets out to rescue his sister, the goddess Furiae. Does that mean Caim is a god himself? Apparently not. And who captured Furiae? A nameless Empire with secret intentions that ultimately translate into "ruling the world." Some other characters come into the mix, but few of them (despite their extensive biographies in the instruction manual) play into the events of the game in any way that justifies their inclusion. In other words, if you're seeking a game with a good story, "Drakengard" is perhaps the last place you should look. Despite this, it doggedly attempts to tell a story in long, painfully written cut-scenes that ultimately prove incoherent. At least the rendered movies make for some spectacular eye candy, even if they fail to shed any light on the unintelligible plot. The opening cinematic is sure to fire your blood and whet your appetite for the game that follows...
...And the game that follows starts out at a rapid clip, thrusting you into the thick of a siege. You'll wonder almost immediately why you're the only warrior fighting against the Empire even as beleaguered (and apparently invisible) soldiers cry out for assistance. For a game that wants so desperately to stick you square in the middle of a battle royale fantasy style, the lack of allies is a glaring omission. Even if battling comrades were nothing save window dressing, it would have helped to immerse you. As it stands, the action is still furious and fairly engaging. Blood spurts are satisfying, but more so the way your weapons send your enemies soaring in waves (like Sauron in the opening of Peter Jackson's take on "The Fellowship of the Ring"). You only have a few moves at your disposal, so like everything in "Drakengard" it eventually wears thin, but it's good fun for a while.
The monotony of ground combat is broken up by... well, the monotony of aerial combat. This is, in my opinion, the weakest aspect of the game. Caim battles a host of foes from astride his fire-breathing dragon, but the dragon's limited abilities and some poor camera work ultimately weaken the experience. On top of that, the enemies displayed in this mode make no logical sense. It's hard to get excited about frying giant bats and winged chests-of-drawers with the same molten breath over and over and over again. Boss battles, at least, liven things up - and all of them take place in the sky.
"Drakengard" claims to be an RPG, but there's no actual roleplaying. The stats included are useless and amount to nothing, which is just fine since this is clearly an action game - but why the false claims? I don't know. Ignore them. "Drakengard" is as deep as kiddy pool, but it's good for a splash every now and again. Mission objectives are never diverse enough to make one mission feel any different from the last. The scenery changes, but the graphics (all but the main character models) are bland as dirty dishwater, and scenery "pop in" is a noticeable (and laughable) issue.
The game's soundtrack is certainly different, but it tends to perfectly mimic a cat being repeatedly slammed against a pole while Gregorian monks chant in the background. This is not helped by the constant babbling of your "companions," who consistently spout misplaced and distracting anti-wisdom when you'd rather focus on the task at hand.
All in all, it's worth playing if you don't ask too much from your gaming - but wait until it goes down in price before you invest.
FINAL SCORE: 6.5 (Fair)
"The Darkness" Review (Xbox 360)
My review of "The Darkness," written around the time of the game's initial release...
* * *
"The Darkness," from the studio that brought Xbox fans "The Chronicles of Riddick: Escape From Butcher Bay," is a first-person shooter based on the dark comic book series of the same name. And like the aforementioned "Riddick," it further proves that these guys know what makes a cool video game adaptation.
You assume the role of Jackie Estacado, adopted nephew of Mafia boss Paulie Franchetti, as he reaches his 21st birthday and stumbles blindly into the dark destiny of his family line. The opening sequence is a knockout, and thrusts you headlong into the gritty world of organized crime in this fictional version of New York City. The ensuing police chase, car crash, and demise of your companions, a couple of Mafia thugs, is by itself worth the price of admission.
Jackie soon finds himself on the receiving end of his Uncle Paulie's wrath, which brings him into contact with an evil entity known as The Darkness. This demonic parasite latches itself to Jackie, and simultaneously aids and defies him in his quest for revenge -- a quest with many shocking twists and turns that I dare not spoil in this review.
The first-person gunplay of "The Darkness" is itself quite extraordinary. Shooting people is rarely this satisfying, thanks to copious amounts of gore, better-than-average rag doll physics, and a satisfying real world arsenal that never grows stale. But Jackie's Darkness powers certainly add the icing to this already tasty cake, allowing him to sprout serpentine tentacles that devour the hearts of his foes (for the purpose of leveling up Darkness powers)... and that's just the beginning. Other Darkness abilities allow you to impale your foes and swing them wildly around at the end of a glistening appendage, creep across the floor as a serpent and put a hole through an unsuspecting victim, and open up black holes that devour several enemies at once. It's all extremely gratifying, and provides ample means to destroy the opposition.
Some Darkness abilities are less compelling than others, however. The Darkness Guns, for instance, rarely serve a useful purpose, while the aforementioned black holes act as overpowered grenades, and can sometimes shift the balance too far in the player's favor. Nonetheless, in a game where just shooting guys would be great, these alternatives do their part in further distinguishing the gameplay and making you feel like a real, bona fide bad@$$ with a sick, sadistic evil streak.
Of course, the game isn't complete without the ability to summon Darklings -- funny gremlin-like beasties that will back you up in a pinch. With multiple varities, such as Gunners (equipped with massive chain guns), Berserkers (who ambush opponents and cut them down to size), and Kamikazes (they go BOOM!), things don't ever seem to get old.
Production values are great across the board, from the near-flawless sound effects to the strength of the visuals, which depict a grimy New York City connected by subway tunnels and desolate streets under a sky of seemingly endless night. Maybe the streets are too desolate, point of fact, given that the City That Never Sleeps seems to be very asleep indeed, but it all adds to chilling atmosphere.
The game takes a stab at the slightly open-ended nature of "Butcher Bay," but doesn't quite nail it. This also results in lots and lots of walking between key action setpieces, and backtracking is never all that fun in any game. This game's attempts at non-linearity come across as tacked on, if anything, and will only do it for those who desperately want to drag out the experience.
Despite a strong, compelling storyline, the Mafia element of "The Darkness" never met a cliche it didn't like. The Godfather meets Goodfellas dialog can be groan-inducing at times, especially all references to "respect." There was a better way to handle this material, but this is a mere nitpick at worst.
“The Darkness” is one of the best games available on the Xbox 360. Do yourselves a favor and join the dark side.
FINAL SCORE: 8.5 (Exceptional)
* * *
"The Darkness," from the studio that brought Xbox fans "The Chronicles of Riddick: Escape From Butcher Bay," is a first-person shooter based on the dark comic book series of the same name. And like the aforementioned "Riddick," it further proves that these guys know what makes a cool video game adaptation.
You assume the role of Jackie Estacado, adopted nephew of Mafia boss Paulie Franchetti, as he reaches his 21st birthday and stumbles blindly into the dark destiny of his family line. The opening sequence is a knockout, and thrusts you headlong into the gritty world of organized crime in this fictional version of New York City. The ensuing police chase, car crash, and demise of your companions, a couple of Mafia thugs, is by itself worth the price of admission.
Jackie soon finds himself on the receiving end of his Uncle Paulie's wrath, which brings him into contact with an evil entity known as The Darkness. This demonic parasite latches itself to Jackie, and simultaneously aids and defies him in his quest for revenge -- a quest with many shocking twists and turns that I dare not spoil in this review.
The first-person gunplay of "The Darkness" is itself quite extraordinary. Shooting people is rarely this satisfying, thanks to copious amounts of gore, better-than-average rag doll physics, and a satisfying real world arsenal that never grows stale. But Jackie's Darkness powers certainly add the icing to this already tasty cake, allowing him to sprout serpentine tentacles that devour the hearts of his foes (for the purpose of leveling up Darkness powers)... and that's just the beginning. Other Darkness abilities allow you to impale your foes and swing them wildly around at the end of a glistening appendage, creep across the floor as a serpent and put a hole through an unsuspecting victim, and open up black holes that devour several enemies at once. It's all extremely gratifying, and provides ample means to destroy the opposition.
Some Darkness abilities are less compelling than others, however. The Darkness Guns, for instance, rarely serve a useful purpose, while the aforementioned black holes act as overpowered grenades, and can sometimes shift the balance too far in the player's favor. Nonetheless, in a game where just shooting guys would be great, these alternatives do their part in further distinguishing the gameplay and making you feel like a real, bona fide bad@$$ with a sick, sadistic evil streak.
Of course, the game isn't complete without the ability to summon Darklings -- funny gremlin-like beasties that will back you up in a pinch. With multiple varities, such as Gunners (equipped with massive chain guns), Berserkers (who ambush opponents and cut them down to size), and Kamikazes (they go BOOM!), things don't ever seem to get old.
Production values are great across the board, from the near-flawless sound effects to the strength of the visuals, which depict a grimy New York City connected by subway tunnels and desolate streets under a sky of seemingly endless night. Maybe the streets are too desolate, point of fact, given that the City That Never Sleeps seems to be very asleep indeed, but it all adds to chilling atmosphere.
The game takes a stab at the slightly open-ended nature of "Butcher Bay," but doesn't quite nail it. This also results in lots and lots of walking between key action setpieces, and backtracking is never all that fun in any game. This game's attempts at non-linearity come across as tacked on, if anything, and will only do it for those who desperately want to drag out the experience.
Despite a strong, compelling storyline, the Mafia element of "The Darkness" never met a cliche it didn't like. The Godfather meets Goodfellas dialog can be groan-inducing at times, especially all references to "respect." There was a better way to handle this material, but this is a mere nitpick at worst.
“The Darkness” is one of the best games available on the Xbox 360. Do yourselves a favor and join the dark side.
FINAL SCORE: 8.5 (Exceptional)
In Retro: "Dead to Rights II" Review (Xbox)
One of the most disappointing and unworthy gaming sequels... EVER.
* * *
The original “Dead to Rights” was an intense, action-packed experience with varied modes of play and a hard-boiled comic book storyline. On the other hand, its sequel, “Dead to Rights II,” is a watered down arcade shoot ‘em up that goes by in a flash, devoid of story or atmosphere or innovation of any kind. It is what it is, and though that’s not always a bad thing, it pales in contrast to its vastly superior predecessor.
Jack Slate returns with his canine partner, Shadow, to shoot hundreds upon hundreds of criminals – John Woo meets Lassie, if you will. There’s a thin storyline behind all that shooting, but it’s hardly worth mentioning. The original “Dead to Rights” backed up its action with a plot that, while derivative, was at least driving the game forward, but such is not the case here. What’s more, there’s sort of a tongue in cheek tone to the game now that was absent the first time around – Slate, far less likable than ever, now goes out of his way to homage movies that range from “Pulp Fiction” to “Commando,” all while capping people in the face. He’s like the worst stereotype of law enforcement from the 1980s.
The plot wouldn’t be as much of an issue, though, if the gameplay were better – which is not to say that there isn’t fun to be had here. Around virtually every corner, twenty armed thugs are waiting with murderous intent, and shooting them means diving this way and that, taking cover, crouching, and ultimately lots and lots of pressing the shoulder button to target them individually. With a wide assortment of weapons at his disposal, all this blasting can be cathartic. Partially responsible for the fun factor are the hordes upon hordes of villains asking to be mowed down. They don’t behave realistically, by any stretch, and most will charge headlong around corners with their guns blazing, but they come in such droves that the game rarely slows down, and firefights can be hot and heavy.
When the going gets rough, Slate can still summon forth his dog, Shadow, to take out some baddies and collect their weapons for him. This is essentially a wasted mechanic, not employed even half as well as it was in the first game (and even then it didn’t reach its full potential). What’s more, many of the brutal hand-to-hand “disarms” Slate was able to perform in game one are now missing.
Mandatory hand-to-hand combat sequences are still in the mix, forcing Slate to punch and kick “Double Dragon” style, but these too feel dumbed down. The absurdity of seeing Slate armed with uzis one moment only to toss them down to challenge a whole roomful of enemies bare-fisted is better witnessed than described! In any case, as a package, “Dead to Rights II” takes basically everything you liked about the first game and strips it of much of its charm. Improved graphics (that still look dated) and the removal of the button-mashing mini-games (thank god!) notwithstanding, that is.
In terms of complaints, the list is fairly lengthy. Levels are set in the most derivative locales imaginable for a game of this type (warehouses, apartment buildings, etc.), and each one is broken up by ten to fifteen loading screens – most of which you’ll be seeing far too often. The music is irritating, and Slate’s gravelly voice gets old fast. But then these problems only last so long, since the game is a fairly brief affair in any case.
Still, that said, the arcade-like action is solid and pretty enjoyable, but the purpose inherent in creating a sequel to a successful venture like “Dead to Rights” is to improve upon the formula, to ensure the survival of a franchise… not to water it down with backward innovations. The first game was a stand-out, and this follow-up feels like a red-headed stepchild behaving badly and generally making an embarrassment of itself. If there’s a “Dead to Rights III,” let’s hope it’s a true return to form.
FINAL SCORE: 5.8 (Mediocre)
* * *
Apparently they are taking another go at this franchise. My hopes aren't all that high at this point, all things considered, but I'll keep my fingers crossed all the same...
* * *
The original “Dead to Rights” was an intense, action-packed experience with varied modes of play and a hard-boiled comic book storyline. On the other hand, its sequel, “Dead to Rights II,” is a watered down arcade shoot ‘em up that goes by in a flash, devoid of story or atmosphere or innovation of any kind. It is what it is, and though that’s not always a bad thing, it pales in contrast to its vastly superior predecessor.
Jack Slate returns with his canine partner, Shadow, to shoot hundreds upon hundreds of criminals – John Woo meets Lassie, if you will. There’s a thin storyline behind all that shooting, but it’s hardly worth mentioning. The original “Dead to Rights” backed up its action with a plot that, while derivative, was at least driving the game forward, but such is not the case here. What’s more, there’s sort of a tongue in cheek tone to the game now that was absent the first time around – Slate, far less likable than ever, now goes out of his way to homage movies that range from “Pulp Fiction” to “Commando,” all while capping people in the face. He’s like the worst stereotype of law enforcement from the 1980s.
The plot wouldn’t be as much of an issue, though, if the gameplay were better – which is not to say that there isn’t fun to be had here. Around virtually every corner, twenty armed thugs are waiting with murderous intent, and shooting them means diving this way and that, taking cover, crouching, and ultimately lots and lots of pressing the shoulder button to target them individually. With a wide assortment of weapons at his disposal, all this blasting can be cathartic. Partially responsible for the fun factor are the hordes upon hordes of villains asking to be mowed down. They don’t behave realistically, by any stretch, and most will charge headlong around corners with their guns blazing, but they come in such droves that the game rarely slows down, and firefights can be hot and heavy.
When the going gets rough, Slate can still summon forth his dog, Shadow, to take out some baddies and collect their weapons for him. This is essentially a wasted mechanic, not employed even half as well as it was in the first game (and even then it didn’t reach its full potential). What’s more, many of the brutal hand-to-hand “disarms” Slate was able to perform in game one are now missing.
Mandatory hand-to-hand combat sequences are still in the mix, forcing Slate to punch and kick “Double Dragon” style, but these too feel dumbed down. The absurdity of seeing Slate armed with uzis one moment only to toss them down to challenge a whole roomful of enemies bare-fisted is better witnessed than described! In any case, as a package, “Dead to Rights II” takes basically everything you liked about the first game and strips it of much of its charm. Improved graphics (that still look dated) and the removal of the button-mashing mini-games (thank god!) notwithstanding, that is.
In terms of complaints, the list is fairly lengthy. Levels are set in the most derivative locales imaginable for a game of this type (warehouses, apartment buildings, etc.), and each one is broken up by ten to fifteen loading screens – most of which you’ll be seeing far too often. The music is irritating, and Slate’s gravelly voice gets old fast. But then these problems only last so long, since the game is a fairly brief affair in any case.
Still, that said, the arcade-like action is solid and pretty enjoyable, but the purpose inherent in creating a sequel to a successful venture like “Dead to Rights” is to improve upon the formula, to ensure the survival of a franchise… not to water it down with backward innovations. The first game was a stand-out, and this follow-up feels like a red-headed stepchild behaving badly and generally making an embarrassment of itself. If there’s a “Dead to Rights III,” let’s hope it’s a true return to form.
FINAL SCORE: 5.8 (Mediocre)
* * *
Apparently they are taking another go at this franchise. My hopes aren't all that high at this point, all things considered, but I'll keep my fingers crossed all the same...
In Retro: "Dead to Rights" Review (PS2)
My review of the original "Dead to Rights" for the Playstation 2, as I then perceived it. Basically, I wrote this when the title was brand new...
* * *
“Dead to Rights” is the kind of non-stop action game that will remind you why you play console games in the first place. Though the game’s premise, style, and source of inspiration are easy to compare to “Max Payne,” the games themselves are readily distinguishable from one another, and both are equally as worthy of your gaming attentions.
“Dead to Rights” casts you as Jack Slate, a larger-than-life cop in the fictional cesspool of Grant City, whose only real friend appears to be his canine partner, Shadow. Early on, Slate discovers the body of his murdered father in a construction yard, and the action comes hot and heavy from then on.
Slate’s gun-slinging antics and martial arts brawls are quick to remind one of a John Woo film. The hand-to-hand fighting system is immensely enjoyable and reminiscent of updated classics like “Double Dragon” and “Final Fight.” The majority of the game’s setpeices, though, involve thousands of flying bullets, and the gunplay is truly extraordinary. Capping the bad guys is rarely this satisfying, particularly in a game viewed from a 3rd person perspective. To add icing to the cake, Slate has a series of violent “disarms” he can employ to turn a battle in his favor, and executing them properly is gratifying in all its M-rated glory. “Dead to Rights” wisely switches between hand-to-hand battles and fierce gunfights at a fairly regular interval to ensure that the game doesn’t get repetitive.
Unfortunately, “Dead to Rights” also favors mini-games and puzzles that crop up every now and again to slow down the action. The idea is a sound one, but most of these sessions are just exercises in button-mashing frenzy. On the plus side, though, the mini-games segue into the storyline almost seamlessly, so they’re not as jarring as they might otherwise have been. And speaking of the storyline, it’s sure to entertain, and is helped tremendously by talented voice-actors and some truly cinematic cut-scenes.
Aside from the mini-games and some questionable decisions in level design (which are an exception rather than a rule), “Dead to Rights” is a triumph. The game is bloody good fun from beginning to end, and more addictive than a set of Max Payne’s painkillers. This remains one of the best action titles available on the PS2, and it should not, under any circumstances, be missed by fans of the genre.
FINAL SCORE: 8.1 (Very Good)
* * *
“Dead to Rights” is the kind of non-stop action game that will remind you why you play console games in the first place. Though the game’s premise, style, and source of inspiration are easy to compare to “Max Payne,” the games themselves are readily distinguishable from one another, and both are equally as worthy of your gaming attentions.
“Dead to Rights” casts you as Jack Slate, a larger-than-life cop in the fictional cesspool of Grant City, whose only real friend appears to be his canine partner, Shadow. Early on, Slate discovers the body of his murdered father in a construction yard, and the action comes hot and heavy from then on.
Slate’s gun-slinging antics and martial arts brawls are quick to remind one of a John Woo film. The hand-to-hand fighting system is immensely enjoyable and reminiscent of updated classics like “Double Dragon” and “Final Fight.” The majority of the game’s setpeices, though, involve thousands of flying bullets, and the gunplay is truly extraordinary. Capping the bad guys is rarely this satisfying, particularly in a game viewed from a 3rd person perspective. To add icing to the cake, Slate has a series of violent “disarms” he can employ to turn a battle in his favor, and executing them properly is gratifying in all its M-rated glory. “Dead to Rights” wisely switches between hand-to-hand battles and fierce gunfights at a fairly regular interval to ensure that the game doesn’t get repetitive.
Unfortunately, “Dead to Rights” also favors mini-games and puzzles that crop up every now and again to slow down the action. The idea is a sound one, but most of these sessions are just exercises in button-mashing frenzy. On the plus side, though, the mini-games segue into the storyline almost seamlessly, so they’re not as jarring as they might otherwise have been. And speaking of the storyline, it’s sure to entertain, and is helped tremendously by talented voice-actors and some truly cinematic cut-scenes.
Aside from the mini-games and some questionable decisions in level design (which are an exception rather than a rule), “Dead to Rights” is a triumph. The game is bloody good fun from beginning to end, and more addictive than a set of Max Payne’s painkillers. This remains one of the best action titles available on the PS2, and it should not, under any circumstances, be missed by fans of the genre.
FINAL SCORE: 8.1 (Very Good)
In Retro: "Darkwatch" (Review (Xbox)
My review of a cool little shooter from near the end of the last-gen Xbox cycle... Enjoy.
* * *
Darkwatch is, technically, one of the slickest and most responsive shooters to grace the console systems. On the other hand, it’s oft-delayed development cycle did nothing to prevent the finished product from coming across half-baked in most every other department.
Interestingly, the game is set in the old West, but with a gothic twist. It seems our protagonist, the outlaw Jericho Cross, has just robbed the wrong train – instead of sacks of wealth it contains an evil vampire lord. Unwittingly unleashing said vampire from the custody of the shadowy organization known as the Darkwatch, this creature of the night proceeds to raise the dead and wreak all kinds of havoc. Sound cool? Yeah, it certainly does, but the implementation of this unique setting leaves much to be desired, and the ensuing plot makes little sense.
This is exceedingly unfortunate, as the gameplay here is well worth any shooter’s raised eyebrow. The production values are spot on, and the action has been polished to a blue steel sheen. Think Painkiller meets Halo and you may have some idea what to expect with this one. Blasting countless vampires and other beasties into oblivion with heavily modified old Western firepower is the highlight… and all that blasting is certainly cathartic fun. A cool arsenal and a handful of vampyric superpowers provide action that is undeniably delicious. All of this is wrapped up in tight, responsive controls and a solid frame rate despite the swarms of baddies that fill the game’s small(ish) levels.
On the flipside, nonsensical story notwithstanding, the game offers little in the way of variety (and what it does proffer up feels decidedly tacked on, such as one level in which you’re tasked to drive a vehicle merely because that’s the new trend in shooters). For instance, you’ll probably find yourself choosing your favorite weapons early on and sticking to them, and the game’s incessant use of Reapers, scythe-wielding undead which are not only the first enemy you encounter but easily the most overused, detract from the overall experience. On top of this, the melee attack (ala Halo) is a little too powerful, and to conserve ammo and make quicker kills you’ll probably find yourself bashing enemies in the face just as often as you shoot at them.
The game’s single greatest offense, however, comes in terms of its length. This one can be finished with ease on the normal difficulty setting (albeit with one frustrating level near the end that tasks you with jumping through a fiery town killing flying Banshees). There is some slight replay value to be had due to a very gimmicky feature that allows you to make good or evil decisions, but it’s just that – gimmicky, and really quite lifeless. The game plays out much the same in either case.
That said, there’s still a lot to like about Darkwatch as a first person shootist. Expect the problems, deal with them, and you’ll find a slick, fairly addictive action title just beneath the surface. It just had the potential to be so much more, and it’s hard not to get the distinct impression that this one was rushed out the door before it could really mature into a grade A product.
FINAL SCORE: 7.9 (Good)
* * *
Darkwatch is, technically, one of the slickest and most responsive shooters to grace the console systems. On the other hand, it’s oft-delayed development cycle did nothing to prevent the finished product from coming across half-baked in most every other department.
Interestingly, the game is set in the old West, but with a gothic twist. It seems our protagonist, the outlaw Jericho Cross, has just robbed the wrong train – instead of sacks of wealth it contains an evil vampire lord. Unwittingly unleashing said vampire from the custody of the shadowy organization known as the Darkwatch, this creature of the night proceeds to raise the dead and wreak all kinds of havoc. Sound cool? Yeah, it certainly does, but the implementation of this unique setting leaves much to be desired, and the ensuing plot makes little sense.
This is exceedingly unfortunate, as the gameplay here is well worth any shooter’s raised eyebrow. The production values are spot on, and the action has been polished to a blue steel sheen. Think Painkiller meets Halo and you may have some idea what to expect with this one. Blasting countless vampires and other beasties into oblivion with heavily modified old Western firepower is the highlight… and all that blasting is certainly cathartic fun. A cool arsenal and a handful of vampyric superpowers provide action that is undeniably delicious. All of this is wrapped up in tight, responsive controls and a solid frame rate despite the swarms of baddies that fill the game’s small(ish) levels.
On the flipside, nonsensical story notwithstanding, the game offers little in the way of variety (and what it does proffer up feels decidedly tacked on, such as one level in which you’re tasked to drive a vehicle merely because that’s the new trend in shooters). For instance, you’ll probably find yourself choosing your favorite weapons early on and sticking to them, and the game’s incessant use of Reapers, scythe-wielding undead which are not only the first enemy you encounter but easily the most overused, detract from the overall experience. On top of this, the melee attack (ala Halo) is a little too powerful, and to conserve ammo and make quicker kills you’ll probably find yourself bashing enemies in the face just as often as you shoot at them.
The game’s single greatest offense, however, comes in terms of its length. This one can be finished with ease on the normal difficulty setting (albeit with one frustrating level near the end that tasks you with jumping through a fiery town killing flying Banshees). There is some slight replay value to be had due to a very gimmicky feature that allows you to make good or evil decisions, but it’s just that – gimmicky, and really quite lifeless. The game plays out much the same in either case.
That said, there’s still a lot to like about Darkwatch as a first person shootist. Expect the problems, deal with them, and you’ll find a slick, fairly addictive action title just beneath the surface. It just had the potential to be so much more, and it’s hard not to get the distinct impression that this one was rushed out the door before it could really mature into a grade A product.
FINAL SCORE: 7.9 (Good)
In Retro: "Cold Fear" Review (Xbox)
In short, I really dug this game. Here's my review from back when it was still a new release. To this day, I think that in the survival horror genre, this one never quite got the credit it was due. Think of it as a kind of action-horror precursor to "Dead Space," only one in which the headshot still counts for something!
* * *
“Cold Fear” plays like a gem, and contains all the essential elements to make a great action-horror game – everything, that is, except a storyline devoid of clichés. In other words, the game itself, while certainly less than original, is a class act, but the broken wings of the derivative plot keep it from soaring to utter greatness.
Like last year’s “The Suffering,” the setting is one of the strengths of “Cold Fear” (at least for the first half of the game). As Tom Hansen, a United States Coast Guard officer dispatched to investigate a Russian ship tossed about on a stormy sea, you quickly discover that you’re alone, far from any possible help due to circumstances beyond your control (naturally), and that there is more to this distress call than you bargained for. It seems the ship’s crew have become infected with parasitical creatures (“Alien” style) and they’re rapidly mutating into zombies… and worse (“Resident Evil,” anyone?).
Yes, the storyline is boilerplate for a game of this genre, but the gameplay itself, while perhaps not taking full advantage of the setting, is exceedingly well done. The action is responsive and satisfying, and not overly frequent – “Cold Fear” is a game of tension punctuated by sporadic blasts of combat, as it should be. Each of the game’s weapons packs a punch, although, realistically, they can be hard to aim with pinpoint accuracy do to the choppiness of the high seas. Unfortunately a zombie can only be permanently dispatched by a blow to the brain, which is a difficult shot to pull off – so, instead, most of the time you’ll shoot a zombie to the ground, stroll casually up to it, and stomp on its skull with your boot. Though this practice becomes repetitive after a while, it’s good gory fun at first.
As previously mentioned, the atmosphere and the nautical setting of “Cold Fear” go a long distance toward making the game work. Despite the rampant clichés and the gruff, wise-cracking protagonist (who seems literally lifted from “Far Cry,” alongside his female sidekick), the leaky, dank environments are unlike anything seen before in a game of this type. The graphics, which are crisp and very attractive, bring this to splendid life, with the moving shadows threatening to contain some creature about to pounce. The raging seas are equally impressive, but more so the rain spatter effect that strikes the camera – or the occasional spurt of blood from a fractured skull that splats across it instead.
Alas, the second half of the game, in an attempt to mix things up, foregoes the ship and places the remainder of the action on an oil platform that feels like your Mars base in “Doom 3” or your Arctic research lab in “The Thing.” In other words, it’s not quite as striking or as interesting, but still being soaked in atmosphere it more than gets the job done. Surprisingly, it’s this late in the game before “Cold Fear” introduces its bigger, badder mutants, where before zombies were the catch of the day. The timing is excellent, actually, because these new threats force a different style of attack (or running for one’s life) that shakes up the whole experience, keeping it fresh and addictive. And addictive is perhaps one of the best words to use in describing the “Cold Fear” experience.
The game’s biggest problems arise in the form of its weak, derivative story and characters. It’s never fully explained why Hansen is supposedly disgraced as a US Coast Guard officer, though this is a point that’s driven home on several occasions – more confusing still, there’s a reference to him somehow getting his former girlfriend shot and killed, but no further explanation of this (at least not that I could find). This is but one example in a game filled with loose ends. Bigger still, what are all these mutants running around? They’re not aliens per se, and they’re not genetic constructs. The game’s ads implied they were hellspawn “Doom” style, but there’s no in-game evidence of this except for the fact that they emerge from the depths where the Russians are drilling. I suppose it’s safe to say they are a terrestrial form of unknown life, but there simply needs to be more. Fortunately, the story isn’t a deal-breaker in a game this good, but it certainly shoots itself in the foot.
All in all, “Cold Fear” is a game that demands to be played by fans of the genre. The nautical setting makes it this year’s “The Suffering,” if not quite as creative in terms of its premise and characterizations. Still, when it’s all said and done, you can feel it missing the mark of the game it could have been had its story elements come together properly, and had its developers gone that extra mile to incorporate the setting more fully into the game. For example, in mid-development a system was mentioned where Hansen would have to grab onto objects (such as poles, banisters, etc.) to steady himself, and his aim, on the choppy waters, but the mechanic, which could have been truly original, got axed at the last minute. This is emblematic of the game’s adherence to the standard, but that is by no means a condemnation. While not quite a classic, “Cold Fear” is a solid, enjoyable effort well worth the price of admission.
FINAL SCORE: 8.2 (Very Good)
* * *
“Cold Fear” plays like a gem, and contains all the essential elements to make a great action-horror game – everything, that is, except a storyline devoid of clichés. In other words, the game itself, while certainly less than original, is a class act, but the broken wings of the derivative plot keep it from soaring to utter greatness.
Like last year’s “The Suffering,” the setting is one of the strengths of “Cold Fear” (at least for the first half of the game). As Tom Hansen, a United States Coast Guard officer dispatched to investigate a Russian ship tossed about on a stormy sea, you quickly discover that you’re alone, far from any possible help due to circumstances beyond your control (naturally), and that there is more to this distress call than you bargained for. It seems the ship’s crew have become infected with parasitical creatures (“Alien” style) and they’re rapidly mutating into zombies… and worse (“Resident Evil,” anyone?).
Yes, the storyline is boilerplate for a game of this genre, but the gameplay itself, while perhaps not taking full advantage of the setting, is exceedingly well done. The action is responsive and satisfying, and not overly frequent – “Cold Fear” is a game of tension punctuated by sporadic blasts of combat, as it should be. Each of the game’s weapons packs a punch, although, realistically, they can be hard to aim with pinpoint accuracy do to the choppiness of the high seas. Unfortunately a zombie can only be permanently dispatched by a blow to the brain, which is a difficult shot to pull off – so, instead, most of the time you’ll shoot a zombie to the ground, stroll casually up to it, and stomp on its skull with your boot. Though this practice becomes repetitive after a while, it’s good gory fun at first.
As previously mentioned, the atmosphere and the nautical setting of “Cold Fear” go a long distance toward making the game work. Despite the rampant clichés and the gruff, wise-cracking protagonist (who seems literally lifted from “Far Cry,” alongside his female sidekick), the leaky, dank environments are unlike anything seen before in a game of this type. The graphics, which are crisp and very attractive, bring this to splendid life, with the moving shadows threatening to contain some creature about to pounce. The raging seas are equally impressive, but more so the rain spatter effect that strikes the camera – or the occasional spurt of blood from a fractured skull that splats across it instead.
Alas, the second half of the game, in an attempt to mix things up, foregoes the ship and places the remainder of the action on an oil platform that feels like your Mars base in “Doom 3” or your Arctic research lab in “The Thing.” In other words, it’s not quite as striking or as interesting, but still being soaked in atmosphere it more than gets the job done. Surprisingly, it’s this late in the game before “Cold Fear” introduces its bigger, badder mutants, where before zombies were the catch of the day. The timing is excellent, actually, because these new threats force a different style of attack (or running for one’s life) that shakes up the whole experience, keeping it fresh and addictive. And addictive is perhaps one of the best words to use in describing the “Cold Fear” experience.
The game’s biggest problems arise in the form of its weak, derivative story and characters. It’s never fully explained why Hansen is supposedly disgraced as a US Coast Guard officer, though this is a point that’s driven home on several occasions – more confusing still, there’s a reference to him somehow getting his former girlfriend shot and killed, but no further explanation of this (at least not that I could find). This is but one example in a game filled with loose ends. Bigger still, what are all these mutants running around? They’re not aliens per se, and they’re not genetic constructs. The game’s ads implied they were hellspawn “Doom” style, but there’s no in-game evidence of this except for the fact that they emerge from the depths where the Russians are drilling. I suppose it’s safe to say they are a terrestrial form of unknown life, but there simply needs to be more. Fortunately, the story isn’t a deal-breaker in a game this good, but it certainly shoots itself in the foot.
All in all, “Cold Fear” is a game that demands to be played by fans of the genre. The nautical setting makes it this year’s “The Suffering,” if not quite as creative in terms of its premise and characterizations. Still, when it’s all said and done, you can feel it missing the mark of the game it could have been had its story elements come together properly, and had its developers gone that extra mile to incorporate the setting more fully into the game. For example, in mid-development a system was mentioned where Hansen would have to grab onto objects (such as poles, banisters, etc.) to steady himself, and his aim, on the choppy waters, but the mechanic, which could have been truly original, got axed at the last minute. This is emblematic of the game’s adherence to the standard, but that is by no means a condemnation. While not quite a classic, “Cold Fear” is a solid, enjoyable effort well worth the price of admission.
FINAL SCORE: 8.2 (Very Good)
"Jurassic: The Hunted" Review (PS3)
In "Jurassic: The Hunted," an appropriately if generically titled game if ever there was one, you play as a gravelly voiced hired gun (who sounds oddly a bit like Serious Sam) trapped in some kind of space-time vortex (caused by the Bermuda Triangle) where dinosaurs still roam free. Your task is to find a missing scientist and return home alive. It's really that simple, and there's little else that might pass as plot. Which is absolutely fine, since this is a game based solely on the fact that it's you vs. dinosaurs. Hell, good enough for me!
Let's kick off this review by stating something that is VERY important. This is a budget title. When you don't pay full price for a brand new retail product, you should probably expect the video gaming equivalent of a B-movie released direct to DVD. Some of these types of games surprise you with their awesomeness ("Earth Defense Force 2017"), or just barely manage to entertain you on an otherwise boring rainy day ("Shellshock 2: Blood Trails"). This, I'm pleased to say, falls somewhere in between. It's not as good as some, but definitely better than others, and considering the price point it definitely qualifies as a guilty pleasure. Hell, it's better than "Rogue Warrior," and they expected you to pay sixty bones for that one!
This is an FPS where your sole motivation is to A: keep breathing and B: kill lots and lots of dinosaurs who think you look a lot like lunch. You run through linear stretches of colorful and decently rendered swaths of jungle, occasionally venturing into caverns, as you seek to do both of those very things. Locales are pretty enough but would be faulted for being repetitive if the game weren't so bloody short (more on that momentarily). For a budget game, it's not at all bad looking, and the dinosaurs, despite a lack of variety in enemy types (far too many raptors and not nearly enough of everything else), look quite believable and inspire the appropriate feelings of dread and awe when they are expected to do so. One tiny quibble, however -- why does every dinosaur-themed game throw giant scorpions into the mix as well? One wonders...
Anyway, it's fortunate that you have a surprisingly cool number of weapons at your disposal with which to deal with these creatures. From exploding arrows to heavy duty shotguns, machine guns, and pistols, the weapons on display here pack a punch, prove satisfying, and perform their respective jobs admirably when it comes to making these bastards extinct all over again. There's nothing more important in a first-person shooter than good, enjoyable first-person shooting, and here "Jurassic" fits the bill. Throw in a neat bullet-time like ability that allows you to slow down time and take aim at your enemies' vitals, and, hell, this game just works.
Some of the game's most intense moments come when you find yourself defending abandoned forts from attacking dinosaurs. On harder difficulties, and even on the normal setting, these segments can best be described as frantic. While trying to repair the fort's defenses and shoot the raptors intent on breaking inside, you inevitably leave other defensive areas vulnerable -- and so the tension builds as you try to keep out the things that want to eat you and survive until they finally stop swarming your barricade. It's good stuff.
So what's the problem then? Well, aside from an unfortunate lack of enemy variety, terrible voice work, and a bare bones story, there's not much here to moan about considering the cost of entry except... the game's length. I wasn't expecting a grand climax or anything, but it's safe to say I certainly wasn't aware that I was fighting the game's final boss dino when I was, and that I didn't realize I had actually finished the game until the credits began to roll. The length of the story mode would be criminal if you forked out sixty bones for it (again, see "Rogue Warrior"), but since that's not the case, and because new modes can be unlocked, it's definitely a downside to owning this game, but not a dealbreaker. After all, a game that leaves you wanting more, even if it's justifiable, means that it's a game that was at least entertaining while you were playing it, right?
In the end, if you want an excuse to kill dinosaurs but don't need to be bogged down with such trivial things as decent storylines, bleeding edge graphics, innovative gameplay, or a lengthy single-player option provided you have plenty of cool weapons and even more dinosaurs to shoot them with, "Jurassic" is definitely a good way to spend an afternoon. But you can beat it in that afternoon too.
FINAL SCORE: 7.1 (Good)
Let's kick off this review by stating something that is VERY important. This is a budget title. When you don't pay full price for a brand new retail product, you should probably expect the video gaming equivalent of a B-movie released direct to DVD. Some of these types of games surprise you with their awesomeness ("Earth Defense Force 2017"), or just barely manage to entertain you on an otherwise boring rainy day ("Shellshock 2: Blood Trails"). This, I'm pleased to say, falls somewhere in between. It's not as good as some, but definitely better than others, and considering the price point it definitely qualifies as a guilty pleasure. Hell, it's better than "Rogue Warrior," and they expected you to pay sixty bones for that one!
This is an FPS where your sole motivation is to A: keep breathing and B: kill lots and lots of dinosaurs who think you look a lot like lunch. You run through linear stretches of colorful and decently rendered swaths of jungle, occasionally venturing into caverns, as you seek to do both of those very things. Locales are pretty enough but would be faulted for being repetitive if the game weren't so bloody short (more on that momentarily). For a budget game, it's not at all bad looking, and the dinosaurs, despite a lack of variety in enemy types (far too many raptors and not nearly enough of everything else), look quite believable and inspire the appropriate feelings of dread and awe when they are expected to do so. One tiny quibble, however -- why does every dinosaur-themed game throw giant scorpions into the mix as well? One wonders...
Anyway, it's fortunate that you have a surprisingly cool number of weapons at your disposal with which to deal with these creatures. From exploding arrows to heavy duty shotguns, machine guns, and pistols, the weapons on display here pack a punch, prove satisfying, and perform their respective jobs admirably when it comes to making these bastards extinct all over again. There's nothing more important in a first-person shooter than good, enjoyable first-person shooting, and here "Jurassic" fits the bill. Throw in a neat bullet-time like ability that allows you to slow down time and take aim at your enemies' vitals, and, hell, this game just works.
Some of the game's most intense moments come when you find yourself defending abandoned forts from attacking dinosaurs. On harder difficulties, and even on the normal setting, these segments can best be described as frantic. While trying to repair the fort's defenses and shoot the raptors intent on breaking inside, you inevitably leave other defensive areas vulnerable -- and so the tension builds as you try to keep out the things that want to eat you and survive until they finally stop swarming your barricade. It's good stuff.
So what's the problem then? Well, aside from an unfortunate lack of enemy variety, terrible voice work, and a bare bones story, there's not much here to moan about considering the cost of entry except... the game's length. I wasn't expecting a grand climax or anything, but it's safe to say I certainly wasn't aware that I was fighting the game's final boss dino when I was, and that I didn't realize I had actually finished the game until the credits began to roll. The length of the story mode would be criminal if you forked out sixty bones for it (again, see "Rogue Warrior"), but since that's not the case, and because new modes can be unlocked, it's definitely a downside to owning this game, but not a dealbreaker. After all, a game that leaves you wanting more, even if it's justifiable, means that it's a game that was at least entertaining while you were playing it, right?
In the end, if you want an excuse to kill dinosaurs but don't need to be bogged down with such trivial things as decent storylines, bleeding edge graphics, innovative gameplay, or a lengthy single-player option provided you have plenty of cool weapons and even more dinosaurs to shoot them with, "Jurassic" is definitely a good way to spend an afternoon. But you can beat it in that afternoon too.
FINAL SCORE: 7.1 (Good)
In Retro: "Chaos Legion" Review (PS2)
As I recall, this game was absolutely torn apart like a chicken leg in a cage of rabbid dogs when the gaming press got their hands on it back in 2003. I remember, as the following review (written in 2003) attests, however, that I enjoyed the game more than expected considering the beating it took. Far from being a great game, and only barely rising above mediocrity, it was still worth my while...
* * *
“Chaos Legion” is a game with quite a few good ideas, and some of those ideas work rather well. On the other hand, it’s a game with lots of wasted potential, and a slew of bad design decisions. Most of the time, it seems to be more of a tech demo designed to see just how many enemies can fit on the screen at one time than an actual game. With more time and effort, I think Capcom could have made “Chaos Legion” an excellent action game – but as it stands, it’s just fair.
The game’s storyline is nonsensical and hardly worth describing – let’s just say it’s melodramatic and unintentionally funny more often than not, but at least the cut-scenes are visually appealing and stylish, and therefore quite watchable. At any rate, you play through 90% of the game as Sieg, a knight of some Order or another who has the ability to summon strange monsters to battle alongside him when the going gets rough. He also has a nifty gauntlet that can electrify his opponents, and a long sword to hew them with. The other player character, Arcia, is a bit more agile, and uses two pistols in place of Sieg’s weapons – but she can’t summon allies. Both characters control pretty well, but unfortunately all of the work that went into Arcia seems to be in vain since you, the player, will only guide her through one short level. The rest of your time you will spend as Sieg.
In terms of gameplay, there isn’t anything quite like “Chaos Legion,” for better or worse. The best way to describe this one would be to say it’s like a strange union of “Devil May Cry,” “Dynasty Warriors,” and “Gauntlet,” only not quite as good as that could have been. Sure, summoning monsters to back you up is a cool feature. Sure, there are a lot of moving characters onscreen at once without so much as a hiccup in the frame rate. Sure, the two main characters play very well and provide some visceral action pieces. None of these things can compensate for the game’s lack of variety, though. By the fifth level in the game, you will have encountered virtually every enemy the game provides. Even end-level bosses are not monogamous to their own lairs, and many of them, annoyingly, will take several goes at you during the course of the game. Worst of all, though, are the game’s repetitive textures. You will spend 80% of the game traipsing through bland castle environments that look identical to one another.
Alas, even if you could go in and fix the repetitive monster and level designs, the game’s fundamental design is so flawed that it would still be far from satisfying on every level. Though the game seems to pride itself on how many characters it can display onscreen at any given time, it is all but wasted in a game that generally requires you to slay a target monster (which is usually immobile and semi-helpless) that, when destroyed, will conveniently purge the environment of all ‘lesser’ foes. Kill the one, and you kill the many. Hacking at one monster like your life depends on it and ignoring all the others is the kind of behavior the game encourages – and that’s not a recipe for unbridled fun. Most of the time, it’s just a lesion in tedium.
On the plus side, the action itself works quite well. Sieg’s back-and-forth sword swipes throw his smaller enemies to and fro like rag dolls, sometimes even juggling them through the air. His crimson gauntlet sends coils of electricity snaking around his unfortunate foes, and his summoned creatures wreak havoc like a small, potent army. Sieg will rarely go it completely alone, and that gives the game a very unique feel.
When the game works, it works quite well – but that only happens once in a while, and it ultimately doesn’t last for very long. The rest of the time you’ll be smashing away at repetitive foes who steadfastly refuse to fall for several long, tedious minutes. “Chaos Legion” is worth a look if you’re an action fan, but just now the $49.99 retail price being asked of consumers is way too much. In the future, if you happen by “Chaos Legion” in the bargain bin of your local gaming headquarters, by all means consider it. It’s addictive in short spurts, and not completely devoid of fun. However, in case you can’t tell, that’s not exactly glimmering praise.
FINAL SCORE: 6.9 (Fair)
* * *
“Chaos Legion” is a game with quite a few good ideas, and some of those ideas work rather well. On the other hand, it’s a game with lots of wasted potential, and a slew of bad design decisions. Most of the time, it seems to be more of a tech demo designed to see just how many enemies can fit on the screen at one time than an actual game. With more time and effort, I think Capcom could have made “Chaos Legion” an excellent action game – but as it stands, it’s just fair.
The game’s storyline is nonsensical and hardly worth describing – let’s just say it’s melodramatic and unintentionally funny more often than not, but at least the cut-scenes are visually appealing and stylish, and therefore quite watchable. At any rate, you play through 90% of the game as Sieg, a knight of some Order or another who has the ability to summon strange monsters to battle alongside him when the going gets rough. He also has a nifty gauntlet that can electrify his opponents, and a long sword to hew them with. The other player character, Arcia, is a bit more agile, and uses two pistols in place of Sieg’s weapons – but she can’t summon allies. Both characters control pretty well, but unfortunately all of the work that went into Arcia seems to be in vain since you, the player, will only guide her through one short level. The rest of your time you will spend as Sieg.
In terms of gameplay, there isn’t anything quite like “Chaos Legion,” for better or worse. The best way to describe this one would be to say it’s like a strange union of “Devil May Cry,” “Dynasty Warriors,” and “Gauntlet,” only not quite as good as that could have been. Sure, summoning monsters to back you up is a cool feature. Sure, there are a lot of moving characters onscreen at once without so much as a hiccup in the frame rate. Sure, the two main characters play very well and provide some visceral action pieces. None of these things can compensate for the game’s lack of variety, though. By the fifth level in the game, you will have encountered virtually every enemy the game provides. Even end-level bosses are not monogamous to their own lairs, and many of them, annoyingly, will take several goes at you during the course of the game. Worst of all, though, are the game’s repetitive textures. You will spend 80% of the game traipsing through bland castle environments that look identical to one another.
Alas, even if you could go in and fix the repetitive monster and level designs, the game’s fundamental design is so flawed that it would still be far from satisfying on every level. Though the game seems to pride itself on how many characters it can display onscreen at any given time, it is all but wasted in a game that generally requires you to slay a target monster (which is usually immobile and semi-helpless) that, when destroyed, will conveniently purge the environment of all ‘lesser’ foes. Kill the one, and you kill the many. Hacking at one monster like your life depends on it and ignoring all the others is the kind of behavior the game encourages – and that’s not a recipe for unbridled fun. Most of the time, it’s just a lesion in tedium.
On the plus side, the action itself works quite well. Sieg’s back-and-forth sword swipes throw his smaller enemies to and fro like rag dolls, sometimes even juggling them through the air. His crimson gauntlet sends coils of electricity snaking around his unfortunate foes, and his summoned creatures wreak havoc like a small, potent army. Sieg will rarely go it completely alone, and that gives the game a very unique feel.
When the game works, it works quite well – but that only happens once in a while, and it ultimately doesn’t last for very long. The rest of the time you’ll be smashing away at repetitive foes who steadfastly refuse to fall for several long, tedious minutes. “Chaos Legion” is worth a look if you’re an action fan, but just now the $49.99 retail price being asked of consumers is way too much. In the future, if you happen by “Chaos Legion” in the bargain bin of your local gaming headquarters, by all means consider it. It’s addictive in short spurts, and not completely devoid of fun. However, in case you can’t tell, that’s not exactly glimmering praise.
FINAL SCORE: 6.9 (Fair)
In Retro: "Champions: Return to Arms" Review (PS2)
My review of the kinda-sorta sequel to the original "Champions of Norrath" culled from my backlog of written video game reviews...
* * *
First, there was “Baldur’s Gate: Dark Alliance.” Then came “Dungeons & Dragons: Heroes.” Later, “Baldur’s Gate: Dark Alliance II,” “Fallout: Brotherhood of Steel,” “The Bard’s Tale,” and “Champions of Norrath.” Now, the pseudo-sequel to “Norrath,” “Champions: Return to Arms.” All caught up? Good.
The seventh game in this vein (that I can think of!), a sort of running series in all but name spanning the five aforementioned franchises, it has its work cut out for it standing out from the pack. Unfortunately, this follow-up to “Norrath” feels more like an expansion pack, lacking even the kiddy pool depth of its forebear. The “Gauntlet” roots have never before been so evident. That said, despite being one of the most boring entries in this sub-genre, there’s yet some fun to be had in the dungeon crawling provided.
The story driving “Return to Arms” is a true blue yawner. It basically amounts to you, the intrepid hero picked from one of several race/class combos (including two new races never before seen in the series outside of “EverQuest”), traipsing across various planes (the Plane of Fire, the Plane of War, the Plane of Storms, etc.) collecting shards of hate to hide from the vile nasties that seek to conquer Norrath and… well, you know, do what all vile nasties are apt to do. I feel woozy just thinking about it. ZZZZZZZ…
In the end, the point of the game is watered down role-playing and amplified action, and here “Return to Arms” delivers admirably. The levels are diverse and sometimes interesting (although some are rehashed from the original “Champions of Norrath,” disappointingly), enemies are countless, assorted and suitably nasty, and fresh weapons, armor, and artifacts await your discovery at virtually every turn. There’s even an option to join the dark side if you like, although it doesn’t change the campaign as much as you might prefer. Despite the market’s oversaturation with games of this ilk – indeed games using this very engine (or copying it) – the combination of lite role-playing and hack-and-slash action “Diablo” style still manages to hold some of its appeal.
That said, “Return to Arms” is content not to innovate in even the slightest. Everything here is just as you left it, just more monotonous than you may recall thanks to the lack of a good plotline and even less depth than its precursor. There’s little incentive to perform side quests (of which there are few in any case), and levels are completely linear in fashion. Let’s face it, every game cast from the Snowblind Studios mold is linear, but somehow “Return to Arms” faces the dubious distinction of feeling the most linear by far. Levels feel like tabletop battlefields that you’re guiding your toy soldier around, and those with a healthy dose of wanderlust are going to be sorely disappointed.
Even the music in “Return to Arms” seems uninspired this time – it usually fades into half-hearted silence just when it should be swelling to enhance the action onscreen. Sound effects get the job done, but you’ve heard them all before. The graphics have aged like a fine wine, however, and still provide some decent eye candy despite some muddy textures up close (and the
occasional glitch as you scroll through the map).
“Return to Arms” hit the scene a year after the original “Champions.” The developers of the game called their schedule “aggressive” – a year is hardly a lot of time to design and release a brand new title. That is blatantly obvious when playing this unenthusiastic follow-up to a pretty good game. Fortunately, not all of its good qualities were lost amidst the chaos… just most of them.
FINAL SCORE: 6.9 (Fair)
* * *
I got the most enjoyment out of this game by playing it co-op, as I recall. And I also recall the absurdity of the item names you chance upon throughout your travels, such as one glaive dubbed "The Balanced Long Sword of Balance." At least that was good for a chuckle. "Champions of Norrath" still deserves a true sequel, but this wasn't it...
* * *
First, there was “Baldur’s Gate: Dark Alliance.” Then came “Dungeons & Dragons: Heroes.” Later, “Baldur’s Gate: Dark Alliance II,” “Fallout: Brotherhood of Steel,” “The Bard’s Tale,” and “Champions of Norrath.” Now, the pseudo-sequel to “Norrath,” “Champions: Return to Arms.” All caught up? Good.
The seventh game in this vein (that I can think of!), a sort of running series in all but name spanning the five aforementioned franchises, it has its work cut out for it standing out from the pack. Unfortunately, this follow-up to “Norrath” feels more like an expansion pack, lacking even the kiddy pool depth of its forebear. The “Gauntlet” roots have never before been so evident. That said, despite being one of the most boring entries in this sub-genre, there’s yet some fun to be had in the dungeon crawling provided.
The story driving “Return to Arms” is a true blue yawner. It basically amounts to you, the intrepid hero picked from one of several race/class combos (including two new races never before seen in the series outside of “EverQuest”), traipsing across various planes (the Plane of Fire, the Plane of War, the Plane of Storms, etc.) collecting shards of hate to hide from the vile nasties that seek to conquer Norrath and… well, you know, do what all vile nasties are apt to do. I feel woozy just thinking about it. ZZZZZZZ…
In the end, the point of the game is watered down role-playing and amplified action, and here “Return to Arms” delivers admirably. The levels are diverse and sometimes interesting (although some are rehashed from the original “Champions of Norrath,” disappointingly), enemies are countless, assorted and suitably nasty, and fresh weapons, armor, and artifacts await your discovery at virtually every turn. There’s even an option to join the dark side if you like, although it doesn’t change the campaign as much as you might prefer. Despite the market’s oversaturation with games of this ilk – indeed games using this very engine (or copying it) – the combination of lite role-playing and hack-and-slash action “Diablo” style still manages to hold some of its appeal.
That said, “Return to Arms” is content not to innovate in even the slightest. Everything here is just as you left it, just more monotonous than you may recall thanks to the lack of a good plotline and even less depth than its precursor. There’s little incentive to perform side quests (of which there are few in any case), and levels are completely linear in fashion. Let’s face it, every game cast from the Snowblind Studios mold is linear, but somehow “Return to Arms” faces the dubious distinction of feeling the most linear by far. Levels feel like tabletop battlefields that you’re guiding your toy soldier around, and those with a healthy dose of wanderlust are going to be sorely disappointed.
Even the music in “Return to Arms” seems uninspired this time – it usually fades into half-hearted silence just when it should be swelling to enhance the action onscreen. Sound effects get the job done, but you’ve heard them all before. The graphics have aged like a fine wine, however, and still provide some decent eye candy despite some muddy textures up close (and the
occasional glitch as you scroll through the map).
“Return to Arms” hit the scene a year after the original “Champions.” The developers of the game called their schedule “aggressive” – a year is hardly a lot of time to design and release a brand new title. That is blatantly obvious when playing this unenthusiastic follow-up to a pretty good game. Fortunately, not all of its good qualities were lost amidst the chaos… just most of them.
FINAL SCORE: 6.9 (Fair)
* * *
I got the most enjoyment out of this game by playing it co-op, as I recall. And I also recall the absurdity of the item names you chance upon throughout your travels, such as one glaive dubbed "The Balanced Long Sword of Balance." At least that was good for a chuckle. "Champions of Norrath" still deserves a true sequel, but this wasn't it...
In Retro: "Castlevania: Curse of Darkness" Review (PS2)
My then-review from my extensive backlog of written reviews for the second installment of the "Castlevania" series on the Playstation 2...
* * *
"Castlevania: Curse of Darkness" is a game that fails in two very important areas. First of all, it does very little to improve upon the formula of its predecessor, "Lament of Innocence" -- and there was already a lot of room for improvement. Second, and of equal importance, is the fact that it fails to evoke the "Castlevania" brand nine times out of ten. With little in the way of nostalgia going for it to longtime vets of the Konami series, and very little to offer that's new in any way, it's very nearly a bust.
Fortunately, there is something to be said for mindless hacking and slashing. This "Curse of Darkness" has in great supply. Combat is frequent, fast, furious, and smoothly animated. The controls are highly responsive, making for some excellent arcade-like battle sequences. Enemies are many and varied, and far more memorable than their "Lament" counterparts, and this is true of boss encounters as well. Here, at least, the developers decided to take the initiative and move forward a few steps.
Level designs remain unchanged since "Lament," however. The flat, narrow and generally unadorned corridors were one of that game's greatest flaws -- and the same is true of "Nanobreaker," another Konami effort from the same producers. You might rightfully expect something to have been done about this after two games were fashioned of the same broken mold, but you would be mistaken if you were to assume as much. Although the environments are diverse and strive to have their own gothic personality, each one is basically the same as the last once you move beyond the aesthetics. Even though "Curse" offers more outdoor areas, they are merely a novelty, as they are designed in the exact same fashion as all those halls and corridors. The word "linear" doesn't even begin to cover it.
One unique gameplay element unique to "Curse" are summoned creatures called Innocent Devils. The game makes much ado about them, and they do prove useful during the course of the campaign, but they certainly don't revolutionize the gameplay inherent in the series. In fact, their presence gives "Curse" more of a generic fantasy vibe than one of "Castlevania" origins.
This just doesn't feel like "Castlevania." For all its faults, at least "Lament" managed a few real nostalgic moments. Not so here, apart from some returning enemies and a soundtrack that pays homage to the Nintendo originals. A good storyline might have gone a long way to make this game better than the sum of all its parts, but no such luck here either. The new hero character, the Forgemaster Hector, is brash and unlikable, the actor portraying him always screaming his lines. To make matters worse, it's the usual anime fluff about slain girlfriends, rival peers, and a desire for vengeance... which makes it virtually identical the plot of its predecessor.
Unless you loved "Lament," there's very little reason to go out of your way to play "Curse." Even longtime "Castlevania" enthusiasts aren't guaranteed a good time here. That said, if you have a space in your schedule between "Devil May Cry" games and don't mind some mindless hacking and slashing, you could do a lot worse. It just so happens, however, that you could do much better. Konami really needs to dig deeper than this if they want the franchise to survive for another decade or more.
FINAL SCORE: 6.3 (Fair)
* * *
"Castlevania: Curse of Darkness" is a game that fails in two very important areas. First of all, it does very little to improve upon the formula of its predecessor, "Lament of Innocence" -- and there was already a lot of room for improvement. Second, and of equal importance, is the fact that it fails to evoke the "Castlevania" brand nine times out of ten. With little in the way of nostalgia going for it to longtime vets of the Konami series, and very little to offer that's new in any way, it's very nearly a bust.
Fortunately, there is something to be said for mindless hacking and slashing. This "Curse of Darkness" has in great supply. Combat is frequent, fast, furious, and smoothly animated. The controls are highly responsive, making for some excellent arcade-like battle sequences. Enemies are many and varied, and far more memorable than their "Lament" counterparts, and this is true of boss encounters as well. Here, at least, the developers decided to take the initiative and move forward a few steps.
Level designs remain unchanged since "Lament," however. The flat, narrow and generally unadorned corridors were one of that game's greatest flaws -- and the same is true of "Nanobreaker," another Konami effort from the same producers. You might rightfully expect something to have been done about this after two games were fashioned of the same broken mold, but you would be mistaken if you were to assume as much. Although the environments are diverse and strive to have their own gothic personality, each one is basically the same as the last once you move beyond the aesthetics. Even though "Curse" offers more outdoor areas, they are merely a novelty, as they are designed in the exact same fashion as all those halls and corridors. The word "linear" doesn't even begin to cover it.
One unique gameplay element unique to "Curse" are summoned creatures called Innocent Devils. The game makes much ado about them, and they do prove useful during the course of the campaign, but they certainly don't revolutionize the gameplay inherent in the series. In fact, their presence gives "Curse" more of a generic fantasy vibe than one of "Castlevania" origins.
This just doesn't feel like "Castlevania." For all its faults, at least "Lament" managed a few real nostalgic moments. Not so here, apart from some returning enemies and a soundtrack that pays homage to the Nintendo originals. A good storyline might have gone a long way to make this game better than the sum of all its parts, but no such luck here either. The new hero character, the Forgemaster Hector, is brash and unlikable, the actor portraying him always screaming his lines. To make matters worse, it's the usual anime fluff about slain girlfriends, rival peers, and a desire for vengeance... which makes it virtually identical the plot of its predecessor.
Unless you loved "Lament," there's very little reason to go out of your way to play "Curse." Even longtime "Castlevania" enthusiasts aren't guaranteed a good time here. That said, if you have a space in your schedule between "Devil May Cry" games and don't mind some mindless hacking and slashing, you could do a lot worse. It just so happens, however, that you could do much better. Konami really needs to dig deeper than this if they want the franchise to survive for another decade or more.
FINAL SCORE: 6.3 (Fair)
In Retro: "Castlevania: Lament of Innocence" Review (PS2)
Here is my review of the Playstation 2 version of "Castlevania: Lament of Innocence," as written upon my first playthrough of the game in the mid-2000's...
* * *
"Castlevania" first appeared on the Nintendo entertainment system in the late 1980s, and became successful enough to launch a series across several different platforms that continues to this very day. The latest addition to the beloved saga is "Castlevania: Lament of Innocence," which marks another attempt to bring the series into the next generation of gaming. Unfortunately, that means the series’ trademark side-scrolling action has been removed in favor of an over-the-shoulder third person perspective. If you have experience with “Devil May Cry” or “Rygar,” then you have some idea how “Lament of Innocence” plays. That’s not necessarily a bad thing, of course, and in fact it will probably inspire new generations of gamers to take a look at the series, but I can’t help but regret the fact that the game’s origins as a side-scroller were not celebrated and openly embraced, as they were in Konami’s own “Contra: Shattered Soldier.” That said, “Lament of Innocence” is a good game, even if it’s a bit on the shallow side of things.
The backstory for “Lament of Innocence” takes place before the original game, and casts you as Leon Belmont (ancestor of Simon and all those who came later), a knight who has forsaken his order to rescue his beloved from the clutches of an evil vampire named Walter. “Lament” is billed as a prequel, but that implies a deep, involving plot, and there is none of that. At its best, it is mildly diverting, and provides a decent excuse to go traipsing through gothic environments slaying undead beasts. If you’ve ever wondered just how the Belmont clan came by their signature weapon, the enchanted whip, “Lament” will fill you in. Just don’t expect anything grand. It’s as simple as an old man going “Here, this might help you.” In fact, the game contains the single most boring, drawn out opening cinematic I’ve ever seen. Fortunately, they do get better later (though there aren’t many of them per se).
Initially, “Lament” will probably grip you tightly and demand that you keep playing far into the wee hours. That’s because controlling Leon and exploring Walter’s castle provides an initial thrill. That thrill soon wanes, though, and is watered down by the game’s repetitive, shallow nature. Though the graphics are impressive for a Playstation 2 title, the level design is lacking. You will find Leon passing through dull hallway after dull hallway, and here and there you’ll enter a wide room full of enemies you need to kill in order to proceed. At the end of each level, you will face a boss. Repeat this process until you finish the game. It can become rather dull once the initial thrill wears away. It helps that you can tackle each of the game’s levels in any order you choose (except for the last), but only so much. Varied gameplay is not this one’s strong suit, and if you’re expecting a game as deep as “Symphony of the Night,” you’ll be very disappointed.
Controlling Leon is a slick, intuitive process. Your avatar is highly acrobatic (of course) and can string together various attacks with his whip that will smite any deathless or demonic creatures unfortunate enough to be in range of him. As the game progresses, Leon becomes even more adroit, as he learns new moves and fighting techniques that ultimately keep combat from becoming TOO repetitive – but this is undermined by the enemies themselves. They are generally brainless and predictable, and those that pose a challenge usually do so merely because they can stun, paralyze, or otherwise immobilize you, and all you can do is curse in frustration while they beat you to a pulp. Cheap tricks like these are not appreciated. Bosses, in particular, employ these ridiculous methods. Speaking of which, if there’s one thing Konami has always done extremely well, it’s design interesting, scary, or just plain disturbing end level bosses. “Lament” does not represent the company in this area. Sure, some of the bosses are cool, but they are mere shadows in contrast to some of the bosses from earlier games in the series.
Despite the rather shallow, repetitive gameplay, something about “Lament of Innocence” kept me coming back for more. It’s almost unexplainable. In any case, addiction is a sure sign of enjoyment, even if it only comes in short, quick bursts. I also applaud some of the more obvious nods toward the game’s forebears. Yes, you still have subweapons and magical abilities powered by large and small red hearts that must be collected by destroying flaming pillars with your whip. You will even recognize some of the game’s enemies, who are returning in various guises from previous “Castlevania” games. The organ music evokes nostalgic memories of previous entries as well (though some tracks are as irritating as others are beautiful).
Ultimately, I enjoyed “Lament of Innocence,” but not every moment of it. It’s a solid adventure, but by no means a classic.
FINAL SCORE: 6.9 (Fair)
* * *
"Castlevania" first appeared on the Nintendo entertainment system in the late 1980s, and became successful enough to launch a series across several different platforms that continues to this very day. The latest addition to the beloved saga is "Castlevania: Lament of Innocence," which marks another attempt to bring the series into the next generation of gaming. Unfortunately, that means the series’ trademark side-scrolling action has been removed in favor of an over-the-shoulder third person perspective. If you have experience with “Devil May Cry” or “Rygar,” then you have some idea how “Lament of Innocence” plays. That’s not necessarily a bad thing, of course, and in fact it will probably inspire new generations of gamers to take a look at the series, but I can’t help but regret the fact that the game’s origins as a side-scroller were not celebrated and openly embraced, as they were in Konami’s own “Contra: Shattered Soldier.” That said, “Lament of Innocence” is a good game, even if it’s a bit on the shallow side of things.
The backstory for “Lament of Innocence” takes place before the original game, and casts you as Leon Belmont (ancestor of Simon and all those who came later), a knight who has forsaken his order to rescue his beloved from the clutches of an evil vampire named Walter. “Lament” is billed as a prequel, but that implies a deep, involving plot, and there is none of that. At its best, it is mildly diverting, and provides a decent excuse to go traipsing through gothic environments slaying undead beasts. If you’ve ever wondered just how the Belmont clan came by their signature weapon, the enchanted whip, “Lament” will fill you in. Just don’t expect anything grand. It’s as simple as an old man going “Here, this might help you.” In fact, the game contains the single most boring, drawn out opening cinematic I’ve ever seen. Fortunately, they do get better later (though there aren’t many of them per se).
Initially, “Lament” will probably grip you tightly and demand that you keep playing far into the wee hours. That’s because controlling Leon and exploring Walter’s castle provides an initial thrill. That thrill soon wanes, though, and is watered down by the game’s repetitive, shallow nature. Though the graphics are impressive for a Playstation 2 title, the level design is lacking. You will find Leon passing through dull hallway after dull hallway, and here and there you’ll enter a wide room full of enemies you need to kill in order to proceed. At the end of each level, you will face a boss. Repeat this process until you finish the game. It can become rather dull once the initial thrill wears away. It helps that you can tackle each of the game’s levels in any order you choose (except for the last), but only so much. Varied gameplay is not this one’s strong suit, and if you’re expecting a game as deep as “Symphony of the Night,” you’ll be very disappointed.
Controlling Leon is a slick, intuitive process. Your avatar is highly acrobatic (of course) and can string together various attacks with his whip that will smite any deathless or demonic creatures unfortunate enough to be in range of him. As the game progresses, Leon becomes even more adroit, as he learns new moves and fighting techniques that ultimately keep combat from becoming TOO repetitive – but this is undermined by the enemies themselves. They are generally brainless and predictable, and those that pose a challenge usually do so merely because they can stun, paralyze, or otherwise immobilize you, and all you can do is curse in frustration while they beat you to a pulp. Cheap tricks like these are not appreciated. Bosses, in particular, employ these ridiculous methods. Speaking of which, if there’s one thing Konami has always done extremely well, it’s design interesting, scary, or just plain disturbing end level bosses. “Lament” does not represent the company in this area. Sure, some of the bosses are cool, but they are mere shadows in contrast to some of the bosses from earlier games in the series.
Despite the rather shallow, repetitive gameplay, something about “Lament of Innocence” kept me coming back for more. It’s almost unexplainable. In any case, addiction is a sure sign of enjoyment, even if it only comes in short, quick bursts. I also applaud some of the more obvious nods toward the game’s forebears. Yes, you still have subweapons and magical abilities powered by large and small red hearts that must be collected by destroying flaming pillars with your whip. You will even recognize some of the game’s enemies, who are returning in various guises from previous “Castlevania” games. The organ music evokes nostalgic memories of previous entries as well (though some tracks are as irritating as others are beautiful).
Ultimately, I enjoyed “Lament of Innocence,” but not every moment of it. It’s a solid adventure, but by no means a classic.
FINAL SCORE: 6.9 (Fair)
"Call of Juarez" Review (Xbox 360)
Although I purchased and played this game when it was originally released back in 2007, I never posted a video review of it on Youtube. Some have requested to know my thoughts regarding this very cool and equally underrated FPS, so I thought I would share the following, pulled from my backlog of video games reviews...
* * *
"Call of Juarez" joins recent games like "Gun," "Red Dead Revolver," and "Darkwatch" as yet another Western-themed shooter. Once a genre that scarcely seemed to exist, it is now quickly filling the Western-themed void that seems to exist in Hollywood. Like the aforementioned titles, "Call of Juarez" is very good at what it does, and ends up just shy of greatness -- but if you've a mind for more gunslinging', you can't do much better.
The plot behind "Call" sees half-Mexican troublemaker Billy Candle framed for the murder of his parents and seeking the lost treasure of Juarez that he might finally carve a name for himself in the world. Meanwhile, his vengeful uncle, Reverend Ray, a gunslinger turned man of God, is on his trail spewing fire and brimstone -- er, mostly just fire.
The storyline and characters are the best thing "Call" has going for it. You will alternate between playing as Billy and his self-righteous Uncle Ray. Billy excels at stealth, platforming, and archery, while Ray is Clint Eastwood incarnate with guns blazin'. The shifts in perspective provide a compelling method of building suspense and filling in the plot gaps, and both characters are so different from one another that each of their respective segments seems to represent a mini-game all its own.
Unfortunately, Ray is the by far the standout character. Billy has a decent arch and is fairly likable in his own right, but Ray is worthy of any "Top Ten Best Video Game Character" list -- and that's some tough competition. Clad in a leather duster and cruciform breastplate, he strikes an imposing image and is voiced to perfection. There's something inherently fascinating about a character that speaks to God and quotes the Bible between shooting people in the face. He's obviously crazy, and playing crazy is just plain fun.
Not only is Ray the best character, his sequences are generally more gratifying due to their action-packed content. He is considerably stronger and more durable than his nephew, and can use weapons that Billy can't even touch. He also has a concentration mode that helps him get the drop on his foes and is pretty useful in a pinch.
Billy, on the other hand, is more apt to avoid combat. His bow and arrow sequences are pretty satisfying, but few and far between. More often than not Billy finds himself trapped inside a first-person platformer mixed liberally with a first-person sneaker. The stealth segments are okay, and less reliant on trial and error than some games who make stealth their primary objective -- but it's been done much better in the past, to put it mildly. As far as the platforming sections go, they work as well as they possibly could given the first-person point of view, but it can be hard to properly line up jumps, and dying from an unplanned fall can be quite frustrating. He can use a bullwhip Indiana Jones-style, lashing on to objects and swinging across some chasms -- and though it works fairly well, there's still an awkward quality to it all.
That is not to say that some of Billy's missions aren't enjoyable -- they are. But Uncle Ray's blastapalooza trumps it in spades. The only downside to the gunplay is the wonky decision made by the developers to have certain firearms overheat and break in the midst of a battle. You get used to it and learn to plan accordingly, so it's not a dealbreaker -- but simply collecting bullets and swapping weapons like most FPS games would have worked better.
Complete with horseback chases, treasure hunts, duels, fistfights, and plenty of shootouts, "Call" is a good game for action junkies to invest in -- particularly those who love Westerns with good characters and a solid story. The gameplay is varied, for what its worth (even if it's not always successful), and when it all works it works splendidly well. Complete with top notch production values (some of the game's vistas are breathtaking and evoke the West quite well), this is darn near a can't-miss on a console that could always use one more actioner.
Answer the “Call.” It’s worth it.
FINAL SCORE: 8.0 (Very Good)
* * *
I believe it was PC Gamer that mentioned, in their review of said game, that neither of the protagonists (Billy or Uncle Ray) were very likable. I think that perhaps I've never been more in disagreement with a critic's assessment of a game's lead characters, as you can probably tell from the above review.
* * *
"Call of Juarez" joins recent games like "Gun," "Red Dead Revolver," and "Darkwatch" as yet another Western-themed shooter. Once a genre that scarcely seemed to exist, it is now quickly filling the Western-themed void that seems to exist in Hollywood. Like the aforementioned titles, "Call of Juarez" is very good at what it does, and ends up just shy of greatness -- but if you've a mind for more gunslinging', you can't do much better.
The plot behind "Call" sees half-Mexican troublemaker Billy Candle framed for the murder of his parents and seeking the lost treasure of Juarez that he might finally carve a name for himself in the world. Meanwhile, his vengeful uncle, Reverend Ray, a gunslinger turned man of God, is on his trail spewing fire and brimstone -- er, mostly just fire.
The storyline and characters are the best thing "Call" has going for it. You will alternate between playing as Billy and his self-righteous Uncle Ray. Billy excels at stealth, platforming, and archery, while Ray is Clint Eastwood incarnate with guns blazin'. The shifts in perspective provide a compelling method of building suspense and filling in the plot gaps, and both characters are so different from one another that each of their respective segments seems to represent a mini-game all its own.
Unfortunately, Ray is the by far the standout character. Billy has a decent arch and is fairly likable in his own right, but Ray is worthy of any "Top Ten Best Video Game Character" list -- and that's some tough competition. Clad in a leather duster and cruciform breastplate, he strikes an imposing image and is voiced to perfection. There's something inherently fascinating about a character that speaks to God and quotes the Bible between shooting people in the face. He's obviously crazy, and playing crazy is just plain fun.
Not only is Ray the best character, his sequences are generally more gratifying due to their action-packed content. He is considerably stronger and more durable than his nephew, and can use weapons that Billy can't even touch. He also has a concentration mode that helps him get the drop on his foes and is pretty useful in a pinch.
Billy, on the other hand, is more apt to avoid combat. His bow and arrow sequences are pretty satisfying, but few and far between. More often than not Billy finds himself trapped inside a first-person platformer mixed liberally with a first-person sneaker. The stealth segments are okay, and less reliant on trial and error than some games who make stealth their primary objective -- but it's been done much better in the past, to put it mildly. As far as the platforming sections go, they work as well as they possibly could given the first-person point of view, but it can be hard to properly line up jumps, and dying from an unplanned fall can be quite frustrating. He can use a bullwhip Indiana Jones-style, lashing on to objects and swinging across some chasms -- and though it works fairly well, there's still an awkward quality to it all.
That is not to say that some of Billy's missions aren't enjoyable -- they are. But Uncle Ray's blastapalooza trumps it in spades. The only downside to the gunplay is the wonky decision made by the developers to have certain firearms overheat and break in the midst of a battle. You get used to it and learn to plan accordingly, so it's not a dealbreaker -- but simply collecting bullets and swapping weapons like most FPS games would have worked better.
Complete with horseback chases, treasure hunts, duels, fistfights, and plenty of shootouts, "Call" is a good game for action junkies to invest in -- particularly those who love Westerns with good characters and a solid story. The gameplay is varied, for what its worth (even if it's not always successful), and when it all works it works splendidly well. Complete with top notch production values (some of the game's vistas are breathtaking and evoke the West quite well), this is darn near a can't-miss on a console that could always use one more actioner.
Answer the “Call.” It’s worth it.
FINAL SCORE: 8.0 (Very Good)
* * *
I believe it was PC Gamer that mentioned, in their review of said game, that neither of the protagonists (Billy or Uncle Ray) were very likable. I think that perhaps I've never been more in disagreement with a critic's assessment of a game's lead characters, as you can probably tell from the above review.
In Retro: "The Bard's Tale" Review (Xbox)
Here's a review I wrote back in the day for what I honestly believe is a very overlooked game that had more than enough charm to make up for its plentiful shortcomings...
* * *
“The Bard’s Tale” in its newest guise resembles the old-school RPG upon which it’s based not at all, and instead leans toward the formula made uber-popular by the “Diablo” series and, more importantly in this case, the “Baldur’s Gate: Dark Alliance” franchise. That very overused but still addictive style of gameplay gets blended with the goofy humor of 2003’s “Armed and Dangerous,” and, while far from being a classic, the end result is certainly well worth the price of admission – provided you’re not a rabid fan of the original and frown upon the dumbed down nature of this redux.
Strangely, a large reason that the game works at all is its protagonist, the Bard, portrayed by Care Elwes of “The Princess Bride” fame, here donning his best hackney brogue. Although the game allows you to play the Bard “nice” or “snarky,” periodically giving you the option in the midst of conversation, “bad” or “worse” might better describe his potential attitudes, as he’s a selfish, rotten rogue with an all around bad attitude and a smartass demeanor that, strangely enough, makes him intensely likable. The story surrounding him has a few surprises, and the multiple endings are a nice touch, but it’s clichéd – which is exactly how it’s supposed to be. To say this latest tale of the Bard doesn’t take itself very seriously is a bit of an understatement. More often than not, playing through it is a genuinely amusing experience, if not always out and out hilarious.
So, the game is worth playing merely for the title character all by his lonesome, but how is the gameplay? Well, it’s like playing a prettier version of the aforementioned “Dark Alliance” while axing even that game’s minimal depth. Your inventory is managed pretty much without you, meaning that when you find a new and improved weapon you’ll snatch it up immediately and begin hewing away with it. Likewise, there is little need to sell items in “A Bard’s Tale,” as most are automatically transformed into gold that’s already in your coffers, no matter where you are in the world. This alleviates much of the micromanagement that action-RPG enthusiasts enjoy, further limiting the game’s target audience to newcomers and people who would further emphasize “action” over “roleplaying.”
At least the game’s consistent in its approach, because the same is pretty much true of leveling the Bard. No matter which skills you choose to specialize in at the outset of the game, you’re ultimately a melee fighter with summoning capabilities, and by the end every one that plays the game will pretty much have the exact same version of said character. Complex and diverse stats and attributes are absolutely not a part of this experience.
The game stays true to its primary inspiration – no, not the original “Bard’s Tale,” but “Dark Alliance.” They are identical in virtually every way, which is not necessarily a great thing at this stage – after all, “Champions of Norrath,” “Fallout: Brotherhood of Steel,” and “Dungeons & Dragons: Heroes” have all pretty much done this to death. Thank goodness, then, not only for the charming comedic twist, but also for the ability to summon allies into battle, which at least puts a somewhat different spin on this old record. The Bard’s ability to create knights, rats, fireflies, elementals, and other such creatures with his music lends the game an almost real-time strategy type of feel – but he can only summon a handful at a time, and only one of each type. Still, this design decision not only further separates “The Bard’s Tale” from others of its ilk, it is also essential in claiming victory over the countless beasties that would thwart our would-be hero.
“The Bard’s Tale” is also less linear than, say, the original “Dark Alliance,” but just slightly. There are a couple of side-quests of the optional variety, but they are few and far between, further adding to the game’s overall linearity. And, as per usual, the “Dark Alliance” style of hacking and slashing is sporadically addictive and monotonous, depending entirely upon your mood or preference, and apart from this hacking and slashing there’s little else going on.
But charm is the word of the day, and charm is this game’s saving grace, forcing it to rise above its “me too” status on the heels of “Dark Alliance” and its ilk, and it’s bound to put a smile on your face… provided you can cope with the rather bizarre treatment of the source material that inspired this redux.
FINAL SCORE: 7.8 (Good)
* * *
“The Bard’s Tale” in its newest guise resembles the old-school RPG upon which it’s based not at all, and instead leans toward the formula made uber-popular by the “Diablo” series and, more importantly in this case, the “Baldur’s Gate: Dark Alliance” franchise. That very overused but still addictive style of gameplay gets blended with the goofy humor of 2003’s “Armed and Dangerous,” and, while far from being a classic, the end result is certainly well worth the price of admission – provided you’re not a rabid fan of the original and frown upon the dumbed down nature of this redux.
Strangely, a large reason that the game works at all is its protagonist, the Bard, portrayed by Care Elwes of “The Princess Bride” fame, here donning his best hackney brogue. Although the game allows you to play the Bard “nice” or “snarky,” periodically giving you the option in the midst of conversation, “bad” or “worse” might better describe his potential attitudes, as he’s a selfish, rotten rogue with an all around bad attitude and a smartass demeanor that, strangely enough, makes him intensely likable. The story surrounding him has a few surprises, and the multiple endings are a nice touch, but it’s clichéd – which is exactly how it’s supposed to be. To say this latest tale of the Bard doesn’t take itself very seriously is a bit of an understatement. More often than not, playing through it is a genuinely amusing experience, if not always out and out hilarious.
So, the game is worth playing merely for the title character all by his lonesome, but how is the gameplay? Well, it’s like playing a prettier version of the aforementioned “Dark Alliance” while axing even that game’s minimal depth. Your inventory is managed pretty much without you, meaning that when you find a new and improved weapon you’ll snatch it up immediately and begin hewing away with it. Likewise, there is little need to sell items in “A Bard’s Tale,” as most are automatically transformed into gold that’s already in your coffers, no matter where you are in the world. This alleviates much of the micromanagement that action-RPG enthusiasts enjoy, further limiting the game’s target audience to newcomers and people who would further emphasize “action” over “roleplaying.”
At least the game’s consistent in its approach, because the same is pretty much true of leveling the Bard. No matter which skills you choose to specialize in at the outset of the game, you’re ultimately a melee fighter with summoning capabilities, and by the end every one that plays the game will pretty much have the exact same version of said character. Complex and diverse stats and attributes are absolutely not a part of this experience.
The game stays true to its primary inspiration – no, not the original “Bard’s Tale,” but “Dark Alliance.” They are identical in virtually every way, which is not necessarily a great thing at this stage – after all, “Champions of Norrath,” “Fallout: Brotherhood of Steel,” and “Dungeons & Dragons: Heroes” have all pretty much done this to death. Thank goodness, then, not only for the charming comedic twist, but also for the ability to summon allies into battle, which at least puts a somewhat different spin on this old record. The Bard’s ability to create knights, rats, fireflies, elementals, and other such creatures with his music lends the game an almost real-time strategy type of feel – but he can only summon a handful at a time, and only one of each type. Still, this design decision not only further separates “The Bard’s Tale” from others of its ilk, it is also essential in claiming victory over the countless beasties that would thwart our would-be hero.
“The Bard’s Tale” is also less linear than, say, the original “Dark Alliance,” but just slightly. There are a couple of side-quests of the optional variety, but they are few and far between, further adding to the game’s overall linearity. And, as per usual, the “Dark Alliance” style of hacking and slashing is sporadically addictive and monotonous, depending entirely upon your mood or preference, and apart from this hacking and slashing there’s little else going on.
But charm is the word of the day, and charm is this game’s saving grace, forcing it to rise above its “me too” status on the heels of “Dark Alliance” and its ilk, and it’s bound to put a smile on your face… provided you can cope with the rather bizarre treatment of the source material that inspired this redux.
FINAL SCORE: 7.8 (Good)
In Retro: "Breakdown" Review (Xbox)
Reaching into my extensive backlog of written video game reviews, here was my take on "Breakthrough" at the time I originally played it. Bear in mind, this game shipped pre-"Butcher Bay," and I snatched it up new, so what has become familiar in gaming now (mainly the whole first-person brawler aspect) was, at the time, very innovative and unique.
* * *
Give "Breakdown" the credit it deserves. It's a genre-defying first person action game with shooter elements, but an emphasis on hand-to-hand combat. That sounds strange, and it IS strange, but it actually works, if you can believe that! Add to the mix the most immersive 3D game mechanics I've yet seen, and you've got yourself a game that comes recommended despite its disappointments.
The setup is strikingly similar to "Half-Life," with a few twists here and there. You're Derrick Cole, and you come to in a glossy research facility that is being overrun by genetic freaks from another dimension. In fact, you're a bit of a genetic freak yourself, which makes you the only one capable of saving the day. It also means that you'll have to keep an eye out for armed soldiers who would like nothing more than to put a bullet in you. In all truth, the story doesn't make a lot of sense, but the game is so good at inserting you into its nonsensical setting that it becomes sufficiently compelling.
Initially, "Breakdown" feels like a first-person shooter. You must escape the facility, and firearms are in good supply to help you do just that. Things change, though, when you come face-to-face with your first mutant, as they are completely immune to gunfire. Avoidance is the only policy at first (and the game lays on the tension nice and thick), until at last you begin to morph into a being that is physically capable of taking on mutants in hand-to-hand combat. Because the shooter elements are so basic (you have a severely limited arsenal and targeting can be a chore), things start to get really interesting at this point, because, to my continuing disbelief, this form of combat works so well - provided you're not juggling several opponents at once. Sometimes the game forces you to take on a handful of powerful opponents, and it just becomes frustrating. Fortunately, in most cases it's a simple matter to lure your stupid enemies from their positions and beat them to death one-by-one. Later in the game this is less of an option, since you're hurled into rooms you can't escape until you've pummeled all the mutants it throws your way. Getting hit in the back and watching a ten second animation of you dropping to the ground is less than amusing.
The early stages of the game are immensely well done, and are complete with some staggeringly cool set pieces. One, which introduces you to the game's appropriately scary villain, a half-man called Solus, is better than just about any scripted moment I've ever seen in a game of this type. There are several moments early on that are worth playing repeatedly, and take cinematic gaming to a whole new level. In particular, Derrick's hallucinations as he mutates are imaginative and eerie. Unfortunately, all of these moments are frontloaded, and there are few such bits as you near the finale.
Speaking of the finale, here's where a great games settles with just being good. It's as though the designers got tired of all the work it must have taken to make the first half of the game so brilliant, and just cobbled together the remaining portion. What's more, you have to go through one large area twice! Nothing changes, it's essentially just the same as it was the first time you experienced it. It's every bit as disappointing as it sounds, and will probably threaten to break the will of many players. It doesn't help that it's the worst part of the game in the first place, as the alien dimension stages are visually unappealing, repetitive, and downright frustrating. The game tries to transform itself into a first-person platformer here, and it's ill-advised.
I've been an avid gamer for over ten years, and I've never seen a game with such potential fall short of greatness by a mere hand's breadth, but that's exactly what "Breakdown" does. The initial game is brilliantly executed, and promises an experience that is not delivered when it's all said and done. Even so, there's nothing out there quite like "Breakdown," and I recommend it highly despite its shortcomings. After all, those shortcomings are only as disappointing as they are because the game is otherwise such a joy to experience. Don't overlook this one.
FINAL SCORE: 7.8 (Good)
* * *
Give "Breakdown" the credit it deserves. It's a genre-defying first person action game with shooter elements, but an emphasis on hand-to-hand combat. That sounds strange, and it IS strange, but it actually works, if you can believe that! Add to the mix the most immersive 3D game mechanics I've yet seen, and you've got yourself a game that comes recommended despite its disappointments.
The setup is strikingly similar to "Half-Life," with a few twists here and there. You're Derrick Cole, and you come to in a glossy research facility that is being overrun by genetic freaks from another dimension. In fact, you're a bit of a genetic freak yourself, which makes you the only one capable of saving the day. It also means that you'll have to keep an eye out for armed soldiers who would like nothing more than to put a bullet in you. In all truth, the story doesn't make a lot of sense, but the game is so good at inserting you into its nonsensical setting that it becomes sufficiently compelling.
Initially, "Breakdown" feels like a first-person shooter. You must escape the facility, and firearms are in good supply to help you do just that. Things change, though, when you come face-to-face with your first mutant, as they are completely immune to gunfire. Avoidance is the only policy at first (and the game lays on the tension nice and thick), until at last you begin to morph into a being that is physically capable of taking on mutants in hand-to-hand combat. Because the shooter elements are so basic (you have a severely limited arsenal and targeting can be a chore), things start to get really interesting at this point, because, to my continuing disbelief, this form of combat works so well - provided you're not juggling several opponents at once. Sometimes the game forces you to take on a handful of powerful opponents, and it just becomes frustrating. Fortunately, in most cases it's a simple matter to lure your stupid enemies from their positions and beat them to death one-by-one. Later in the game this is less of an option, since you're hurled into rooms you can't escape until you've pummeled all the mutants it throws your way. Getting hit in the back and watching a ten second animation of you dropping to the ground is less than amusing.
The early stages of the game are immensely well done, and are complete with some staggeringly cool set pieces. One, which introduces you to the game's appropriately scary villain, a half-man called Solus, is better than just about any scripted moment I've ever seen in a game of this type. There are several moments early on that are worth playing repeatedly, and take cinematic gaming to a whole new level. In particular, Derrick's hallucinations as he mutates are imaginative and eerie. Unfortunately, all of these moments are frontloaded, and there are few such bits as you near the finale.
Speaking of the finale, here's where a great games settles with just being good. It's as though the designers got tired of all the work it must have taken to make the first half of the game so brilliant, and just cobbled together the remaining portion. What's more, you have to go through one large area twice! Nothing changes, it's essentially just the same as it was the first time you experienced it. It's every bit as disappointing as it sounds, and will probably threaten to break the will of many players. It doesn't help that it's the worst part of the game in the first place, as the alien dimension stages are visually unappealing, repetitive, and downright frustrating. The game tries to transform itself into a first-person platformer here, and it's ill-advised.
I've been an avid gamer for over ten years, and I've never seen a game with such potential fall short of greatness by a mere hand's breadth, but that's exactly what "Breakdown" does. The initial game is brilliantly executed, and promises an experience that is not delivered when it's all said and done. Even so, there's nothing out there quite like "Breakdown," and I recommend it highly despite its shortcomings. After all, those shortcomings are only as disappointing as they are because the game is otherwise such a joy to experience. Don't overlook this one.
FINAL SCORE: 7.8 (Good)
Subscribe to:
Posts (Atom)