A series that has become unanimous with pop culture, the Simpsons continues to be the longest running animated series on television. Back in 1991, anyone visiting arcades may remember a video game based on the timeless series. This Konami classic provided perfectly themed brawling for up to 4 players in a variety of stages. Flash forward two decades and someone has been kind enough to us to bring this cabinet gem to the modern day arcade.

For those who missed the game on the first run, “The Simpsons Arcade” has the four main members of the family chasing Mr. Smithers and Burns in order to save Maggie. In perfect arcade harmony, there are only two buttons to press, attack and jump. Each of the members of the Simpsons family have different variations on these movements, leading each player to pick favorites depending on their play style. Gameplay rarely strays from the classic brawling we have come to expect from these games, sometimes mixing in a minigame for a good time.

The only negative to point out here is that you do not get much for the $10 entry price. Once you beat the main story either by yourself or with three other friends there is little else to do. You unlock the Japanese version of the game and there are harder difficulty levels, but it still consists of playing the same 6 levels over and over again. There is a cool feature in which the game will ask you how you want to deal with your deaths (free play or limited by quarters) adding a little hardcore arcade value for those looking for it, but in the end you can’t help but feel a little ripped off.

While the game presents some heavy nostalgia, in other ways it has you looking strangely back at your gaming habits. When I first played this as a kid I remember barely making it to the second level, even when my friends were playing with me. Now I managed to beat it in one sitting. I’m not sure if this shows how much I’ve grown as a gamer or exposes the internal flaws of arcade games being built to be a short term commitment. Nonetheless, the game features the original voice cast, has some well-done animations and it has been untouched from the original, which is precisely what anyone picking this up wants.

Blast Factor: Respecting its roots, “The Simpsons Arcade” is built to strike directly at your nostalgic bone and deliver on the classic arcade joy. However, expect to sink in more than a few quarters to relive these memories.

The Simpsons Arcade is available now for Xbox Live and PSN. A code for the Xbox 360 version of the game was provided by the publisher for the purposes of this review

I’ve always had this theory. In the beginning of every year, there’s that strange lull until we get new quality games, and perhaps it’s a bit unfair, but those games set the tone for what the rest of the year will be like. Terrible games are relaesed first? Get ready for a dissapointing year, but if we get good quality games within the first major release week, then that’s a different story.

If The Darkness 2, the new shooter from 2K games is any indication — we’re about to have a great year. Now, don’t get me wrong — it’s not perfect, but it’s fun, over the top and gory fun layered on top of quality writing and fine tuned mechanics. The Darkness 2 sets 2012 off to the right path.

The Darkness 2 is of course a direct sequel to the 2007 shooter based off of the Top Cow comic book series of the same name created by Marc Silvestri, Garth Ennis, and David Wohl. If you haven’t experienced either here’s a bit of a primer; the titular Darkness is an ancient mystical force that allows the one who posseses it access to a mysterious dimension and control over the darkling creatures that reside there.

The Darkness has currently chosen low life gangster and hitman Jackie Estacado as its host, and he’s parlayed that into a full takeover of his mob family — but of course things aren’t that easy. The Darkness 2 starts off with an attack on Jackie and the mob family, and a mysterious man trying to control the Darkness.

So what does that mean for you? Mainly lots of killing, maiming and shooting — luckily it’s all done so well. You’ll start out just as you do with any other shooter, but when The Darkness starts to beg Jackie to let it out again, that’s when the game starts to retain an identity all its own. The Darkness portrays itself mostly as two giant snake like creatures that portrude from your back, and proceed to make your enemies lives a living hell. 2K and Digital Extremes has done a great job making the actual Darkness abilities make you feel like an unstoppable force, which goes a long way in making the game feel so incredibly rewarding.

Take one of the game’s earlier levels, which finds you traveling through a subway system battling a litteral army of thugs. Not only can you use your average guns to take them out, but The Darkness adds a slew of cool abilities to your repertoire. Slash at them violently, grab them, literally rip them apart, take objects as cover — you can even summon darkling creatures to attack your enemies, and apparently they speak with an English accent.

The Darkness 2 also features an RPG style leveling system which allows you to use dark essence from your downed enemies to make your Darkness abilities even more powerful. One of the first abilities you’ll unlock is key — the ability to eat the hearts of your downed enemies to regain health, but I found that if I wasn’t led to a powerup that I absolutley needed, I never really really found myself going out of my way to level up these abilities. The Darkness 2 often felt like it could be finsished without even touching some of these abilities.

Perhaps that’s the Darkness 2′s biggest downfall — there’s just not a ton of content here. The single player game can be finished in a matter of hours, and there’s not really any reason to jump back in after you’ve finished it. Strangely, the multiplayer suite from the first game has been scrapped, but there is a respectable co-op mode, still though, it could turn a lot of online gaming focused players off from an otherwise entertaining shooter.

The visuals of The Darkness 2 though are remarkably well done. Rather than go for a phot realistic look, the folks at 2K and Digital Extremes have gone a route that makes The Darkness 2 look like the living embodiment of a comic book. The environments are all created as you’d expect, and then given a cell shading-esque top layer, which works very well for a game of this style.

Blast Factor:The Darkness 2 might not be a perfect shooter, but it’s an absolute blast and a great start to 2012. It’s violent, fun and performs well in some of the most hectic situations — we just wish there was more of it. If you like shooter, pulp and gratious violence, do yourself a favor and unleash The Darkness.

It’s a bit fitting perhaps that Square Enix used a time travel-centric plot for Final Fantasy XIII-2, as the developers used the continuation tale to literally go back in time and correct what’s widely considered to be one of the worst entries in the long running RPG series. The original was too linear? FFXIII-2 features an impressive amount of wide-open, explorable areas. The original was too repetitive and dull? You’ll find some of the coolest monsters the series has ever seen and beating them will test you almost each time.Yes, this is what Final Fantasy XIII-2 should have been all along, but sadly, no Delorean, Tardis or Jules Verne inspired contraption could save it from becoming just another cliched (if not polished) Japanese RPG game.

The opening moments of XIII-2 set the stage for an epic story. Lightning, the heroin from the original Final Fantasy XIII is in Valhalla, a realm that exists outside of the constraints of time — locked in battle with called Caius. The battle gets you ready for what you think will be an epic confrontation — but you don’t get it, at least not at first. You see, you’re not playing as Lightning, and your main quest is not to defeat Caius — no your quest is completely different. For the majority of the game, you’ll control Noel and Serah, the sister of Lightning on a quest to find her sister before it’s too late. This is in stark contrast to the opening events of Final Fantasy XIII proper, which took an incredibly long amount of time to get you to the main quest.

The time bending story of Final Fantasy XIII-2 serves it’s purpose, but it’s all just too convenient, and Square Enix uses the plot device very liberally whenever it wants to do away with something from the original or something that they can’t wrap up. Stuck in a plot that doesn’t make sense to the rest of the game? Oh, don’t worry — it was a merely the result of a time paradox. Continuity screwed up in between in game elements? I get it, I really do — I want to forget that a lot of FFXIII happened, but it’s a little dishearteing when you’re engaging in one of the game’s longer quests only to be told at the end of it that the events didn’t really matter. I got to the point where I stopped caring about midway through the game. Expect to do the same.

It’s also a bit disheartening that in this, the game that Square is obviously trying to reconnect the series with its roots, have chosen to stick with the nonsense stories that the majority of the later games have used. There are so many moments where you’re going to groan in agony as the game tells another long winded monologue that you’re going to feel like you’ve heard before. Growing up, Final Fantasy was the gold standard of story telling, but it’s no where close right now. To make matters worse, the story is left open intentionally. FFXIII-3 anyone?

That’s not to say that the game doesn’t do anything right — in fact, it does a lot very well. One of the biggest complaints about Final Fantasy XIII was in just how linear the game was; in fact, a lot of people compared it to being fed down a series of tubes with one ending and one entrance. Thankfully, that’s all been changed for XIII-2, as the game features an impressive amount of open and explorable worlds. This plays a part in just about every aspect of FFXIII-2. The game becomes much more open ended and user driven, as you’ll be focusing on a number of different quests at once, but you’re sure to miss a few in the process, which is going to get a lot of people to jump back into the game again once the credits have rolled. FFXIII-2 feels more like the Final Fantasy we’ve fell in love with than any games in recent memory.

I found myself both hating and loving the game’s new, faster combat system all at the same time. Bosses in FFXIII-2 are impressive in both scale and design, and some of them are downright tough. The game seems to encourage trial and error and wants you to keep trying to come back with different strategies. The new Pokemon style monster collection system, which finds you being able to capture up to three wild monsters at a time, and use them in battle is a cool new addition, that fans are sure to love.

Visually, FFXIII-2 is pretty impressive, and at times — inspiring. The series is known for open, sprawling battles and landscapes, and XII-2 is not slouch in that category, but I found myself marveling more at the detail in some of the game’s smallest details. It’s in the ruffling of the Chocobo’s feathers, in the cool effects of your magic attacks. It drips with Final Fantasy charm, and it’s good to see after all of this time. Sadly, the voice acting is pretty unimpressive, and often comes off as overdone and hammy.

The Blast factor: With Final Fantasy XIII-2, Square Enix has carefully listened to fan criticisms of the original game and addressed them; delivering a fast, fun and open adventure that better fits to the classic Final Fantasy name. The sad part though is that it’s still exactly what you’d expect from your typical JRPG, and the developers don’t take any risks — something that the genre desperately needs at this point.

My dad loves football, but he finds football video games too complicated. I can’t really blame him either; I’ve tried to get him into Madden, but when you really break the 800 LB gorilla of a gaming franchise down, it’s tough to explain; even if it is second nature when playing. That’s exactly why NFL Blitz works so well — it’s America’s favorite game (Yeah, that’s right, I said it baseball) boiled down to its most basic elements.

Now, after years of being absent, the arcade style footballer returns; in all of its glory — well, sort of. It’s still just as frantic and fun as you remember, but it also comes during a turbulent time in the NFL, once that changes the very landscape and identity of what NFL Blitz is. Still, if you have even the slightest love for NFL Football, Blitz is a blast, especially played with friends.

If you’ve never played NFL Blitz, it’s basically a suped up version of Madden. The players are bigger and ripped with muscles and the plays more explosive. The game nixes strategy and philosophy for over-the-top action and adrenaline. In Blitz, there are no penalties, teams can catch on fire and it takes 30 yards for a first down rather than the standard ten yards.

The action in Blitz is fast, fun and in-your-face. It’s not uncommon to have score upwards of 30 points in the first quarter, and you’re bound to jump off your feet at least a few times. This is where Blitz excels, there’s never really a dull moment, and it gets even better when you’re playing against friends. This is the type of game that friendships are tested on, as it’s extremely fun to play against your friends in Blitz. Think throwing the game winning hail mary in Madden is fun? Imagine the thrill of doing it in Blitz, complete with players on fire and jumping clean over their opponents.

The most impressive aspect of Blitz is how much it retains the original arcade feel. Games are quick and easy for anyone to jump in and pick up and play. Perhaps more impressive, they’re also just as easy for anyone to win. It’s this accessibility that seems to be missing from most other current gen sports games. Blitz even features the old school Midway style codes to be entered at the versus screen for effects like different stadiums, characters and effects.

This isn’t however, the NFL Blitz of old, not completely anyways. The NFL is a much different league than we saw when the last entry in the series was released and that’s something that Blitz both falls victim to and benefits from at the same time. This season, the NFL has been tougher on late hits, and as a result, you won’t be able to stop your opponent’s touchdown celebration with a late, bone jarring hit. Sure, the hits in Blitz are ferocious enough, (come on, I delivered a piledriver to a Quarterback during a sack) but the late hits were a big part of the original games.

Aside from the Play Now option, you’re bound to get the majority of playtime from the game’s Blitz Gauntlet mode. Similar to modes found in games like NBA Jam and Mortal Kombat, you’ll face off with teams in a ladder format, with bosses mixed in. These bosses range from fictional characters (zombies) to team inspired creations (my Packers for instance had to face off with guys in overalls, Packer Jerseys and cheeseheads). These boss battles also feature powerups spread throughout the field, which makes them feel different than your standard games. There’s also a trading card game similar to that found in Madden, but I didn’t like it there and I don’t here either.

Tim Kitzrow from the original Blitz and NBA Jam games makes his return, and is just as entertaining as ever. Him and his announcing partner openly mock pop culture, including games, which includes Blitz. My favorite was when the two said that next year they’re going to audition for Madden because it pays more. Visually, NFL Blitz is on par with what you’d expect, though I was a bit disappointed at the lack of detail in some of the player’s faces. Sure, sometimes Aaron Rodgers looks like himself in the game, but others he just looks like another nameless, faceless NFL Quarterback.

The Blast Factor:NFL Blitz proves that arcade style sports gaming still has a place in modern gaming. It’s a blast to play, especially with other human players, and its accessibility makes it easy for just about anyone to jump in and play. . If you’ve got even the most slightest affinity for the sport or multiplayer gaming — you owe it to yourself to check out this modern day revival.

Tagging alongside the massive undertaking by Steven Spielberg and Peter Jackson, “The Adventures of Tintin: The Game” attempts to capitalize on the undeniable hype surrounding the blockbuster film. It may be easy to categorize this game in the same spectrum as the unavoidable horrible movie tie-ins that come with nearly any marketable film. However, by shrinking its audience down to the younger fans of the film, Ubisoft has produced a not so terrible game tie in that may just please some of the more devoted fans of the Belgian journalist.

As is the case with many of these games, the story mimics that of the movie it is based on. There is no deviation from the plot and no interesting spin offs in order to show any further development of the characters. Worse, the game actually expects you to have seen the film before playing it, skipping over some not- so-important plot points in order to get you back in the action. It can feel heavily rushed at times.

Nonetheless, where the story fails to develop past the established base, the gameplay takes in interesting twist on how it captures the events of the film. The bulk of the game places Tintin in a 2D plane where he is able to ascend and descend levels at designated areas in order to avoid enemies. When they do spot you he combat is moronic at best, with the majority of enemies being taken down by a simple shake of the Wiimote. Certain bad guys will be more heavily armored and will require the use of projectile items to defeat them. When everything is working it plays like a simplified Metroid with some Metal Gear Solid elements, yet fails to craft the same level of challenge as those games. Bringing in another partner for co-op only makes the experience easier.

At about half way through the game, vehicles start coming more into play, with extended segments placing you behind the wheel of a biplane, motorcycle, and human torpedo. Unfortunately, the vehicles control like a blind whale with horrible turn angles and unnatural handling. The small joy you feel when the game sends other biplanes at you for some dogfighting action is quickly subdued as you have to fight with the plane you are controlling more than the actual enemy.

There is some rudimentary puzzle solving included as well as small segments where you play as Tintin’s trusty dog, Snowy. While entertaining, they wear thin by the end of the game and fail to add any more replay value to the already short adventure (clocking in at about 4 hours).
Another method of breaking up the action is by means of a flashback sequence in which you play as the Captain of the doomed Unicorn. In it you have a rudimentary, on rails swordfight against some pirates. Here is where some Wii Motion Plus action comes into play as the sword you are holding is highly responsive. It is a shame, then, that you can easily beat most bad guys by shaking it frantically. However, if you are willing to take it seriously, it can be a bit of fun.
In the end, after setting aside all the negative praise, you find yourself with a rather charming little game. It is functional, and the animations are pretty to look at. There seems to have been some genuine effort put behind this project, unlike most movie tie-ins. When it comes down to the grind, this is not worth forty dollars, but any kid who loved the movie will find certain enjoyment out of this title.

Blast Factor: Despite its unavoidable flaws, “The Adventures of Tintin” for the Wii is a functional game. The gameplay is enjoyable and varied and the environments have some charm. It is not made for the average gamer, with the challenge present being minimal for anyone who has played a game in the past ten years. However, it is sure to please any young Tintin fans as they find it wrapped at the foot of the Christmas tree.

As video games evolve, our view of them as mere entertainment has grown, with many games challenging what is possible in an interactive medium. Arguably, first person shooters have seen the most radical change out of any other genres in the past decade. Some notable titles have put meaning behind all the bloodshed and managed to carve out some honestly impressive works of art. Serious Sam 3 is not one of those games. Acting like the past 10 years in game development never happened; Serious Sam packs some heavy retro charm, yet stands out as one of the more refreshing releases of this year.

To say Serious Sam has a story would be a generous statement. There is a plot, in which Sam is sent to Egypt to kill some aliens and discover the secrets of some long lost civilization, but it is so paper thin that is it barely worth mentioning. Nonetheless, it is unobtrusive as to allow for the action to keep a constant pace no matter what. Something that does stand out are the hilariously bad one liners from Sam, which are never repeated and spaced out enough so that you don’t grow tired of them. His selfishness and overconfidence come off perfectly. In a way, he is what Duke Nukem should have been.

The gameplay is maniacally simple. Literally the entire game consists of blowing away hundreds of enemies as you find better weapons. While it may seem like a crime that a game like this can exist in this day and age, developer Croteam have crafted a nearly therapeutic experience. The level of challenge does not increase with smarter enemies or clever puzzles, they just send more enemies at you at an even faster rate. One does not think as they play Serious Sam, they simply shoot. To add to the compulsion, at the end of each level you will be presented with stats of how you did as well as a par time, begging the manic completionist to come back and better their run.

Staying true to its roots, Serious Sam does not include regenerating health. Health packs and armor will be your only salvation from the hordes of enemies vying for your flesh. Iron sights were added to certain weapons, but it seems like an irrelevant tweak meant to appease some angry blogger. The only notable new additions are melee weapons and attacks, which can get you out of some seriously tight situations when needed.

Despite the old school charm, the game does suffer from the same flaws games faced back then. The enemies are as dumb as a box of rocks, they will simply charge at you until you shoot them. The few puzzles you do encounter seem out of place and act as a poor way to break up the action. There are some obviously cheap moments as well, with very little health and scarce ammo forcing you to reload an earlier save.

The game runs on the Serious Engine 3.5 and it scales beautifully. Texture work leaves a lot to be desired, yet there are some fantastic smoke effects at work. The animations are laughably bad, but add to the charm of the experience. However, the crowing jewel is the amount of enemies it can produce. The odds placed against you are staggering, with literally hundreds of enemies littering the screen at once. Thankfully, there is never any slowdown, even on a medium range machine.

In a way, he is what Duke Nukem should have been.

Multiplayer is back, with the classic deathmatch and capture the flag game modes feeling as tacked on as ever. On the other hand, the co-op presents a ridiculously good time. It supports up to 16 players at once in both survival modes and the entire campaign. The game does slow down significantly when multiple players are playing at the same time, yet the commotion present is unlike any other.

When Serious Sam 3 was announced, many fans feared that Croteam would try to apply changes to their formula as a means to attract a wider audience. Amazingly, yet somehow not surprisingly, Croteam has not changed a thing and Serious Sam has not aged a day.

BLAST FACTOR: Throwing away literally every modern shooter convention, Serious Sam 3 stands as a time machine to a simpler time. Croteam have shown that simple gameplay coupled with a well balanced engine can deliver some seriously good entertainment. Hardcore to the bone, this arcade shooter will entertain anyone who has ever found enjoyment in blasting a virtual foe.

The original Legend of Zelda came out when I was two, and I still remember sitting in front of the TV as my mom and brother (and eventually me) navigated through dungeons and dished out Hyruleian justice master sword style. I can trace my love of gaming to those moments being amazed by Link’s quest.

It’s only fitting then that after 25 years and a lot of gaming, I’ve finally got that same feeling back – and it’s another Zelda game.  With incredible production values, bold new mechanics and a wonderous sense of exploration; The Legend of Zelda: Skyward Sword feels an awful lot like falling in love with gaming again. Each time I booted it up, I found something new that I made it not only the best Wii title or the best motion controlled game but the best Zelda in franchise history – and that’s truly saying something.

Nintendo’s bold design choices start with the story of Skyward Sword.  This is the origin story fans have been clamoring for years for that Nintendo wouldn’t give us. Skyward Sword gives us a look at a Hyrule from times gone by, with Link and Zelda as childhood friends. Of course, before long, something terribly wrong happens and Link must go on a quest to save not only his friend, but the world.  It may not seem like a huge change from the established Zelda formula – that is until you take into account just how well it’s all presented.

Skyward Sword is easily the most cinematic Zelda experience to date, and even though there’s still no voice acting, Nintendo has done a magnificent job crafting a thrilling and remarkable tale that’s not only engrossingly epic, but decidedly intimate.  This is accomplished through a mix of taking the emphasis off of the simple plot and on to the game’s interesting cast of supporting characters and letting their emotion come through. Thanks to brilliant pacing, imaginative framing and some of the most well done cutscenes in recent memory, this is a Zelda title that you’re going to find it hard not to be engrossed in and its one that sets a new standard for Nintendo.

The Wii motion plus adds a great deal to Skyward Sword

After 25 years, we’ve all come to know what to expect from a Zelda game, but Skyward Sword challenges that too.  The incorporation of the Wii motion plus controller will change the way you want to play Zelda from here on in. Suddenly, it’s not about just timing and getting a good jump start on your opponents, but making good, conscious decisions how how and when to attack your opponents.  The motion plus enables you to watch your opponents and study just where you should be attacking them. You’ll watch their motions, their patterns and strategize as to the best plan to take them out, but be warned, your enemies can do the same to you.

The true genius of incorporating the motion plus into Skyward Sword is that it never once felt gimmicky and lends itself extremely well throughout the entire experience.  From throwing bombs, to swimming and even gliding through the sky, the Wii Motion Plus feels incredibly natural, like it was made to be used with the Zelda series all along. This isn’t just a game that uses motion controls well – it’s the game that perfects them. Unlike other motion games, I never stopped to wonder what the game would be like with standard controls since I was having so much fun. I often got the feeling that this was the first time that the promise of the Wii and motion control is general had been fully delivered on.

Skyward Sword’s incredible sense of pacing also plays a big part in just how great it is. In previous Zelda games, it was all about the dungeons, and everything before it was just a prelude to the heart of the action. While the dungeons still represent the main portions of the game, Skyward Sword manages to spread out a good portion of the action so it never feels like you’re just traveling to get to the “good parts” again.  There’s also a great sense of exploration here that’s been missing from previous Zelda games, which will require you to go back into areas you’ve already been through to complete certain sections, though it never feels like you’re backtracking as you’re constantly given new tasks and new abilities to try out.

Visually, Skyward Sword is somewhere between the cartoonish visuals of the Windwaker and the darker tones of Twilight Princess. Nintendo seems to have finally admit the limitations of the Wii console and have this created a visual style that’s not only extremely engrossing, but also a great fit for the title.  The entire game has a storybook feel to it that makes the game feel incredibly more epic.

The Blast Factor: When Nintendo introduced the Wii, and motion control to the world, it made some hefty promises. Now, nearly six years later, with The Legend of Zelda: Skyward Sword, those promises have been delivered on.  This isn’t just the best Zelda game or the best Wii game, it’s also the first game that makes motion controls make sense. With its incredible production values, new gameplay ideas and most importantly heart, The Legend of Zelda: Skyward Sword is simply one of the best games I’ve ever played.

If you were to ask me earlier this year who  the most dependable independent studio in gaming was, I’d be hard-pressed not to answer with Telltale Games. The San Rafael, Calif. based developer, famous for episodic titles like Sam and Max, Puzzle Agent and the revival of the Monkey Island franchise constantly releases quality puzzle and action games, with a distinct old school flair and top notch production values.  With their new game though – the gaming adaptation of the classic Steven Spielberg film Jurassic park, the studio is looking to blend new school mechanics with their tried and true formula.

It didn’t work.  Jurassic Park: The Game removes nearly everything from the Telltale formula that made it so endearing in the first place. Gone are the puzzles that require you to think, absent are the high quality production values that give the game that certain something – hell, it’s not even really a game as much as an interactive movie. I get it, the idea is to constantly bring new ideas to your studio’s games, but not at the expense of what made it so popular in the first place.

Jurassic Park: the Game picks up at one of the original movie’s few unanswered questions. About halfway through the movie, Nedry takes a barbasol can full of dino embryos to meet someone looking to pay high money for them, but of course he’s met with a face full of acid and the package never arrives. The game attempts to answer the question of just what happened to the employee (revealed here to be a female mercenary) sent in to retrieve the embryos. Along the way you’ll meet a dinosaur doctor and his daughter who are also stuck on the island, and it’s there that Jurassic Park: The Game begins proper.  It’s an interesting way to approach a story that pretty much everyone knows, and a can be a lot of fun for diehard fans of the franchise.

Jurassic Park isn’t as much of a game as it is an interactive movie experience.  The majority of the game follows a simple formula  — navigate the island through a series of quicktime events and point and click style sections.  Yep, it’s pretty much as boring as it sounds.  Let me walk you through a section, and this could really be any section – walk around, click on everything the game lets you and then move on. Yes, it’s that easy and more often than not there’s no real criteria for in what way you click them or in what order. It’s a far cry from the Telltale Games puzzles of the past, and in a way it’s sort of insulting.  Every now and then you’ll run into some dinosaurs (or perhaps more effectively they’ll run at you) and this is where the game should get interesting, but instead it gets even more disappointing.

So there you are, minding your own business and then BAM! A T-Rex comes out of the bushes and begins to chase you. At this point, you’d think the game would get interesting, but each of the game’s action sequences is presented via a quicktime event so you’ll simply follow the button prompts on the screen and poof – you’re done with the dino nightmare at hand. Normally I’m not as opposed to quicktime events as I was with Jurassic Park, but here if felt like a cop out, like an easy way to deal with having to take on such a menacing enemy. During the game’s development, Telltale was very vocal about how Quantic Dream’s PS3 exclusive Heavy Rain inspired a good portion of Jurassic Park’s gameplay and it shows, they just seemingly didn’t get inspired by the game’s story.

Throughout the game I had literally no attachment to any of the game’s characters, environments or actions, in fact – there were points I wished they would up end of at the wrong end of a Raptor’s claws. Each of the characters; the know-it-all doctor, the innocent little girl and tough talking mercenary chick, all feel like one dimensional stereotypes that seem to have taken all of five minutes to create. The game also seems to have an issue with switching between these characters as it’s never quite easy to be sure who you’re controlling and why. Most Telltale games make you control one character at a time – a formula the developer should have stuck with.

Jurassic Park: The Game is also missing the high quality production value that has given past Telltale Games titles such an identity. The characters models are decent enough, but the rest of the game looks and feels awkward. Characters move very stiffly, and the animation feels less than  second rate and the environments are all drab and lacking in detail. Perhaps most disappointing is just how forgettable the game’s music really is. Aside from the franchise’s trademark theme, the music is all forgettable, and even the dinosaur’s roars all seem unimpressive.

Blast Factor: With all of its classic source material, Telltale had a great game on its hands with Jurassic Park, but sadly the finished product didn’t even come near that potential.  Less of a game than an interactive movie, Jurassic Park is a dated, boring and somewhat insulting way to exploit a classic film. Congratulations Telltale, you’ve found a way to make a T-Rex boring.

In the past, THQ and Volition’s Saints Row series has been the equivalent of the Scary Movie films. They take something successful and loved, in this case the Grand Theft Auto series and mock it for all its worth. Sure, it’s passable, but it never sets its sights higher than being a goofy version of something that came before it. Until now that is.

With Saints Row: The Third, Volition has thrown caution (and pretty much everything else to the wind) and carved out a brand new identity for its goofy open world action game. Sure, you’re still going steal cars and run amok in a large virtual city, but the heart of the latest Saints Row comes with its new over-the-top action move direction that’s created some of my favorite gaming moments of this year. Perhaps it’s fitting that Saints Row’s defining moment came in its third game, just as it did for the series that it once emulated.

At the end of Saints Row 2, the Third Street Saints have defeated all of their rivals and have thus turned their once little street gang into a media empire. They’re spokesmen for Japanese Energy drinks, they’re on billboards – they’re targets.  It’s in a routine bank heist, with an actor looking to “do some research” for the upcoming Saints movie that things go awry. The bank tellers begin to fight back and it’s not long before the Saints find themselves in jail. Just when the Saints are beginning to doubt what they’ve become, an organization known as The Syndicate bribes the cops and lets the Saints out and the organization’s leader, business man Philippe Loren attempts to make a deal with the Saints; give up two thirds of their revenue and he’ll let them live. Of course, that doesn’t sit well with the our anti-heroes, who stage one of the most off the wall escapes in gaming history and Saints Row: The Third begins proper.

Well, to be honest, any Saints Row game before this one would have began there, but the moments before this scene set the stage for some of the game’s big changes. You’ll start by creating your character, and while not all of your options are open to you at first, throughout the game you’ll be able to create some truly out there characters. I started out with a well dressed and dapper Spaniard with a unibrow and several moles, but as the game worse on he became something else entirely; a cross dressing clown with pigtails and blood dripping down his face.  Saints Row: The Third truly lets players create whoever they want to be their lead character, including zombies. Yes. Zombies.

The core gameplay of Saints Row: The Third remains the same, take cars and run amok in an open world city while trying to make a name for yourself, and it’s deeply satisfying – for the most part. The new city of Steelport is a large one filled with vastly different sections of the city, like the bustling downtown filled with lights and illuminated billboards, the residential section and the industrial section. I often found myself just finding cars and driving around the city, just to see what I could find. Handling is more forgiving like Grand Theft Auto III and it’s spinoffs than the realistic Grand Theft Auto IV, so you’ll be able to have a lot more fun driving around and not have to worry quite as much about taking those turns as 90 MPH.

Where Saints Row: The Third really makes its mark though is with its new over-the-top action sequences. Finally carving out its own identity, Volition has presented a number of high octane moments that are a complete blast to play. Take for instance that scene where the Saints attempt to rob the bank, it starts off as you’d expect, going through and shooting everything in your path, but it soon turns into something that like nothing you’ve ever played before.  Before long you’re jumping from building to building Uncharted style and hanging from a safe that’s being hoisted from the building via helicopter. You’ll also parachute into a crowded party and much more. It’s almost impossible to play through these missions without a smile on your face – or much more, laughing loudly.

Perhaps that’s the real genius of Saints Row: The Third, even while creating its own identity, the game never loses sight of its roots and never takes itself too seriously, keeping its comedy fully intact. The game manages to mock not only games like Grand Theft Auto but movies, music, pop culture and even itself. Throughout the game you’ll catsit a lion, take out furries and even visit a Tron inspired world. I firmly believe that the real appeal of any open world game like this is to be the biggest douche-bag you can be, and Saints Row does that perfectly by allowing me to summon an airstrike against an entire city…while being completely naked.

It’s also remarkable how Volition has managed to integrate the music into the game’s core experience. Parachuting into a crowded party would be exciting enough with a royalty free guitar riff behind it, but when you put Kanye West’s “Power” behind it, the scene becomes something different entirely, it becomes a spectacle. The game is filled with these moments, in fact one of my favorite moments of the year comes early in the game, if you turn your car’s radio to a specific station, the characters will sing the entire song “What I got” by Sublime. When it happened, I had to stop what I was doing and just watch the game, it’s an even bigger feat when you take into account that the game allows you to choose between three different voices for your character.

Aside from the game’s main missions, there’s tons to do in Saints Row: The Third. You can commit insurance fraud, surf on jet planes and even get a sex change. The game also features a number of different modes including the aptly titled “Whored Mode” (yes, you read that right) and a pretty fun multiplayer suite.  Saints Row: The Third is an adult playground that drops you in and lets you do well….pretty much whatever you want.

The Blast Factor: In the past, it was easy to cast off Saints Row. It’s just a funny Grand Theft Auto clone. It’s uninspired. Now though, thanks to a series of improvements and most importantly the series finally carving out its own identity, it’s almost impossible to ignore Saints Row: The Third. It’s a tongue-in-cheek thrill ride that gives the player ultimate freedom. It may not be perfect but it’s easily the best game of the series.

Most racing games flaunt their cars. They flaunt the insane amount of rides, how realistic they are and what it feels like to drive them. Need For Speed: The Run is different though. The cars seem like an afterthought in favor of…the ability to get out of the car.

Yeah, you can see where this is going.

In a year with two quality Need For Speed games and a slew of other high quality racing titles, Need For Speed: The Run feels like a step back, a fraud almost. The actual racing mechanics themselves feel lackluster when compared to similar games and even the Hollywood blockbuster style storyline feels boring and uninspired. The Run could have been a quality action romp, but instead it’s one of the most disappointing games of the year.

From the get-go, The Run could have been great. The game, which finds you as a contestant in a cross country race from San Francisco to New York, is basically a rehash of the 1981 Bruce Willis movie  Cannonball  Run. In truth, there’s nothing wrong with that – the game takes you on some pretty cool trips, from the hills of San Francisco to the fields of Middle America, the tunnels of Chicago and finally the bustling streets of New York City.  The game recreates these locales in pretty impressive styles and most looks just as you’d expect it to.

To the developers credit, they manage to get some pretty varied (well, at least early in the game) missions into these locales. In some stages you’ll be pitted against a clock because you’ll need to make up time against other racers, and others you’ll have to avoid cops and gangsters in Hollywood style action sequences.  They’re really well done, but odds are you won’t notice; these sequences are presented as QuickTime events, so you’ll be more focused on pounding on the button that appears in the corner of the screen to fully enjoy what the developers have done here.

It’s a shame then that this Hollywood style treatment isn’t found throughout the entire game; namely the plot…or lack thereof.  Everything in Need For Speed: The Run feels incredibly scripted and as a result, less than thrilling. There’s no room for error in this incredibly linear tale as you’ll always need to complete each of the game’s objectives in the right order to move on or your trying again. Cops and other NPCs all behave and speak the same way, and in some sections it doesn’t matter what you do, the game shoehorns you into quicktime event action sequences.

The most disappointing aspect of The Run is just how few of options there truly are. You can’t fine tune your car or buy new parts for it; hell – customization is completely gone here. You’ll pick up new cars along the road and in gas stations, but if you don’t like them, your only option is to wait until you find a new one. This takes a lot of the replay value out of the game when compared to other Need For Speed games, and is especially apparent in the online mode. No longer are you racing against player’s own creations, you’re just racing against pre-made cars with attributes set by the computer. Where’s the fun in that?

Of course, this would all be forgivable if The Run was a great driving game, but it’s not…it’s not even a decent one. Gone are the fine tuned machines and mechanics from previous games in favor of arcade style controls that feel tacked on. Cars often feel floaty as if they don’t have any weight to them and handling can be incredibly frustrating.  It’s often that you’ll be chased by a group of pursuers, making good time, but be screwed over by one curve and have to start the whole race over again.

The Blast Factor: Need For Speed: Shift and Hot Pursuit served as rebirths for a racing franchise that had gone stale. They introduced new mechanics and were a blast to play through. In that sense The Run can only be seen as a major step back. It’s built on shoddy mechanics, goofy premises and a horribly bland story. There are plenty of great racing games on the market and this is not one of them.

Once in a while, with a batch of very sub-par games in a genre, one will shine brightly among the rest, proving that such a game genre should exist in the first place. WWE ’12 is that wrestling videogame who rescues the pack, showing the public a phenomenal title can come from such a niche.

On an apparent downward slide, the wrestling videogame industry was hurting. A cult following could only provide so much support when the franchise slowly spiraled out of control. It eventually went into a place where even the most hardcore fans wouldn’t follow (see Hulk Hogan’s Main Event… *shudder*). As of lately, it’s been hard for the wrestling industry in general. But with major changes in the industry (such as The Rock coming back! Who’s stoked?!), the whole aspect of wrestling seems to be on the upswing as it fights its way out of a very deep hole. And it’s swinging hard and fast.

A quick side note before diving deep into the vast universe of WWE ’12:  My apartment is full of diehard fans that were drooling at the sight of this game. Collectively, we’ve been playing these games together since we all met in freshman year of college. Nights have turned into mornings as we’ve created our own characters, move-sets, finishers, and story lines, challenging each other’s titles, interweaving character paths. This traditional has gone for four years and counting as our created superstars, such as Bo Wilson, the Canadian Olympian, or Bad Doktah V, the mad scientist with a hobby of creating evil monsters, have all gone through the test of time just like the real wrestlers through the decades. Just be wary of the judgments made in the review since the game was not only scrutinized by me, but also by the hardcore fan boys that I live with.

We tend to be a bit intense at times.

With that said, let’s explore WWE ’12.

The first thing you’ll notice when you pop the disk into your console is that developers took serious time and effort to make ’12 as smooth and realistic looking as possible. Superstar faces, for the most part, look like the real superstars, the voices are actually their voices, and their move sets and their entrances are exactly their real entrances. The graphics are impressive, clean and the presentation is out of this world. In games past, frame rates would get caught in the currents and freeze up, limbs would go wild into spasms during matches, and the presentation slowly decayed. No such thing exists in ’12. It took me hours of game play for me to experience my first glitch (which I expected much, much sooner considering how glitchy both Smackdown vs. Raw 2010 and 2011 were).

The superstar entrances are truly pristine. The fireworks and pyrotechnics are 99 percent accurate and the entrance videos are the real thing. The lighting is very cool and the fluidness of moves makes for a great show. Even when characters talk, their mouths are attempting to work with the words that are spoken. It’s nice to see so much time spent on even the tiniest details in a game so large.

The Rock returns and delivers a Rock Bottom to Cena.

Combat is usually where past wrestling games have been lacking. They’ve been a lot of show and no mechanics. My roommates had mixed feelings on how the game handled when in the ring (or outside of it).  Thinking since we had been playing the series of wrestling games for so long, we upped the ante and put the computer difficulty on “Legend.” This was a very poor choice, as developers have changed controls completely to make combinations and chains free-flowing. After creating my character, Flynn Withers, the crack-cowboy-hooligan, I decided to try him out against Chavo, who is a relatively low level. With him on set on “Legend,” Chavo decided to bring the pain and tossed my poor cowboy around like a rag doll, totally disregarding the fact that his level was 12 or so below mine. I swear he Gory Bombed me at least twice… If you’ve played previous wrestling games like Smackdown vs. Raw ’09, ’10 or ’11, you’re in for some abrupt changes in controls.

Countering and reversals, the most important thing in any wrestling game, is still one trigger, but a lot more difficult. One of the first things my friend yelled out as Mark Henry was beating him to a pulp was that the game was not user friendly to beginners. I would have to agree. If caught in the rampage of a chain or combination, it can be teeth-grittingly frustrating to try to reverse your way out of it. Not to mention, the signatures and finishers can be so quick to follow, at times, it seems impossible to block. It all takes time to get used to. Time and practice.

The grappling system is what took the biggest changes. Grappling is set to one button (“A” or “X” depending on your console) and then works with directional stick movement. When grabbing an opponent, you have seemingly endless options. You can hold the bumper and target a part of the body to deal a strike to, you can toss them, Irish whip them, you can signature/finish them if you have such an option cued up.  It was overwhelming at first and really confusing, considering we we’re all a bit too stubborn to check out tutorials. Taking the time to know your superstar’s move set is vital, and once you know the set it’s possible to string together some devastating combos.

Pinning has been changed as well, removing the desperate button mashing routine. Instead, there is a meter that can be compared to kicking a field goal in Madden. You’ll hold “A” and attempt to stop the meter in the blue area to kick out from a pin. Using the resiliency ability can give gamers the opportunity to temporarily enlarge their blue area for an easier kick out. The more your superstar is beaten up, the smaller the blue area is. It makes for some pretty quick matches at time and is insanely nerve racking.

Overall, the buttons have been swapped and changed around to the point where ’12 is a brand new addition to the genre. It can be difficult to get the hang of, but through the creation of a move set or playing any of the story options, it gets easier with time. A few of my friends would argue that it’s too complicated and would prefer it go back to 2010 set up. It really depends on the gamer’s preferences.

WWE ’12 has set a new bar with options for creation to the point where it’s almost too much. After pouring hours upon hours into creating a character, a move set and an entrance, I realized there was still the possibility to create a ring, a logo, and even a story with scenes and matches cued up. There are probably even more things to create that I haven’t even found yet due to the vastness of ‘12’s creation opportunities.

WWE '12's creation feature is easily the best of the series.

Although I’m still angry for one sole reason: The point system still exists…

The point system is at the bottom of the screen when creating a character. Players are allotted only a set amount of points to dress and accessorize their superstar. These points run out extremely fast when trying to dress your character appropriately, making it difficult to really make what you want. You may like a jacket that fits with your character’s persona, but it may cost so many points that he’ll go pants-less, much like our created superstar Batty the Banker (a very formal man with a very nice green velvet jacket and no pants we loves leg drops – very professional, we thought). Since our original creations on Smackdown vs. Raw 2009, it’s been absolutely impossible to recreate our masterpieces due to the point system… We all loathe it, and you most likely will too. It’s a terrible flaw to a wonderful concept.

On the other hand, the opportunities are endless with customization. It’s easy to gut sucked in. You may plan on putting an hour aside to work on your superstar, but you’ll glance at the clock when you’re finally finished to see that five hours have gone by. It’s fair to say, even though the point system limits creativity, it makes for evolution of characters if you’re recreating on the new platform.

There are quick options too, if you’re not looking to spend ages on any one thing in particular, which is a nice touch. There are pre-set move sets from old superstars, and you can even use some older superstar move sets that just aren’t labeled in the game specifically (just poke around online and they’ll show who corresponds to each number). Same with entrances: there is a quick edit option to just use someone else’s entrance. What’s great is you can still utilize personal mp3s for entrance music, so if you’ve already uploaded music for previous wrestling games onto your console, they should be good to go.

There’s absolutely no limit to what you can make (unless, of course, it’s actually dressing your character). It’s up to you to decide how deep you want to go into customizing your wrestling world. It’s having the option that makes it so fantastic.

Road to Wrestlemania is the attempted storylines for WWE ’12. And, honestly, they weren’t as bad as I assumed them to be. Usually, the purchase of a wrestling videogame was for the sole reason of multiplayer. This mode, however, is worth one play through.

The modes are broken into three paths. It’s the standard “bad,” “neutral,” and “hero” set up. With each path obviously labeled, the game does not allow you to make your own decisions. You’ll be prompted to fight matches with certain superstars and your fate will already be decided. It probably could have been made better by giving players the option to make a choice, that way there would be some sort of replay value, but the story is already scripted and ready to roll. If you fail an objective, you’ll be forced to restart.

Even winning some matches will earn players a prompt to hit “Y” (or triangle depending on platform), which will cue a cut scene. Sometimes, after laying down the smacketh on an opponent, you’ll still lose because that’s the path of the story. This is understandable considering it’s a story, but it doesn’t make it any less frustrating.

Of all of them, the hero path is the best (which always seems to be the case in videogames). Players will control a new wrestler with the name Jacob Cass who has just joined the WWE and is being mentored by Rey Mysterio. They’ll be prompted to either create Cass or choose someone to model Cass after.

Do not choose an already custom made superstar!

In case you couldn’t read that, I’ll put it in all caps.

DO NOT CHOOSE AN ALREADY CUSTOM MADE SUPERSTAR!

The game will make your superstar into Jacob Cass, changing the character’s build. The appearance should be fine, despite that, but if you’ve spent a long time tweaking the build of your superstar, you’ll find this immensely frustrating.

Getting past that flaw, you’ll fight against Kevin Nash and his WCW cronies as they attempt to destroy Monday Night Raw for good. It’s a story filled with betrayal and twists and, overall, it’s definitely worth the play through. There were a few dull moments of filler where you fight Vader and Animal in backstage brawls over and over again, which definitely gets old. But teaming up with some legendary superstars is pretty cool, not to mention homage is paid to old legends such as Eddie Guerrero. If you play any of the roads, it should be the “hero” path.

Universe mode is probably one of the coolest and in-depth options ’12 has to offer. You can play as any superstar, included custom ones, and work your way through a schedule of events. You’ll be matched up with and against random superstars as you fight your way to the top. You can play through every match on the calendar, but that would be outright ridiculous if you did. A simulation option is available for players to breeze through matches that don’t involve them or their allies. Again, this is a prime example of WWE ’12 giving players complete control of their game play.

Using my Flynn Withers, I inserted myself into lower matches, fighting against Otunga and Del Rio. After defeating them in the ring, cut scenes took place and one of them to a cheap shot to my crotch, causing a rivalry between them. Managers will get involved, allies will get involved, divas will get involved, there’s really no telling what will happen after each match. Tag partners will choose to not help, the Heavy Weight Champ will come in and wreck house, it all happens and without warning. I tried to make it as realistic as possible, so I worked my character into the upper ranks of Raw in order to fight my way into Smackdown. Winning matches and sustaining momentum will cause your character’s levels to rise slightly, while a defeat will crush momentum and downgrade you a little. You’ll fight Number One Contender matches to have a crack at specific belts and people can interrupt matches and alter who wins or loses. The best part is it is always changing. You’ll make shaky alliances that will flip-flop in the next match, or you’ll make the worst of rivals that will beat you down before the match even starts with a metal pipe (yes, that happened to me). Due to the unpredictable nature of the mode, it’s a lot of fun and keeps players coming back for more, even if it’s just to defend a title.

What’s nice is almost any mode in WWE ’12 can be turned into a multiplayer situation. The only exception was Road to Wrestlemania, which is primarily a single player story.

Multiplayer is much like it’s always been and probably the largest selling point for ’12. Again, developers really stress the idea of customization to gamers, and made every match option a possibility. You can have a 40-person Royal Rumble or you can fight your way to the top of a six-man ladder match (tried it, I suggest you don’t, it took over an hour).  Everything is there, from First Blood matches to Iron Man matches to Elimination Chambers.

The Back Stage Brawl matches, however, were a bit of a disappointment. There is only one stage with multiple areas, which was amazingly intriguing at first, but got old real fast. You can push someone through car windows, or smash their head with a door, but honestly, 2010 got it right. There were plenty of items to use and the item grapple option was wonderful. WWE ‘12’s brawls are far more lacking and get stale after exploring the whole area once with friend(s).

WWE ’12 does offer online play as well as online sharing that’s definitely worth checking out. People will create absolutely everything throughout the game that can be shared and downloaded by other gamers. They’re rated, and the higher the rating the more downloads you’ll probably get. Say you’ve spent considerable time on creating an arena and want to see what others think. Just upload the ring and see how it does, it’s all in good fun. It is very similar to Halo Reach’s option to create maps with an online download option. Uncovering the process was quite refreshing, showing that other people poured as much of their life into ’12 as I did.

As far as unlockables go, there’s a ton. There are old superstars to unlock, new arenas, new titles and new attires. The Road to Wrestlemania will unlock a lot of them, and so will fighting through the WWE Universe. There’s a lot to unlock, however, and it will take full exploration of the game to get everything out of it.

To put it simply – if you have the time for WWE ’12, it will reward you.

BLAST FACTOR: Among the broken remains of the wrestling videogame world, WWE ’12 shouts over Cena’s taunt of “You can’t see me!” and demands recognition. It’s smooth and looks incredible, is outrageously accurate in representation of the superstars, and has fluid combat controls. If you’re a fan of the older games, be prepared for different controls. The customization options are through the roof and unrivaled by any wrestling game thus far. Players have the ultimate control they’ve been looking for… except for that damn point system. WWE ’12 demands a lot of time be put into it and is a very simplistic equation of “work in = work out.” For those looking to really dive into the depths of a wrestling game, this is the game for you. With endless options, gamers can literally spend days creating and building their own worlds. It’s truly amazing what can be accomplished.

There is a lot there for fans to reminisce about, and tons of superstars are available for play (I’m especially glad Edge is still in the game despite his recent retirement). On the other hand, some of the game play can seem repetitive and may bore some gamers if not played with friends. The Road to Wrestlemania will briefly satisfy some, but for most it will grow stale quickly. Universe mode is a huge plus to the game and can keep the single player mode alive longer than a normal wrestling game would survive. Ultimately, ‘12 is definitely meant to be played with friends and is a multiplayer game at heart. This is a game for the fans, but maybe not for the casual player. Exploring WWE ’12 and committing time to it, however, can spark interest of the wrestling world in anyone and give gamers a new appreciation for a genre that seemed so close to a three count. Get that shoulder up, WWE ’12 is here.

Some games just have a deeper feeling to them. They penetrate the mind and dig deep, stimulating thoughts of curiosity, awe and wonder. Team Ico is one of the few that can pull off such feats in the creation of their games. They seem to know what they’re doing, even if it’s just re-releasing old titles in high definition. With the Ico/Shadow of the Colossus Collection re-release, the company has successfully inspired and re-inspired an old adventure that’s worth re-visiting.

Considering there are two games bundled into one, it’s only fair to give two separate mini reviews with an overall judgment at the end. First up to bat is Team Ico’s first release, conveniently titled Ico.

ICO – Ico is a double edged sword for me. It’s a moving and revolutionary game that has definitely altered how people will look at puzzle/adventure games. On the other hand, it’s frustrating and border line obnoxious at times. The story begins with soldiers taking a boy with horns to a large prison fortress. Apparently deemed “a bad omen” because of the horns protruding from his skull, the boy is locked away and sealed into the fortress by magic.  The soldiers leave, thinking the boy is sealed away for good, and his prison pod comes crashing to the ground after a tremor shakes the castle, releasing him.

The boy, named Ico, wanders the castle and eventually stumbles upon a caged girl named Yorda. After some navigation and platforming, you free Yorda from her prison and together you search for an escape.

After freeing Yorda, shadowy figures come from the floor and attempt to kidnap Yorda from you. Your task is to keep her safe from the creatures and lead her through the puzzles and rooms of the fortress.

The game has a healthy mix of puzzles and combat, although the combat is incredibly simple. As Ico, you’ll continually beat down the shadow creatures as they attempt to grab Yorda and pull her into the black abyss.

A lot of love is sent Ico’s way due to the pure simplicity of it all. It’s straight forward and lacks a lot of explanation, but that’s absolutely okay. It’s minimalistic on purpose, and it hits home. It’s a boy-and-a-girl story through the perils of a seemingly abandoned castle. And that’s all you need to know.

The game is designed beautifully, and with the HD makeover, it’s even more so. The textures of the tiles and bricks, the smudgy look of the shadow creatures, the light vs. dark complexion, it’s all stunning. The design, despite the emptiness of it all, is full of beauty and things to simply admire while navigating bridges and passageways.

It’s a unique game which Team Ico set the bar with for adventure games. Yes, it’s an escort mission through and through, but between its minimalistic approach and gorgeous layout, Ico has truly put a new spin on adventure games.

On the other hand, Team Ico could not have made Yorda more annoying. At times, she’ll follow you at a normal pace, but at other times, she’ll stop dead in her tracks. Yorda needs to be tugged around on occasion by grabbing her hand, she can’t climb things, and seems pretty inept in the ways of basic survival. It gets to a breaking point when all you want her to do is just stay away from the hordes of shadow creatures. But no, she’ll just stand there. Sometimes she’ll move around a bit, but she doesn’t put up a fight.

It’s hard to move past Yorda’s obvious lack of survival television shows in her life, but if you can, the game is fantastic. It’s beautiful and open, a type of game I had never played before.

But moving onto Ico’s sibling title…

SHADOW OF THE COLOSSUS – I’ll be completely honest with you right now, and let you know from the get-go that this has been and continues to be in my Top 3 favorite games of all time. The re-release just continues to inspire all my love for it.

Shadow of the Colossus (or SOTC for short) holds true to be the epitome of adventure. It’s a game that demands bravery and intelligence, and defines ambition and imagination.

The game begins with the protagonist, Wander, riding his horse, Agro, with a seemingly lifeless girl riding on the back. He travels to a forbidden land with a stolen enchanted sword, hoping a higher power will breathe life back into his loved one. The story is sparse, but moving, told mostly through visuals and the straight forward quest handed down to you by the deity Dormin. You are told to defeat the 16 colossi roaming the forbidden land, and then the girl, Mono, will be resurrected.

Equipped with only your sword and a bow with arrows, you travel with Agro, your only companion throughout the game.

Like its predecessor Ico, SOTC centers itself with a minimalistic concept. Defeat the 16 colossi. The world you travel in is vast, visually stunning, and for the most part vacant. Occasionally, there is a hawk in the sky or a lizard scurrying on the ground, but, in the end, it’s just you, Agro and the colossi.

Although empty, the game’s setting has truly been mastered by Team Ico. The designers take into consideration the importance of light. In the sunlight, Wander has the ability to raise his sword to create a compass in order to locate each colossus. In the shadows, however, the sword struggles to gleam and will fail, leaving players to use their own intuition to find their way. When fighting colossi, players can also use the light to locate the “sweet” spots on each boss. Some are much harder to locate than others. But in the sunlight, a ray of light can uncover a symbol where Wander should plunge his sword into on each colossus.

Beyond the light, the sounds are extremely immersive. When galloping through the sand, crunches will be heard, the wind can be heard howling over thing bridges and rocks can be heard crumbling under Agro’s hooves.

And the soundtrack deserves its own paragraph. An orchestral soundtrack further promotes the intensity and epic feeling of each boss battle. Sprinkled throughout gameplay, each movement of the orchestra is just as beautiful as the visuals. Shadow can absolutely claim to be fully immersive to the senses (when it comes to gaming, so obviously disregard taste and smell), which only adds to its already high regards.

But the best part of SOTC would be the most obvious: The battles with each colossus.

The first time I happened upon a colossus, I was left staring at the television screen with a stupid look of amazement on my face. All I could do was gaze upon the marvel of the massive being in front of me and ask myself, “How the hell am I supposed to beat that?”

After 10 play-throughs of SOTC, gamers will still look forward to the challenge.

But nothing amounts to the first play through. Fighting each colossus for the first time is an incredible journey that forces a player to drastic measures requiring brave moves and out-of-the-box thinking.

Approaching each colossus triggers a cut scene, where Team Ico proudly boasts their earth and rock creations as they slowly begin to move and approach Wander. Hulking in size, the colossi are mostly unique from one another (I saw mostly because two are strikingly similar to each other, the environment is just different), each built differently with different weak spots. The task will seem impossible at first as the massive beings attempt to crush you with their feet, clubs, wings, etc.

The battles are beyond exhilarating and require a puzzle-like way of thinking to come out victorious. Each colossus will have their own environment, their own build and their own attacks The ground shakes as you approach, dirt is kicked up and the screen blurs as players move the camera quickly. In the bottom right hand corner, a pink circle represents Wander’s grip gauge. This gauge is dire to the game and notifies players how long they have before Wander will completely lose his strength and let go of the colossus he is trying to scale (or hold onto for dear life).

You’ll struggle and explore the environment you’re in to find the best route of attack against your goliath of an opponent. Sometimes you’ll have to scale walls, jump from bridges, swim through lakes, all in efforts to just reach the colossi. Each setting usually adds to the experience, whether it’s a sand worm jumping at you from the ground, or a lizard-like colossi scaling the walls and spitting lightning breath.

The trait of bravery is needed to succeed in these battles. You’ll be standing underneath a downward moving hoof four times your size, aiming at a glowing weak spot with your tiny bow. Completing such feats gives players a rush that is experienced over and over again. It’s absolutely invigorating.

Upon defeat of a colossus, however, there is a twinge of sadness and regret. Since there is a lack of explanation, I ended up wondering why I was killing these creatures. They made no moves to hurt me. The story itself is an emotional ride that definitely forces a player to look at the acts they are committing.

No game is perfect, however, and SOTC is no exception. Getting lost on the large map is annoying if it happens, and considering there’s nothing except colossi, a journey can quickly turn from gorgeous to miserable.

In the end, when it comes to SOTC, the combination of story, visuals, soundtrack and colossus battles make the game one of the best I’ve played ever. SOTC is another unique game that the videogame world has yet to see again. Such a game stands alone, unchallenged and has stood the test of time. The re-release is an even better excuse to live or re-live the journey. The magnificence and awe are almost impossible to do justice to in a review and I strongly encourage you to experience it for yourself.

The Collection disk also offers a few things that the original PS2 games did not that deserve recognition. Obviously there were no trophies on the PS2 versions, but they are added and a nice touch to the PS3 collection. Extra features are also included on the disk which allows players to take a closer look at the development of both Ico and SOTC. There is even a concept video they had for SOTC before it existed that involved online cooperative play to take down a colossus. To be honest, Team Ico should continue to pursue such a project, it would probably do well considering how much thought and time goes into the creation of these games (aka I’m still waiting on The Last Guardian…). There is a small fault with the disk, being you cannot change games after picking a title to play. You’ll have to restart your PS3 to switch between games.

BLAST FACTOR: In the first season of Mad Men, Don Draper pitches a product called The Carousel. He said, “…in Greek, nostalgia literally means ‘the pain from an old wound.’ It’s a twinge in your heart, far more powerful than memory alone.” It’s safe to say that the Ico/SOTC Collection is a powerful blast of nostalgia. I smile at the travels of Wander and Agro, although with a small sense of sadness as I cut down each majestic colossi all in the name of love. I fondly remember the massive spiraling staircases and the brief interactions of Ico and Yorda. These are definitely games of the past, but they’ve been etched into gaming history. I used to keep my PS2 plugged in, so when I felt the yearning for Team Ico’s masterpieces, I could pop them in whenever. The re-release of both titles was beautifully amped with high definition graphics, making already visually stunning games look even better. Although Ico can be a bit much at times with Yorda’s constant lack of commitment to survival, SOTC reigns tall as the perfect re-release. It’s a great excuse to replay these games (not that you really need that), and a huge reason for Team Ico newbies to dive in. Buy this collection. It’s worth every second. And on top of that? Three words: The Last Guardian.

Final Grade:

For the better part of five years, I worked as  Disney cast member. I spent day after day learning the biggest secrets of a company that protects that to no end and as a result, I lost what Disney and its fan know as “the magic.” The extraordinary became mundane,  and in a weird way, I began to step away. Who knew it would take a virtual trip back to reignite my love.

In that sense, Kinect Disneyland Adventures does its job, and it does it very well; you’re constantly reminded of just what’s right about the Disney company and its brands, especially if you play with those familiar with the park. As a game though, it’s more of a mixed bag. It’s really fun and a cool demonstration of the tech behind Kinect to interact with the characters, but basic mechanics like moving around feel incredibly complicated, and will make you practically hate the experience. Still, I can’t help but recommend Kinect Disneyland Adventures for all of its charm, especially if you’re big on the park itself.

The idea behind Disneyland Adventures is simple, guide your avatar through the Disneyland park and go on adventures and quests as given to you by Disney characters. Now, this is a very idealized version of the famous theme park, there are no lines, the cast members all speak English, it’s not crowded, and you’re able to walk directly up to any of the characters at anytime. Curiously enough — there’s always a crowd around the characters, but no one — but you, ever goes up to them.  To the game’s credit, the Disneyland in the game is pretty accurate compared to the real deal; I was able to run around, without looking at the map, and get where I needed to go just based on my memory of the parks. Of course, some changes have been made for the sake of gameplay, but those are few and far between. The permanent popcorn carts and stands are even in the right place, impressive for a game that basically serves as a commercial.

The characters are also impressive in their recreations. For instance, we found Captain Hook outside of Peter Pan’s Flight in Fantasyland, and one of the options is to extend your arms in a hug motion to interact in that way with the characters, and while everyone from Mickey and Donald to Cinderella and Buzz Lightyear was happy to give a squeeze, Captain Hook (along with the rest of the Villains for that matter) were unsure of what to do and seemed very confused when we tried. Of course, this is a Disney game and every villain has a heart of gold deep down inside, so we eventually got our hug. There’s a fair number of interactions with each character, like dancing and signing autographs. The autographs are one of the game’s coolest feature, as you’ll gain points for collecting different autograph books (there’s one for heroes, one for villains, one for Princesses and so on) and getting the right characters to sign them. I was at first a bit annoyed that I had to do so much backtracking, but it became incredibly fun to dash around the parks with different books.

Each character you find will give you a different quest to go on in the park, whether it be giving something to another character, tracking something down or going to one of the attractions. The attractions are where the Kinect capabilities really come in. The rides and shows take the form of motion themed mini games, where you’ll interact with the attraction and its story. Much like The Disneyland park itself, these are idealized versions inspired by the attractions, so instead of actually going on the Matterhorn itself, you’ll be bobsledding down a hill and trying to evade the Yeti. A lot of these worlds are pretty cool, like the Haunted Mansion inspired world, which finds you hunting ghosts with a flashlight while the famous Ghost Host narrates your adventure. The worlds are given a more cell shaded look than the rest of the game, which lends a classic animation feel to them. The best part of all of this again is just how right they got everything, with the Ghost Host in the Haunted Mansion, Captain Hook and Smee in the Peter Pan levels and even the corny jokes in the Jungle Cruise section.

Now, it can be pretty hard to walk in a Disney park because of the crowds, but even though they are pretty much non existent in the game, it’s an incredibly frustrating experience just to walk. Kudos to the developers for trying to not just making it an on-rails game like most Kinect developers, but there’s simply got to be a better way. You move around the game by holding your hand up; holding it straight causes you to move forward while moving to the left or right has you moving in that direction and putting your hands to your side to stop. When it works, it’s great, but unfortunately, it doesn’t work a lot. The slightest movement will cause your character to shoot off into another direction — just hope you don’t get into a corner, as it’s going to be hell to get out of it.

Things get worse when you start unlocking different items to use like a magic wand or a megaphone. You gain these items by lifting your hand up and selecting them from a pop up wheel. While it may sound simple, the game has a hard time registering whether you’re trying to pick an item, or run forward and it’s incredibly frustrating. At one point I had the wand equipped, and saw the same teacup animate probably 20 times because the game wouldn’t register that I was just trying to put it back. On that same note, the voice controls are pretty superb. While they weren’t perfect, the game was incredibly responsive a good portion of the time.

The Blast Factor:  It may be a pain to get around, but Kinect Disneyland Adventures does its job of reminding you just why you love the  Disney parks. You’ll interact with your favorite characters, go on your favorite rides (sort of) and even find some secrets hidden around the park. The game is at its best when its played by families and kids get excited when they see their favorite characters. At the very least, it serves as a running commercial for the Parks.

A game like Skyrim poses a serious question to how game reviewers do their job. In general, we follow a pretty rigid schedule; start game, play game, finish game, write about game. But what happens when a game never ends?  The answer in short – one of the best experiences I’ve ever had with a video game.

From its gripping opening scene, to the adventures your quests will bring you, all the way to the game’s climactic finale, The Elder Scrolls V: Skyrim is unlike any other game you’ve played before. Its level of depth, dedication to storytelling and details both big and small combine to make one hell of a package.  Say goodbye to the sun, Skyrim is here and it’s about to rule your life.

Skyrim is less of a sequel to 2006’s Elder Scrolls: Oblivion, as much as it’s a new chapter in an ever expanding book. Set 200 years after the events of the last game, tensions are high in Skyrim as civil war rages along the countryside. The game opens with your as-of-yet-unnamed character being sent to be beheaded, but then the dragon shows up. Long thought to be extinct, the slithering beast begins wrecking havoc on the town, prompting your escape. It’s here that you really start to get a feel for Skyrim, and where your quest actually starts.

It’s here, where you create your character, and here that you’ll get your first look at the depth that Skyrim packs. The character creation tool is an impressive one, giving you the freedom to choose everything from your appearance (you can get incredibly in-depth if you want to) to your race and characteristics.  You can of course, change the majority of these throughout your journey, but a few of your choices do stay with you from the beginning.

The depth of Skyrim’s character creator assures for a wide variety of characters between separate games. I myself created a battle-worn, older grunt type character, complete with war paint, hobo bears and scars who specialized in heavy weaponry and elemental energies. To me, it’s what gives me the best chance in any given fight throughout Skyrim. Of course, this is an Elder Scrolls game and the choices you make, combined with the way your game plays out with have a direct impact on your style.

Like any Elder Scrolls game, Skyrim is a game that believes that getting there is half the fun. Sure, you could escape the village where you nearly lost your life and go right on with the main quest, but you’ll be missing a good portion of what makes Skyrim such a remarkable feat. Instead, go somewhere – anywhere. Wander through the game’s vast fields and gigantic mountain ranges, see what the world Bethesda has so lovingly created has to offer you. Pick the plants, talk with the locales, find some bandit hideouts.

There’s truly so much to do within Skyrim that it’s likely you won’t take on an actual quest for quite some time.  I strongly believe that one of the most impressive moments in any open world adventure is the first time you’re given a real look at just what goes in within the game’s world, and that’s a feeling that happened countless times as I found new areas of Skyrim. What’s most impressive about the world of Skyrim is just how detailed everything really is.

There’s a strict set of rules that govern the world of Skyrim, that makes the game’s ecology work. My first few moments being let loose in Skyrim, I found, stalked and hunted a moose and it made me feel incredibly powerful. As I kept traveling, I came across other animals, like bears and wild boars, and while these fights tested my unproven warrior, it made me level up faster and become comfortable to take on the game’s main attraction, the dragons. When you do eventually defeat a dragon and stand over the beast’s defeated body, it’s extremely rewarding and feels like nothing else in gaming. Just don’t get too ahead of yourself like I did and think “I took down a Dragon, a mammoth should be no problem!” Just a word of advice, the majority of the game’s mammoth population is controlled by Skyrim’s race of giants – and you don’t want to mess with them.

As of this writing, I’m more than sixty hours into Skyrim, and I still don’t feel like I’ve even scratched the surface of just what the game is and what it can do. Now, to be fair, that’s because I have been doing so much wandering and not paying a whole lot of attention to the actual events of Skyrim, but that’s still a testament to just how impressively immersive the game is.  The game’s impressive visuals serve as a testament to this – in most cases.  The sweeping vistas and lush scenery is impressive, but close-up, especially on consoles, the textures can became blurry and create some pretty strikingly ugly scenes. For the best results, play on PC with an Xbox 360 controller. Seriously, don’t laugh, give it a try.

I wonder if he's friendly...

The Blast Factor: The Elder Scrolls V: Skyrim continues a long standing tradition of excellence for Bethesda’s role playing series. Though it retains the depth and strategic elements of the previous games, it’s also the series most accessible title, making it a great jumping on point for fans new to the series. With all of its exploration and content, you’re going to be playing Skyrim for a long time, but that’s okay, you didn’t like sunlight anyways did you?

Hype is a funny thing. It can build anticipation for something, and it can also turn people against it. Uniquely, in the case of Modern Warfare 3, it’s done both.  The Call of Duty series is known as one of the 800 LB gorillas of the gaming universe and is guaranteed to sell a ton of copies each time a new game releases, and Modern Warfare 3 was everywhere. At the same time, its annual release frequency, combined with the soap opera like events that ousted former Infinity Ward (the studio behind the Modern Warfare games) heads Jason West and Vince Zampella have led to some calling the series stale (in not as polite words).

After all of the hype, all of the smack talk and all of bickering, Call of Duty: Modern Warfare 3 is more than worth the hype. Yes, the engine is beginning to show its age and yes – there are some hiccups; hell you can even make the argument that this has all been done before, but this is what it boils down too — Modern Warfare 3 is a mechanically sound, fun and fluid shooter that does a lot more right than it does wrong.  Detractors or not, with its much more streamlined campaign and remarkable online play, Modern Warfare 3 is the best Call of Duty yet.

For the last ten years, the world has been gripped by fear and Modern Warfare 3 is the realization of those fears. Picking up directly after the events of Modern Warfare 2, the world has erupted into full scale warfare. Captain Price and his squad are wanted men as they chase down Makarov, the man who ignited this global conflict.  It’s a campaign that will bring you from a war torn Wall Street to the streets of Paris and everywhere in between. Just like in previous games, the story shifts from character to character, location to location, even nationality to nationality, but Infinity Ward has done a great job making this a much more focused endeavor than in years past. In games like Black Ops and Modern Warfare 2 it was easy to forget where you were, what you were doing and just why you were doing it, but Modern Warfare 3 rarely loses sight of its goal, and why it’s telling the story that it is, but that doesn’t necessarily mean that it’s all that interesting.

What results is a passable story that serves as a reason to visit some extremely large fire fights.  From the previously mentioned Wall Street mission to a tense mission in the London subway and even a battle aboard the Russian President’s hijacked plane, Infinity Ward and Activision know their audience.  There’s no shortage of Michael Bay style testosterone fueled moments, and they’re incredibly fun thanks to the game’s tight controls, remarkable pacing and fine tuned tweaked mechanics that feel just about as good as they ever have. I was a bit surprised at just how dumb some of the enemy AI is. I may have an unarmed vehicle firing rockets into each and every one of your fellow troops, but sure, just run on out with them, showing total disregard for your personal safety. This happens much more often than you’d think, and it seems like the developers chose this to ensure that the game keeps its high octane level throughout the experience, but it’s a highly noticeable flaw.

Regardless, Modern Warfare 3 is easily the best looking Call of Duty to date. Running at a buttery smooth 60 FPS, Modern Warfare 3 handles the majority of its frantic action and over the top spectacle with little to no damage via lag or other issues that usually effect games like this. Infinity Ward must also be commended for how they used impressive animations and these large set pieces to create a truly engaging experience.  It may not compare to the visuals produced by the Frostbite engine in Battlefield 3, but the burning buildings and full scale firefights are done well enough to keep you interested and keep move the story along.

Let’s be honest though; the good majority of you aren’t here for the single player, you’re going to get the game and dive right into the multiplayer, and thankfully, its easily the best the series has offered. Of course, the core mechanics remain the same as it has in previous games, but Modern Warfare 3’s multiplayer suite is a much more streamlined and persistent experience than those that came before it.  Each of the sixteen new maps are worth checking out, and the constant progression feels immensely rewarding.

Killstreaks and perks have been reworked to be more beneficial to players of all different skill levels. Yes, you can of course still unlock rewards by racking up kills, but there are now support packages that allow those who aren’t as skilled as the others. This goes a great length in making the suite more accessible for newer users, who can then go in and get as addicted as the rest of us are. Its really a great new feature that encourages cohesive teamwork between all squad members.

Also new to the experience in Modern Warfare 3 are weapon perks. Where before you would unlock weapons by leveling up, Modern Warfare 3 adds a new level of depth to the mix with the ability to level up each weapon, adding a whole new level up depth and customization to the experience. You could change the kickback, the amount of ammo it holds or a slew of other options. This means one player using the same weapon may have a completely different strategy and experience than the next. It’s a great addition and should add tons of extra hours to an already deep experience.

Special Ops also makes it return and should serve as a distraction when players want a break from the online multiplayer suite. The challenges in Special Ops are interesting enough, from disarming a bomb to taking over a plane, there’s a lot of replayability here, and even more so when you add in the new survival mode. Survival doesn’t offer anything truly innovative, as it’s pretty much the zombie mode without the undead, but it does serve as a cool new way to get together with your friends, and since it can be played offline, it’s also a great way to learn the multiplayer maps.

The Blast Factor: Call of Duty: Modern Warfare 3 is an incredibly solid shooting experience. The campaign and the engine behind it may show its age at certain points in the game, but they are few and far between. The story is much more focused, the weapons have more weight and the stellar multiplayer suite has been fine tuned and tweaked. A game like Modern Warfare 3 will always have its detractors, but it’s their loss, they’re missing one hell of an experience.

Everyone’s heard the old adage “if you want something done right, you better do it yourself.” Nintendo, running out of options for its embattled 3DS system as the Holiday season quickly approaches, seems to finally have understood that as Super Mario 3D Land is not only the most impressive game on the handheld, but it could spark a revival for it. Aspiring 3DS developers take note — this is how you truly take advantage of the console’s power.

Of course, Super Mario 3D Land starts off like almost every Mario game before it; Princess Peach has been kidnapped by Bowser and its up to Mario to save her. The key here is that when she got kidnapped, she was checking on a special tree in the castle courtyard which contained the leaves that give Mario the Tanooki suit. It’s a simple story really, one that you’d expect from the franchise but it’s told via charming cut-scenes that really take advantage of the system’s 3D capabilities. In between worlds, Mario will receive photos from the Princess, detailing her predicament. These letters could be the most impressive use of the 3DS screen yet; they pop with color and vibrance.

From a gameplay standpoint, 3D Land is everything you’d expect from a Mario game — but it’s also so much more. Interestingly, it’s tough to figure just what Mario game it borrows from the most. It feels an awful lot like Super Mario 64 or Sunshine, but it also borrows a lot from NES classic Super Mario 3. Super Mario 3D Land feels like Nintendo picked the best pieces of the entire Mario history and blended them together seamlessly.  The level design is incredible and perhaps most interestingly encourages users to experiment and explore. Take one of the castles found early in the game, there’s an unassuming torch that most will just run past, but interacting with it will prove valuable in your quest. Sure you could just go from one end of the level to the other, but you’ll be missing a good portion of the experience.

On that same note though, that sense of exploration could annoy some. The goal of most Mario games has always been get from point A to point B, and for the first few worlds I did just that. Sure, I would get the occasional star coin on my way, but I was never too concerned with getting them. It was quite a shock then when later in the game I found that I needed fifty of those coins to even advance through the game. As a result, I went through the game…each level and collected the coins. While this backtracking may seem a bit annoying to some, it was here, with all of the “Aha moments” that I truly fell in love with Mario’s latest adventure. By going off the beaten path you truly get an appreciation for the amount of work Nintendo put into the game.

To be honest, for a game in such an established franchise, Super Mario 3D Land is quite the deceiving experience. It’s easiest to think of it this way; this is a game with two different sides. The first is world 1-8, almost laughably easy, you’ll get a lot of extra 1-ups (by world two I had 60 or so without even really trying) and move fast, but then after world 8 (yeah, there’s more than eight worlds), things change drastically. The platforming is tougher and you’re going to have to have to be incredibly precise in your jumps and timing. Telling you about these worlds would be a major spoiler, so you’re going to want to experience them yourself, but just be ready for the swift shift in gameplay.

Super Mario 3D is a game that is meant to be played using the system’s 3D capabilities, in fact you could go as far as to say that this is the first game for the handheld that truly takes advantage of the 3D, without it getting in the way. Using the 3D effects, you’ll be able to experience Mario’s world in a way you’ve never done. Here, it’s easier to judge the distance between blocks, jumps and it even helps get a better feel for the level design. There are certain sections (mostly near the end) that are nearly impossible to pass without using the 3D, but what’s great is that not only can you adjust the game’s 3D using the slider on the system, but during certain sections a simple press of the d-pad will adjust the d-pad even further. There is one portion of the game where the 3D does seem to get in the way though — in each world, there are binoculars somewhere and looking through them will enable you to survey the map using the 3DS’ gyroscope and if you’re one of those that gets headaches when not staring at the 3D dead on be warned, you’re going to want to turn it off before using them.

What would a Mario game be without power-ups? In Super Mario 3D Land, you’ll of course have the standard mushrooms, power stars and fire flowers, but the game introduces a few new(ish) items to the game as well.  The most prevalent of course is the returning Tanooki tail, which allows Mario to flutter and float in the air (no, it doesn’t do everything it did in Mario 3). There’s also a new boomerang suit, which allows Mario to toss a boomerang at his enemies. While it was helpful, I found myself shying away from the boomerang suit when I could in exchange for the fireflower, which itself is improved and can take out multiple enemies at once.

For a 3DS game, Super Mario 3D Land is easily the best looking on the system. Everything from the shading to the wonderful animations and crisp textures makes for an incredible sense of production. The world of Super Mario 3D Land is a bright and colorful one filled with breathtaking visuals and they all fit in the palm of your hand. The sound is just as charming as you’d expect from a Mario game, and the soundtrack is a mix of classic tunes and new mixes that are so catchy it’s damn near impossible to get them out of your head.

Most charming about the game though is the sheer level of fan service it packs. The game is full of references to previous Mario games, from the Toad House from Super Mario 3 to having to cross a bridge and jump on a switch to defeat Bowser and send him to a fiery pit below.  It’s not just Mario games that get nods here; there’s a much talked about Zelda inspired world early on in the game, and there’s  even a few instances where standing on a certain spot in a hidden room makes the Zelda discovery noise. Perhaps most impressive is just how all of this, the fan service, the excellent production values, and the fun gameplay work together to create one impressive and unforgettable experience.

The Blast Factor: Super Mario 3D Land illustrates a very important point — never count Nintendo out. After nearly ten months, a ton of disappointing games and a massive price drop, the 3DS not only has it’s first must have game, but it has one that defines the system and what it can do. Super Mario 3D Land may not be perfect, but it is the most impressive 3DS game to date, and one of the best Mario games in a long time.

I’m what you call a wallflower. Born with two left feet, it’s a hazard to many when I’m dragged on to the dance floor. Let me let you in on a little secret though; when the curtains are drawn, and mood is right — I’ve been known to cut a mean rug in front of games like Dance Central with the family. You’ll probably never see it, but it’s quite the strange site to see a grown 240 lb man shaking it to Poker Face. Dance Central and its sequel are easily the standard in the newly forming dancing genre, but Sony’s new entry Everybody Dance is a more than capable challenger to the throne. With a slick presentation and a few new bells and whistles, it could be the most surprisingly fun guilty pleasure you’ll have this year — be warned though, the more you play, the more you’ll start to pick apart its flaws.

By now you know Everybody Dance’s deal, hold the PlayStation Move controller, and shake it to a bunch of awesome music while diagrams on the screen show you what your next move will be. It’s a simple formula, but Everybody Dance may have found an incredibly simple way to improve upon it. The upper left hand corner of the screen features the song’s music video, and while it may sound distracting for the dance steps, it serves quite a useful purpose. Odds are that the majority of the people playing games like this and Dance Central aren’t the best dancers, but are looking to have a fun time. Adding in the music video seems to make those apprehensive to join in the fun a bit more since not everyone’s attention is focused directly on them. In general though, the presentation in Everybody Dance is top notch. The on-screen display is crisp and unlike games like Just Dance, they’re quite easy to follow.

Of course, any dancing game is built on just how good its track listing is, and Everybody Dance delivers here too. While other games in the genre clearly focus on one genre while throwing occasional love to others, Everybody Dance’s track list is an eclectic one to say the least. At one point you’re jamming to Rihanna, then the next you’re getting nostalgic with New Kids on the Block or even a bit romantic with Barry White.  Personally, I really enjoyed my time with Elton John’s “I’m still standing” and The Chemical Brothers, “Hey Boy, Hey Girl.”

In Everybody Dance, you can dance alone, compete against a friend or alongside them in co-op, but where the game really takes off is with its dance creator mode. Here, you can skip the game’s choreography for the game and record your own, then challenge others to dance it. This is extremely fun and novel in a number of different ways — first, people like me can record the strangest dances in the world and laugh as friends try to copy them, but it’s also great for those who can actually dance and want to show the world their choreography skills. If Everybody Dance has legs, it’ll be here.

Really, the only thing that bugged me with Everybody Dance isn’t an issue with the game itself, but the platform it’s on and its limitations. The PlayStation Move requires the controller and the Eye camera, so it begs the question — if I’m doing all of this work, trying to match up with the choreography perfectly, is it just monitoring the controller itself? Could I get by with just moving the controller somewhat similarly to the way the dancers are? Yes…and no. Most songs don’t allow you to cheat, but there were a few times when it felt like I was just able to take the easy way out. Take for instance a few cases where I was given good scores after I know I screwed up the majority of my body.

The Blast Factor: Everybody Dance is the perfect game to bring out at parties. Everyone is bound to have a good time since they’re not paying that close attention to the game’s mechanics. It’s bright, loud and so incredibly fun that even wallflowers like me are going to find it hard to resist. It may not be perfect, but Everybody Dance could be one of the biggest surprises of this holiday season.

When it was released alongside the Kinect last November, Kinect Sports was one of those no question purchases for a good majority of the peripheral’s early adopters. It was easy to jump in, fun for the whole family and a good display of what the camera system could do. It was also filled with flaws and glitches that affected the game’s visuals and gameplay. Now, one year later, Rare and Microsoft return with Kinect Sports: Season 2. Filled with more sports, and fine tuned Kinect functionality, this year’s game goes miles ahead of last year’s, but unfortunately, it’s still packed with many of those same flaws that ruined the previous game.

Kinect Sports: Season 2 introduces players to five new sports, baseball, football, tennis golf and downhill skiing; along with darts (note: not a sport – just sayin’). Of these six, skiing is the easiest to jump in to; simply stand like you’re skiing and move your body from side-to-side to move between your markers. From time to time you’ll have to jump for style points, and while it’s quite fun, it can be irresponsive at times. The game does a great job of adjusting the difficulty so you never really feel like you’ve lost until the end of the race – even if you’re doing terrible.

The game’s football mode is disappointing, but comes with some impressive tech. Players control either the quarterback or one of the receivers. The quarterback crouches down to hike the ball and either yells “Hike!” or moves their arms as if retrieving the ball to start the play. Your receivers icons above their heads will turn green when they’re open and you can either throw the ball to the left, right or straight ahead.  Receivers catch the ball by stretching their arms out, and then run in place to get to the end zone. The quarterback can also call an audible at the line of scrimmage if he sees a weakness in the defense, though don’t expect a Madden-like level of strategy here, calling audibles is basically a game of chance more often than not.

As basic as the football controls are, it’s easy to envision next year’s Madden, which has been confirmed to feature Kinect functionality use something similar to the system here.  Imagine walking up to the line as Aaron Rodgers in the Superbowl, looking over the defense and calling an audible using the same system the actual team does.  The ideas in Kinect Sports: Season 2’s football mode feel an awful lot like a great starting point for other things – even if they’re not all that fleshed out here.

It should come as no surprise that golf is the game’s most fun and responsive mode. The majority of the golfing mechanic is easy and responsive, and the addition of voice controls for club selection makes things seem even more fluid. Admittedly, it was a bit weird being so used to having a Wii-mote in my hands to golf, and it threw me off a bit at first, but thanks to how intuitive the game the system is, that problem didn’t last long at all. It’s important to note that it took a while to get used to putting, as the game kept hitting the ball too hard regardless of my motion, though a quick trip to the Kinect tuner seemed to rectify this.

http://youtu.be/1XOvszz-bdU

In a similar fashion, baseball is also a mixed bag. Pitchers can throw the ball with either their left or right hand, curving the ball by curving their arm. Sounds pretty simple right? Unfortunately, the game seems to fall apart once you step into the batter’s box. As you’d expect, batting is based pretty solely on timing, but sometimes even when you get a good hit, the game sends it directly to a spot in the outfield where an opposing player is, which triggers a mini game for the outfielder. It just seems like the baseball portion of the game is built mostly on luck rather than any kind of skill.

By far, the most disappointing aspect of the game is the darts section. Put quite simply, it’s almost unplayable due to limitations in the Kinect system itself. Darts is a game of accuracy, and the Kinect seems to have no way to judge where you’re trying to send the darts you’re throwing. Quite often I would aim one for an upper portion of the board, only to see it go to the very bottom. To see just how bad the game’s recognition for darts was, I closed my eyes and made a cartoonish throwing motion and to my surprise it went almost perfect straight. Hopefully this is something an update can fix.

One of the biggest problems with the original Kinect Sports was that you had to be playing a full game either online or against a local opponent to compete with friends, but Season 2 adds a challenge mode to each sport that adds a ton of replayability to the title. Baseball for instance has the home run derby and golf has a targeting mini game.  Season 2 also introduces a much more streamlined menu process that features a responsive voice system. Want to play football? Just say it. This year’s game is much easier to navigate through.

The Blast Factor: Though it’s not a drastic change from last year’s game, the teams at Rare and Microsoft have done a nice job addressing the majority of the issues to make Kinect Sports: Season 2 a much more enjoyable experience. Not all of the sports are as enjoyable as the next, and unless you’ve got a big group looking to play, you’re likely to get tired of the game rather quick, but Kinect Sports Season 2 is a fun if not flawed party experience.

Sonic the Hedgehog’s gaming career sounds an awful lot like an episode of E! True Hollywood Story. When he debuted for the Sega Genesis in1991, he quickly rose to super stardom; spawning everything from TV shows to action figures and even breakfast cereals – but then it all went wrong.  After a steady stream of games, some of which changed the very appeal of the character, Sonic and his growing cast of supporting characters began to wear out their welcome with the gaming public. It wasn’t long before the once proud console mascot was reduced to making cameo appearances in his one time rivals games.

Of course, even the worst True Hollywood Stories have some sort of a happy ending – and Sonic Generations is just that for the Blue Blur. Of course Sega has gone back to the well and revisited Sonic’s heyday before – but never to this level.  Not since his original 16-bit debut almost twenty years ago has Sonic felt this fast, fun and imaginative. Be warned though, much like Sonic crashing in to a wall, Generations ends with a disappointing thud and reminds you why Sonic went away in the first place.

Sonic just can’t catch a break. While celebrating his birthday with his friends, the Time Eater, a n unfamiliar enemy appears and begins to send everyone into time holes, scattering them throughout different points in history. Sonic finds himself in a bland, colorless area known as White Space where he encounters a younger and more pudgier version of himself. The two blue blurs decide that their best option is to race throughout their shared history, restore order and rescue their friends.  Naturally.

What follows is both a love letter to the Sonic universe as well as an epitaph for it. The game is split in to two sections; classic Sonic races through 2D landscapes just as you remember, and its loads of fun. There’s no question that this more than anything is where Generations shines. You’ll race through re-imagined stages from the original Sonic, like the Greenhill Zone and it all feels so natural, and so pure that it’s almost impossible to resist – and this is coming from a guy who’s childhood was heavily dominated by Nintendo consoles.

Perhaps most impressive about the classic Sonic reimagining is the amount of detail and effort that the Sonic team put into its recreation. This isn’t just an HD cleanup of the original visuals; this is a whole new look inspired by the classic. Take classic Sonic himself for instance, inspired by the spirte-based design used for the original, the Sonic Generations features an almost clay-mation like appearance and it feels an awful lot like something straight out of our childhood should feel.  To that extent, the game does suffer from a noticeable amount of slowdown when the game gets up to its top speed, an issue for a game like this.

Then there’s the other half of the game; featuring the more modern sonic levels. While still built for speed, this half of the game channels the 3D versions of the franchise, also known  as where the series went downhill.  Now don’t get me wrong, there are moments (and there always have been these moments) where 3D Sonic games work incredibly well, but they lose a lot of the original charm in the translation. Whereas classic Sonic games were built more on pure speed, games like heroes and colors feel like they really heavily on thunderous velocity, which puts the emphasis more on being destructive than the originals. Also much like the originals, the 3D iteration doesn’t do speed quite as well as its counterpart, as even the slightest error (and even sometimes without an error at all) will cause Sonic to come to a screeching halt. Most disappointing though is that these modern Sonic levels outnumber the classic ones as if Sega is trying to force us to come to terms with what the icon has become.

Regardless, the dynamic between the two Sonics is interesting to say the least. The character has always been built on an in-your-face attitude, but it’s quite fun to watch the two spar. Though he seemed very edgy at the time, classic Sonic seems tame compared to the more modern version. New Sonic seems grizzled, and hardened. He’s less edgy than he is cynical and it’s fun to see how both react to situations, especially when that dynamic shifts about midway through the game.

As you play through Generations, you’re sure to want to go back and play through levels over again to unlock extra challenges or better your time, but those who are going to get the most out of the game are those who have stayed with the hedgehog throughout his entire career as there are tons of unlockables that are sure to make you make you feel all sorts of nostalgic. These won’t really entice any non fans of the series to jump in, but it’s great for those who are dedicated.

The Blast Factor: Though half of the game is a reminder of why an icon fell, you can’t dispute just how fun Sonic Generations truly is. It’s fast, fun and everything else a Sonic game should be. Most importantly, it’s proof that Sega still cares about its biggest star, and knows how to handle him. Those who grew up in the 16-bit era will love the throw back, but really everyone should check it out.

In the coming weeks and months, you’re bound to hear a lot about the big things that make Uncharted 3 so special. You’re going to hear about the thrilling set pieces, the over the top action and the multiplayer. While these things are impressive and go a very long way in making the game what it is, they’re not what makes the game truly great. What separates Nathan Drake’s latest adventure from other action adventure games is the little touches. It’s in the way that Naughty Dog made the worlds and characters so believable, how through a combination of wonderful music, writing, pacing and gameplay, you’re going to care more about these characters than most.  

Simply put, Uncharted 3 is one of the best games I’ve ever played.

Once again you’re dumped in to a globetrotting adventure with Nathan Drake, Sully and the rest of his pals. Trying not to give away much, you’re on a quest that deals with Drake’s ancestor; Sir Francis Drake. While this may seem like business as usual for the franchise, it’s truly anything but. For the first time in franchise history, things aren’t as black and white as “we’re going here to look for treasure,” sure those moments are here, but the story is built around developing the believable relationships between characters like Drake and Sully or even the game’s new villain Katherine Marlowe. Key here is that for the first time ever, we’re actually doubting Drake’s intentions, and each of the game’s characters instantly feels much more real, and watching that story play out is incredibly interesting.

Perhaps what makes the game so incredibly riveting to watch is just how well every part of the game works in unison. The story features absolutely brilliant pacing that rivals that of Hollywood movies, and the top notch voice acting combined with the stunning score and remarkable visuals makes for a great experience. With Uncharted 3, Naughty Dog has cemented their reputation as one of the best storytellers in not just the industry, but all of popular culture.  It’s seen in the relationship reveals, the stunning plot twists that make you rethink the entire strategy, and perhaps most importantly, the game’s feeling of resonance players are sure to have each time they step away.

Gameplay wise, Uncharted 3 takes a lot from its most recent predecessor, but here, things have been fine tuned. You’ll still jump from ledge to ledge, shimmy across pipes and escape from certain death at the last minute, but somehow – it still feels fresh and new. Perhaps it’s because the game at times challenges what you think you know from the series. Take one of the game’s early stages where I was trying to follow the game’s villain, Katherine Marlowe. To get a better vantage point, I jumped on to a pole protruding from the side of the building, but before I knew it, it snapped in half, sending me to my death. It’s moments like these that caused me to stop and rethink my choices for most of the game.

The majority of Uncharted 3’s campaign is centered around gigantic, over-the-top action movie style set pieces that even outdo those of the previous game. Whether it’s clinging for dear life to a chain on the outside of an old tower or escaping a burning chateau in France, Uncharted 3 is full of moments that are sure to keep you on the edge of your seat.  What makes these moments so memorable is just how human Drake feels during them. Now, I’ve heard a lot of complaints about how Drake feels less human this go-round, how he can seemingly survive anything, but do you really want the opposite? Do you want to have to start over after every gunshot, every grenade toss. Drake is remarkably human and relatable because after these events, he’s huffing and puffing, trying to catch his breath; amazed at what just happened.  He shows true emotion. He seems to be just as surprised at what just happened as I did. If you ask me, that’s much more human than most action games, which feature heroes who don’t even flinch in the face of danger.

I may be in the minority here, but I actually loved the melee combat in Uncharted 2, so I was a bit apprehensive when I learned they were changing it for the new game, but after only a few minutes, I found myself enjoying myself every bit as much as in the previous game. There’s now a dedicated reversal system, which goes a long way in helping change the rhythm of a fight, along with a context sensitive grab mechanic. Say you’re standing by a window, you can grab a guy and toss him out of it, or slide him down a bar you’re next to. If I had to compare it to another game, it would be that of the recently released Arkham City, which also had a stellar melee system.

Uncharted 3 is at its best when it’s doing two things, keeping me on the edge of my seat and making me care about what’s happening to its characters. The game succeeds most in both ways about midway through the game, when (hoping to avoid giving too much away) Drake is alone in the desert and you feel like you’re right alongside him. Naughty Dog does this by using a number of camera and control tricks that bring the player even more in to the game.  Go into a cave with tight passageways and the camera zooms in and stays tight on Drake, so you feel like you’re there.  Another great example is in the opening bar scene where Drake rests against the bar for a second, it’s an extremely believable animation, and doesn’t progress until the character allows it to. Nathan Drake feels less like a character, and more like a believable person.

 The Blast Factor: I play most games in a predictable fashion. I sit down, play for a few hours and then I walk away. I do anything else. I let the game brew in my head. With Uncharted 3, I couldn’t do that, every time I tried to walk away, I was pulled back. I needed to know what happens next; and that my friends is the mark of a truly excellent game. Uncharted 3 is sure to wow you with its fantastic presentation, thrilling gameplay and all around complete package. This is a game that I can’t recommend enough, and your PS3 library is not complete without it.

Regular readers here are no stranger to my strange obsession with Disney. Of course, we’re not talking the High School Musical Shake it Up version of Disney, but the old school, classic animation, Walt variety. I’m also a huge fan of Media Molecule’s Little Big Planet series of games, so when I first saw Disney Universe, which looked like a cross between the two properties, I was instantly excited – turns out I should have reigned that in a bit.

Don’t get me wrong – it’s not that Disney Universe is a bad game, it’s mix of platforming and collecting is great for its intended audience, but the game’s biggest problem is that it’s just simply too much; the game often feels like it’s too many ideas going on at once, and as a result, it feels overly hectic and poorly guided. Disney Universe is good for young gamers, but older fans will get frustrated quickly.

Disney Universe casts players in an admittedly unique story. Disney’s most famous worlds have been recreated in a virtual setting so people can experience them in real time, but as it seems happens with every “virtual world,” someone has hacked they’re way in and filled the worlds with dangerous creatures and hazards. Enter you – a weird looking non descript Sackboy-esque looking thing with a penchant for Disney cosplay. It’s your job to go in, eliminate the dangers and turn everything back to the way it was.

Disney Universe is broken up into worlds inspired by some of the company’s most well known movies and cartoons, like Pirate’s of the Caribbean, Finding Nemo and Monsters Inc. The majority of these worlds require little thought and are of the, run around, break stuff and collect stuff variety, but there are a few interesting twists, like the Lion King stage which has you running from left to right escaping a fire. Regardless, pretty much all of the worlds are impressive in their design, as they don’t borrow directly from the properties but are inspired by them. For instance,  I had a lot of fun in the Monstropulous section of the Monsters Inc level, which featured a somewhat new take on the classic “door hopping” scene.

Perhaps Disney Universe’s most glaring issue then is how misguided it is. More often than not your goal isn’t easily laid out in front of you, and what’s going on in the game at any given moment is so hectic that you’re bound to give up and just start smashing things until it becomes more clear. This becomes even more of a problem when using four players – though that can also be the game’s most endearing quality, playing with three other friends can lead to some hectic and fun gameplay moments.

The most endearing lasting piece of Disney Universe is unquestionably the costumes and suits of classic characters found in the game. Similar to Sackboy from the Little Big Planet series, your character can don suits from a literal who’s-who in Disney history. Everyone from the fab-5, Mickey, Minnie, Donald, Goofy and Pluto to lesser known characters like the Sushi chef from Monsters Inc (no, really) are here and are a blast to collect. My only gripe was that there’s far more costumes from newer properties than the classics, which is understandable given the target audience, but do we really need characters like Angelica from the latest Pirates of the Caribbean movie? Throw me some Roger Rabbit or Chernobog instead. This an issue that can easily be fixed via DLC, and I’m hoping Disney Interactive offers it.

The Blast Factor: It’s easy to see the appeal for a game like Disney Universe, it’s platforming and collecting that everyone can easily jump in on. Unfortunately though, it’s ideas never really feel feely thought out, and as a result, Disney Universe often feels like a mix of a lot of good but unfinished ideas. Still, you can’t knock it’s easily accessible gameplay, especially for the little ones.

The first time I died I was crushed to death by an ugly club-toting prison guard demon.

The second time, death came to me as I was shoved off a cliff. The third time skeleton warriors wielding cleavers overran me. The list continues: I was burnt, impaled, frozen, pummeled, squished, eaten, poisoned, slashed open, cursed, stunned, bashed, stuck full of arrows, you name it.

And it was all a painful, aggravating but ultimately rewarding learning experience.

I was being educated.

Enter Dark Souls, From Software’s follow up to Demon Souls. And I can easily say it’s the hardest game I’ve ever played.

The third person action RPG dungeon crawler Dark Souls is a fickle beast, one that doesn’t care if you’re good or not, the epitome of hardcore and the gatekeeper of victory and happiness. Its tagline, “Prepare to die,” is no joke. Even in the tutorial, you will die.

Sounds terrible, right? Wrong.  Not only is Dark Souls the hardest game I’ve ever played, but also the most unique and rewarding.

Through death, a player learns survival. This doesn’t quite make sense, I’m sure. It can be compared to touching a hot plate. With your hand burnt from the contact, you know not to touch it again or, perhaps, to hold it with a cloth to reduce the heat. It is no different when dying in Dark Souls. When an enemy parries your attack and returns it with their own instant-kill thrust, driving a large sword through your torso, you now know you should not attempt such a route when fighting said enemy. It’s all a huge lesson on versatility and thinking outside the box, a game that will keep your mind spinning and your heart pounding with every encounter.

Dark Souls furthers the intrigue by its openness and lack of direction. Once out of the Undead Asylum tutorial, the world is open for you to explore and scavenge. Players are merely told to ring bells and “something will happen.” Pretty vague, right? The story is sparse and barely described, although the opening scenes and cut scenes are beautifully done and graphically stunning. The story is weak, however, as you find yourself wandering, sometimes aimlessly, through broken down churches, dark forests, poison swamps, tombs and underground villages. But that doesn’t matter. The story is far from important. Dark Souls is just one epic and massive adventure when it comes down to it.

The game will push you in a basic direction by the difficulty of the demons you encounter. I knew immediately that going through the poisonous Blighttown before I rang the first bell was not the smartest move, mainly because I was too weak to handle the beasts within. Then again, it’s completely arguable. Some may think one section is harder than the other merely based on the fact that their stats are distributed differently. It really is open for debate.

With its refusal to hold your hand, Dark Souls makes gamers’ hearts pump faster and sweat build on their brows. As they enter a dark unknown area with no idea what is around the corner, they’ll either march proudly and arrogantly or inch their way through with their shield up and a strong paranoia sinking in. The tutorial is brief and lacking in description, forcing players to figure it out on alone. Once brought to the Firelink Shrine, the official starting place in Dark Souls after the escape from the Undead Asylum, the world completely lacks a linear path. You are given a simple objective, how you accomplish it is up to you.

This beginning is vast and intimidating. Words like “overwhelming” don’t seem to do it justice. The start of your exploration will invoke awe due to its size. As you further your escapades and plunders, however, you’ll find small shortcuts, making each area interconnected. By the time you make it halfway through, you’ll have paths to so many areas around the Dark Souls realm, it will make travel easier. The realization of shortcuts were always a huge victory when I was playing, and I found myself rejoicing each time I found my way back to the Firelink Shrine. Being a safe haven, it was always comforting to know that the Shrine wasn’t as far away as it seemed.

Again, death is stressed to be the ultimate teacher. You’ll find through error and exploration what enemies are weak against and their attack patterns. You’ll learn that some enemies are weak against fire, while others are immune. You’ll find that divine forged weapons will halt the revival of skeleton warriors, opposed to struggling as you battle the reanimating bastards over and over again for no gain. There isn’t a moment that the game isn’t teaching you something. Players must be wise enough to take note when things happen, especially in combat and death.

In no way is Dark Souls a hack ‘n slash game. Running into a crowd of undead soldiers with your sword drawn may seem like a fun idea at first, but will lead to your inevitably quick death. The game is about patience and testing your limits. With an endurance bar acting as both your defense and your strength, players must truly come to balance with their actions. Swinging a heavy weapon could use up half your endurance bar, leaving you susceptible to an onslaught. To attack or not to attack, that is the question.

But the combat system is the heart of Dark Souls and is extremely unforgiving for beginners. I think I died far more in the beginning trying to get used to the combat than later. The learning curve is brutal, and can push players into fits of anger as they attempt to figure out their hero’s limits and the attack patterns of their enemies. But as time progresses, you’ll get stronger, level up and conquer. It’s all a matter of taking risks and knowing when to pull back from a fight.

The gamble is a huge playing point in Dark Souls. To act or not to act. Play it safe and miss out, or take a chance and risk annihilation? It’s a rush every time and players are faced with it frequently.

Scenario: There is an item on top of the roof a structure. The gap between you and the structure is quite large. Falling into said gap is a most certain death. Having no idea if the item is worth the jump, do you take a chance anyway, risking all your collected souls and progress in the area?

Let’s say you jump. You don’t make the gap and plummet to your demise. “You have died” shows up on your screen and then fades to black. You respawn at the last bonfire you rested at. This sucks, but is the norm. You can, however, try try again, which eventually will lead to success, and a swelling rush of pride.

Bonfires are a player’s saving grace, their haven, the light in the pitch black. Bonfires are scattered few and far throughout Dark Souls, acting as a checkpoint where you can level up, change your spells, replenish you spell count and safely re-arrange your inventory. You’ll recover your health and refill your estus flasks – potions that heal you out in the world. But it comes with a price, as does everything in the Dark Souls universe.

By resting at a bonfire, the enemies slain have respawned (except for some of the tougher enemies like the Dark Knights or bosses). After tirelessly clearing out an area of blood-thirsty beasts, it might not be worth the risk to rest a bonfire if you don’t need to. Then again, players will learn to expect death everywhere, so it may be worth cashing in on the souls you’ve collected.

Souls act as currency. Killing an enemy will yield a specific amount of souls. These souls can be used to level up at bonfires, where players can up their stats. They are also money, in the sense that you can use them to purchase items or services from merchants and blacksmiths. There, you can forge new weapons, repair weapons and armor or enhance your belongings with materials found throughout the world. The game is especially difficult and, at points, unfair, with it’s distribution of souls through victories.

Perhaps it was the developers’ way of discouraging grinding, but it is tedious and risky to attempt it. Even some of the (respawning) toughest demons only provide a few hundred souls, making it more and more difficult to level up or ascend weapons and armor as the game progresses. There are some areas of the game that seem to be made for soul farming, but they’re spread far and thin in between.

Not only that, but weapons and armor have durability stats, meaning that you can only hack away at enemies for so long before your sword breaks. Just adding to the difficulty, Dark Souls? Yeah, I’d say so.

Be prepared to die. A LOT.

Playing Dark Souls makes you feel small and insignificant. Your hero will face creatures 1,000 times their size, with a bleak chance of survival. But yet, it’s all possible. It makes the victories a million times better. I distinctively remember standing up and dancing after I defeated the Bell Gargoyles (giant stone creates with huge lances, axe tails and breathe fire) and rang the first bell. Winning has never felt so good.

But as small as you are, you are not alone. The most genius part of Dark Souls is the online world. Playing it on a PS3, I was always connected to the Internet, which made for a fantastic gaming experience. Often, players will see ghosts of other players briefly running through an area or fighting an invisible enemy, but then they will disappear. Glowing orange markings on the ground are also left by online players, which provide hints (or sometimes trolls provide fake hints) that help your hero prepare for the worst. Although the specific player who wrote the note won’t show up in your game play, their message will, creating a strong sense of unity.

Even better is the act of summoning. White writing on the ground can give players the prompt to summon spirits to aid their adventures. These spirits will be other heroes that are online, willing to provide their services to defeat difficult bosses. Together, you’ll work silently by the side of a stranger to face nightmares you’d hopelessly be crushed by if you were by yourself. Once you defeat the creature, the summon will disappear, and you’ll most often never see them again. Whenever I utilized this option, it gave me a warm feeling that I wasn’t alone as I thought I was.

It’s a strange sense of unity that the online game play brings into Dark Souls. You’re all in this together, and you’re all just trying to survive the worst.

There is also the option to become a phantom yourself, helping out fellow heroes to take down bosses you’ve already slain. By writing on the ground with a white soapstone, you can be summoned by someone and reap the benefits of victory together.

Again, this wouldn’t be Dark Souls if there was not a yang to the ying. With online game play enabled, it gives gamers the option to invade other worlds. Being completely honest, invasions are terrible. Players will invade other’s games with the one purpose of massacring the other player. At one point, I was invaded four times within an hour, hopelessly fighting off much stronger foes, and dying with each invasion. It was probably the most frustrating thing I experienced.

But this leads to the idea of covenants, a brilliant side quest-like option in Dark Souls. Players will meet NPCs throughout game play, and can be offered to join different covenants. Each have their perks and their specific purposes. One secret covenant has the single mission of invading players who invade players. Every time a person chooses to invade another’s game, they are sinning. These sins are recorded in a Book of the Guilty by Dark Souls. It was quite the cool experience.

Dark Souls is truly a massive game that gamers can pour their heart (and many, many hours) into. It’s something I’ve never quite experienced in a videogame. Some of the battles gave me a sense of Shadow of the Colossus, where the enemies were just so massive success seemed out of the question. The victories were made so much sweeter because of it.

Graphically, Dark Souls has an incredible way to pull the gamer into the mood it’s conveying. There are moments where players will have a chance to gaze at a beautiful landscape and truly appreciate the texture and time put into their surroundings. Other times, players will be begging to see grass again as they crawl through the Depths filled with giant undead rats and cursed demon frogs. The game’s environment finds a way to dig under your skin and give you a feeling of loneliness, claustrophobia, fear, or, at times, comfort. Just another genius aspect, I suppose.

Not everything about Dark Souls is innovative and wonderful though. As said before, the learning curve is outrageous. The first 10 hours or so of game play is so harsh, it could make even the most hardcore gamer quit. Leveling up is especially difficult because there isn’t a marker telling you how many souls it will take to improve your stats. It’s impossible to know when you have enough, you can only estimate. Some of the scenarios breach the intense difficulty to the “completely unfair” zone too. Many times Dark Souls was turned off from my television in a flurry of cuss words and rage. Luckily, my controller is still intact, although it did fly across the room once or twice.

It’s a give and take kind of game that really is not for everyone. Those who expect a linear, baby-steps, simple game need not apply. It takes grit, patience and time to make it anywhere in Dark Souls. Not every gamer prefers that, and that’s fine, but for those up to the challenge, it’s beyond worth it. The adventure is epic and far too hard to turn down.

BLAST FACTOR: Dark Souls is only for the select few that want to put the time into it. It’s harsh on all levels and extremely difficult in the beginning especially. Getting past the amount of times death overtakes games is where players will find solace. It’s a genius learning game, forcing you to think outside the box. It defies the new wave of gaming that is all quick time events and only 12 hours of game play. Dark Souls is visually beautiful, terrifying and will completely take over your emotions. It’s an epic journey where only the bravest and wisest succeed. It would be a shame to pass up such an experience, but with its insane difficulty level it’s completely understandable. Dark Souls has breached my favorite game titles and definitely made it into my top five. I wouldn’t pass it up.

Pity developer Beenox for the decision to release their follow-up to the excellent Spider-Man: Shattered Dimensions alongside the amazing Batman: Arkham City. The bat signal can’t help but put a dark shadow over a game that already has enough reasons to make Activision worry. Batman aside, Spider-Man: Edge of Time simply isn’t the game its forerunner was and while it’s not terrible, it’s hard to view this sequel as anything but a step backwards.

On the plus side, we absolutely applaud Beenox for focusing on not just the Amazing Spider-Man fans know and love, but Spider-Man 2099–one of the most intriguing characters in Spider-Man’s convoluted history. Created in the early 90’s by legendary comic book writer, Peter David, Spider-Man 2099 has the distinction of being a far better comic book than the awful main Spidey stories that Marvel was pumping out at the time.

When Miguel O’Hara, aka Spider-Man 2099, popped up in Shattered Dimensions last year, fans were instantly onboard and seeing him return in Edge of Time will likely make the game worth checking out for many. The plot this time around is still somewhere dimension shattering. The story opens in 2099, when an extremely zealous scientist named Walker Sloan decides to hasten his way up the corporate ladder of future mega-corporation, Alchemax, through time travel.

Sloan trips back to the 1970s with enough future tech to make Alchemax a mega power well before it was ever even started. After failing to stop Sloan in the future, O’Hara realizes that time must be set right or the consequences will be/are dire—including the death of Peter Parker, the Amazing Spider-Man. To that end, Miguel is able to contact Peter through, well, some bizarre means and tries to warn him.

Parker, being the do gooder he is, decides to put his own personal safety to the wind in order to stop a rampage by Anti-Venom—aka Eddie Brock… aka the original Venom now with polar opposite colors and powers. Confused yet? Well, that’s nothing compared to the inclusion of time distortion between the two spider-men. Somehow, the Spidey in the past can affect the situation of the Spidey in the future.

A good example of this is a cool sequence where Spider-Man 2099 is being pummeled by a giant robot, and Amazing Spider-man has a limited time to destroy the still-in-production robot in the present. Try not to think about it too much, as it raises more questions than the concept could ever answer. Suffice to say, Edge of Time has a terrific flare for the dramatic, especially during such sequences.

The screen will show the in-danger Spider-Man in a smaller view, so players can track his status, while being heroic on the rest of the screen. The problem is that the game hinges entirely on this single time-distortion concept. To make matters worse, the gameplay is entirely linear, so players have no option to just play with the environment to see what happens.

The other major failing here is the environment. Shattered Dimensions may have focused just as much on simple, beat ‘em up action, but it had enough diversity of characters and environments to feel more expansive than it actually was. In Edge of Time, both heroes are stuck in Alchemax’s giant skyscraper, and it’s just not a great place to do all the things a spider can do. The corridors are bland, the air vents are absurdly large (and bland), and enemies are horribly reused. Combat isn’t bad, but just feels repetitive as well.

Both heroes are relatively the same, which isn’t surprising, but the overall combat system and use of combos in particular could really use an overhaul. Each has a special ability—2099 is so fast that enemies keep attacking where he was just standing, while Amazing Spider-man can evade attacks thanks his Spidey sense. In reality, both abilities are almost identical, though they create a cool, multi-colored trailing effect.

As an interactive story-telling medium, Spider-Man: Edge of Time is certainly an appealing game for the heroes’ many fans—especially since Peter David had a strong hand in the writing, particularly the dialogue. Unfortunately, the actual game doesn’t fare quite as well. The combat and environments both feel by the numbers, and its time-tunnel gimmick gets old fast. More importantly, putting these two heroes into confined spaces with nothing to do but endlessly punch bad guys doesn’t do them justice.

Blast Factor: Ultimately, Edge of Time is a definitive step backwards from Shattered Dimensions. We hope this stumbling block doesn’t kill the series, as these characters really do deserve more. The game is still relatively entertaining as a simple brawler and a solid choice for younger players who aren’t quite mature enough for the incredibly dark and violent Batman games.

Spiderman: Edge of Time is available now for the Xbox 360, PS3, Wii, DS and PSP systems. An Xbox 360 copy of the game was provided by the publisher for this review.

Perhaps the most telling tale of Battlefield 3’s complicated existence comes before the game even enters your system. Certain versions of the game come in multiple discs, one for the game’s multiplayer suite, which comes first – and the other for the single player. After more than a decade,  EA and DICE  surely know their audience and have justly put the majority of their time and development into the game’s online gameplay, but as a result, the single player suffers and you’re left with a mixed and uneven shooter that fails to deliver on all of the hype it’s generated since being announced. No, Battlefield 3 is not a bad game – it’s just not as good as it could be.

Before you go any further you should know something about me — I’m a single player campaign first kind of guy. Before I even touch the online multiplayer I want a game to tell me a story, I want the game to take me places, to make me care. Quite simply, Battlefield 3 failed to do that for me.  That’s not to say that there aren’t any edge-of-your-seat moments; when Battlefield 3 fires on all cylinders, it’s great action, just not great drama. Take for example on sequence early on in the game where you’re asked to take out an enemy held up in a hotel balcony. It was thrilling to run up to the top of the building and strategize with my squad-mates as to how to take them out; but for the life of me, I can’t tell you just why we were doing it.  The uninspired story of Battlefield 3 feels less like a fleshed out plot, and more like a device to move you from set piece to set piece, and they’re just not all thrilling enough to make you care. You can only take so much military jargon before you just find yourself just pointing at something and shooting.

It’s almost impossible to write this review without mentioning the 800 LB gorilla in the room – the rivalry that’s played out between Battlefield and Call of Duty over the last year. In the midst of the verbal sparring; a strange thing has happened, Battlefield has become everything they’ve spoken out against. Modes from previous Battlefield games have been removed (where’s my commander mode EA?), and the team at DICE seems insistent on making this feel like a Modern Warfare game. All of the plot points are here, the stolen nukes, the gruff commanders and the stereotypically evil Russians; hell there’s even a few missions that feel like they were lifted directly from previous editions of the rival series.  What’s most disappointing about the campaign experience is when it’s clear that they didn’t do the necessary research. In fear of spoiling some key moments, I won’t get into much detail, but there are some moments that defy military law that are sure to take you completely out of the game.

That being said, I can’t deny the sheer enjoyment I had when the campaign worked. When Battlefield 3 fires on all cylinders and gives you frantic action, it’s hard to argue that it delivers.  Lessons are learned quick in the world of Battlefield 3, like the time I was facing down a sniper and mistakenly got up from my cover in an effort to get a better vantage point, only to be instantly shot down. It’s moments like these that make Battlefield enjoyable, where you’re forced to make split second decisions in the face of a coming onslaught. These edge of your seat moments don’t come often in Battlefield 3, but when they do, they’re more than worth it.

Let’s be honest though, myself aside, the majority of gamers are going to jump in to Battlefield 3 for its online play – and this is where the game undoubtedly shines. On the PC version up to 64 players (24 on console versions) can load out in nine different maps which vary from industrial to urban and even some jungle locations. What makes these maps so interesting is not their size (though, they are quite large), but how varied in scope they are.  One map for example had me dodging sniper shots from multiple roofs, while the other had me scurrying between tunnels to try to get an advantage. Of course, this is a Battlefield game, and that means you’ll have access to plenty of vehicles, which can be a great addition to the game, but can also be a pain in the ass. Getting a vehicle, like a tank or a helicopter can turn a battle around completely, but they’re so powerful that each game becomes a mad dash to occupy each vehicle, and if you you’re not the lucky one, you better turn around and run. We also experienced a slew of issues with the EA servers while playing Battlefield online. These issues mostly cropped up with the console versions, and they’re likely to be fixed via a patch, but it was incredibly frustrating to not be able to get in to a game on launch week.

The entire Battlefield package comes together with the new Frostbite 2 engine. There’s no denying that the game is nothing short of gorgeous; from the detail on characters and buildings, to the views of the city around you. Most impressive perhaps is the level of detail Frostbite allows for in its destruction. Remember that scene early on I was talking about? The one where you’re trying to take out the enemy in the hotel? It’s extremely satisfying to watch as the entire building rumbles, smoke starts to billow out and pieces start to fall off. At times its almost impossible to not marvel at how well it all comes together. It’s not all perfect though, as we did notice a few oddly muddy textures and a bit of slowdown – especially in the console versions.

The Blast Factor: Battlefield 3 may be the toughest game I’ve yet to review; it’s majorly flawed, but at the same time, it does so much right that it’s almost impossible not to at least enjoy your time with it. After all the hype and the name calling, Battlefield 3 is here. Was it worth the wait? The easy answer is an emphatic yes; it may not be the end-all-be-all first person shooter you’re looking for, but it is a remarkable one, that you’re going to want to play – especially if you’re into multiplayer.

Battlefield 3 is available now for the PC, PS3 and Xbox 360 from EA and DICE. The Xbox 360 and PC versions of the game were used for this review and provided by the publisher.

I first started playing Ratchet and Clank: All 4 One late at night. Sitting in front of the big screen, the opening cinematic started — all the conditions were right for a superb Ratchet and Clank experience. Then something strange happened; I found myself not exploring the world, but lumbering around, almost falling asleep in my chair. The next morning I jumped back in to the game with a few others and had a completely different experience – this was more like the Ratchet and Clank I knew.

All 4 One is a rare change from Insomniac for one of their most well known franchises, both in terms of design and quality. It’s two different games, a bad – -almost terrible single player endeavor and a frantic and mostly fun multiplayer romp. Perhaps most dissapoitingly, with graphical hiccups and glitches, All 4 One doesn’t live up to the past pedigree of previous games with superb production values. That being said, there’s still some value in this off the wall title featuring some of gaming’s most underrated characters – especially if you’ve got the friends to fill in the ranks.

Things start off remarkably well in All 4 One. We open to Ratchet and Clank being interviewed and lamenting their adventurous lifestyle, talking about how they want to leave the heroics to a professional – Like newly elected President Captain Quark (or anyone else). Before long, Dr. Nefarious returns, but in the middle of his attempt at revenge, the four are face to face with a powerful new enemy and are transported to an alien planet, and most work together to get home. This leads to perhaps the game’s most endearing quality; there are plenty of heart-warming moments and in-jokes as the former enemies must find a way to work together. It’s hard not to crack a smile at some of the moments, especially when the voice work is done so incredibly well.

Much like previous Ratchet and Clank games, All 4 One attempts to blend a multitude of gaming mechanics and traditions to create one experience; unlike previous games, they aren’t widely successful here. The main draw of All 4 One as opposed to the previous games in the series is that here, you’ll be doing everything you normally do, from platforming to solving puzzles, but this time you’ll have up to three of your friends by your side. Right from the character select screen, I was instantly brought back to my days of bumming around in arcades playing classic coin-op coop’s like The Simpsons and X-Men. That vibe persists throughout the entire game, and the game proves to be a complete blast when it really starts to gain momentum. It becomes a fast and frantic smash and grab co-op beat ‘em up that is worth more than its fair share of beat-‘em-ups.

The downside too all of this is that some of what makes the Ratchet and Clank series so remarkable in the first place seems to have been compromised for this feeling. The previous games, especially the phenomenal  A Crack in Time weren’t exactly open world, but they did encourage exploration throughout its worlds, in that regard, All 4 One feels remarkably shoe-horned and linear. You and your motley bunch will follow very set paths as you smash through crates, and jump from platform to platform. I couldn’t help but think to myself; this is a Ratchet and Clank game, I should be able to see what’s behind that wall! It’s pretty disappointing, especially to long time fans of the series.

All 4 One also employs a pretty robust set of weapon upgrades you’ll obtain by playing through the game. Each character has their own set of weapons and each is fully upgradable by purchasing them at bolt machines scattered throughout All 4 One’s maps. It’s a lot of fun to go through and get these upgrades, but I constantly found myself pining for the system of old where you upgrade your weaponry would need to be used significantly before you could upgrade it. Sure the new way seems like a much more streamlined and easy to use, but the previous way almost demanded depth and experimentation with the game’s weaponry.

All 4 One is also missing the polish that Insomniac Games has made a staple of the Ratchet and Clank universe. There are occasional visual hiccups throughout the game, like mudded-out textures and boring color schemes (when compared to the bulk of the game), but by far the most frustrating presentation aspect is how crappy the camera system is. All 4 One employs a much more zoomed out camera to adapt to the new 4-player system, but it also locks at all the wrong times and frequently cuts off things like enemies and power-ups until everyone on the screen is ready to move on.

The Blast Factor: It’s a tough business being a console mascot; one wrong move and you’re doing starring roles on your former rival’s party games.  All 4 One may not be that wrong move (if anything, Secret Agent Clank takes that spot), but it’s still a step backward for the franchise. It can be frantic and fun when played with the right people, but just don’t let it be anyone’s introduction to the Ratchet and Clank franchise.

Hola El Presidente…you look different. Well, not all that different, like you did something with your hair different. No? New shirt? Tropico 4  is remarkably similar to its predecessor, but somehow it also feels remarkably different. Maybe it’s the new cartoon infused visual style, or maybe the more accessible arcade style gameplay. Regardless, Tropico 4 continues the series’ long running history of being a fun and addictive city simulator that you’re sure to get lost in – even if it feels like you’ve done it all before.

As in previous iterations, you start Tropico 4 by creating your character, known as El Presidente. There’s a lot of options here and it may be daunting to those who haven’t played a Tropico game before. Do you go full Fidel? Perhaps fat cat in the pocket of the small industries? Perhaps the Caribbean version of Abraham Lincoln is more to your style. During these opening moments, you’ll make a series of distinct choices that will affect how you rule your chain of islands. If nothing else, it adds to the replay factor of the title. What would happen if you made one choice differently than the others? It may sound cliché, but the possibilities are more or less endless.

Of course, your goal as El Presidente is to manage and grow Tropico, your set of islands in the Caribbean. Just how you do this is up to you, and can be a lot of fun to play around with. On my first play through of the game, I found myself playing nice – trading with other nations, building factories and hospitals and listening to my people. It was rewarding to see my set of islands flourish and my citizens live happy lives. Then it occurred to me, I could make more profit by taking the other route, so I decided to make decisions based on money and not the good of the island – sure I had to deal with a few rebellions here and there, but I was much more financially successful this time around. Each session with Tropico 4 feels much different than the last.

Those revolts play a much larger part in this game than the rest. Now, each faction has a leader with their own unique personality and demands. It’s no longer as simple as just looking up how to stop certain factions, as each time you’ll have to make decisions that will affect your nation greatly. The environmentalists for instance will want you to stop logging as much and build a wind turbine, but doing so will anger the logging companies in your area, and you’ll risk losing jobs for your citizens. It’s these types of choices that make Tropico 4 such a compelling time.

Curiously, Tropico 4 feels much more arcade at times than its predecessors. Don’t get me wrong, it’s still a simulation at heart, but several key additions make Tropico 4 feel different. Key among these additions is the new disaster system that seems to happen much more often than before. It was a bit frustrating each time I would build up a certain area, only to have it constantly wiped out by a flood or some other disaster. Yeah, I know…they’re a part of the game, but the just seemed to happen a lot more here than in previous games.

It’s amazing that after three previous installments and a huge fan community, Atlus wouldn’t put multiplayer into the Tropico series. Sure, there’s Facebook and Twitter integration, along with user created scenarios to try your hand at – but the fact that Tropico still exists without a dedicated multiplayer system is nothing short of astonishing. Why can’t I take on my friends islands, and form treaties with others? Tropico seems like the perfect fit for a dedicated multiplayer suite, but for some reason we still don’t get it.

The Blast Factor: While it is true that Tropico 4 plays much like its predecessor, the changes that are here are far too heavy to merely call this Tropico 3.5. Though the lack of new features and multiplayer are a bit daunting, Tropico 4 is a game that fans of the series and those looking for a new experience are going to want to check out.

Tropico 4 is available now on the Xbox 360 and PC. A Xbox 360 copy of the game was provided by the publisher for this review

I still remember the moment I fell in love with Batman: Arkham Asylum. No surprise, it was pretty early in the game, I entered a warehouse type room filled with the Joker’s henchmen, but rather than merely having me go rough ‘em up, I was challenged to find a new way around them, to think in essence, like The Batman. I used my surroundings, I stalked my prey, I turned their own fear against them. It was after this section that I realized that developer Rocksteady wasn’t just giving me the opportunity to play as The Batman; they were giving me a chance to feel what it would be like to be the Dark Knight.

With the sequel, Arkham City, a lot could have gone wrong. We all know most sequels suck and what are the odds of two Batman games in a row being exceptional right? Turns out pretty good. Everything you loved about Asylum returns, but only now they’re tweaked and reconfigured almost to a point of perfection.  Arkham City is a sprawling and gorgeously detailed environment, and Bat-fans are sure to enjoy the little nods to the caped crusader’s past. It may not be perfect, as some of the flaws that hindered the last game are still naggingly present, but Batman’s latest adventure is still a damn good one.

Arkham City picks up mere months after the end of the last game; the asylum’s former warden Quincy Sharp is now Gotham’s mayor and has had the wonderfully smart idea to move all of the city’s most dangerous criminals out of Arkham and into a walled off area in the center of the city. Millionaire playboy Bruce Wayne isn’t a fan of the idea and stages a press conference outside of the newly named Arkham City to oppose it, but it’s not long before he’s arrested under strange circumstances and thrown in himself.  This begins Arkham City proper – and it’s one of the most dynamic openings in recent memory.  From the moment you enter the prison, and an inmate yells “Welcome to hell,” you can’t help but be amazed by the scale of it all, and how theatrical the presentation is this go-around.

THUNK!

These superb presentation levels extend themselves throughout most of the entire game. Arkham City is a decaying mecca in the heart of downtown Gotham City; and it feels like it.  There’s plenty of back alleys and side streets to get lost down if you’re the gutsy exploring type, and the whole thing is done in striking light balance and detail. It’s almost awe-inspiring in certain moments when you’re on top of a building high above Arkham city taking in the scope and detail of the world around you. Of course, it still does suffer from occasional graphical pop-ins, and that damn camera that always seems to turn at just the wrong moment – but more on that later.

Much like the original game, Arkham City will have you ting out thugs and henchmen en-route to taking on Batman’s rouges gallery in an effort to uncover the conspiracy at hand, and that’s one area that this game does a ton better than its predecessor. Batman has perhaps the most well known villains in pop culture, and the first game had a few of them, but they pale in comparison to what Arkham City is packing. Throughout your journey you’ll take on The Joker, Mr. Freeze, Two-Face, the Riddler and a number of surprise guests from Batman’s past that are too cool to spoil here. Interestingly enough, the actual boss fights with the legendary characters aren’t that memorable and can be passed quite easily, but it’s the way Rocksteady built up these events with fantastic pacing that truly make them memorable.

Undoubtedly the game is at its best when it does what the previous one did so well, make you feel like the world’s greatest detective. It’s not uncommon to walk in to a room of ten or more thugs and still feel like you’ve got the upper hand. Though this go-round did feel a bit more linear than the previous game, just how many ways you can go about taking out your enemies is pretty impressive.  You could go in and let your fists do the talking or you could go the route I did and use your wits and gadgets to take them out strategically.  Disappointingly, it’s these large fights that also disappoint most in Arkham City as just like in before the game’s camera system can be incredibly frustrating. I remember one boss fight in particular where I kept having to run away just so I could get enough distance between myself and them to center the camera.

The level of detail throughout Arkham City is impressive.

After you’ve completed the campaign (which you can jump back in to with all of your upgrades thanks to a new game plus mode), Arkham City still offers a ton of content for your money. Challenge maps are back, and much more plentiful, as are the Riddler’s trophy challenges, but what you’re really going to want to check out is the Catwoman mission pack. A code for these missions is included in each new copy (you’ll have to buy one if you’re buying it preowned), and they add a ton of backstory to the game’s main campaign and are best experienced when played in the context of the game itself. I was also surprised at just how much I enjoyed playing as Catwoman; she’s a lot quicker than Batman and is a lot of fun to decimate baddies with.

Rocksteady also must be commended for their remarkable job in delivering fan service to the legions of Batman fans with Arkham City. Exlploring those back alleyways and side streets will prove to be a fruitful endeavor as there are plenty of references and nods to Batman’s impressive history in pop culture.  We’re still finding secrets in Arkham Asylum  to this day; meaning there’s plenty to be found in the game as well.

The Blast Factor: Any game that can make you feel like The Batman is doing something right – -and Arkham City does that very well.  Rocksteady has taken everything from Arkham Asylum and tweaked it enough to create one hell of a love letter to DC’s Dark Knight.  It’s a great licensed game, but perhaps most importantly, it’s a fantastic game in general.

Batman Arkham City is available now for the PS3 and Xbox 360 from Warner Bros Games and Rocksteady Studios. It will be available this November for the PC. A Xbox 360 copy of the game was provided by the publisher for this review.

You’ve got to feel bad for poor ole’ Chucky Green. This time last year, the former professional dirt bike rider was the star of his own blockbuster video game. Fast forward a few years and he’s sharing the spotlight with former protagonist Frank West, who as we all know has covered wars you know  (Okay, that’s the only time I’m going to do that I swear). Then it happened, with Dead Rising 2: Off the Record, Green’s role had been completely recast by the man he once replaced.

It would be easy to throw Dead Rising 2: Off the Record away as a mere cash grab by Capcom – but the truth is, it’s not. Sure, it’s basically the same game you’ve played before – same location, same weapons, same story, just with someone else in the lead role, but the new features it does pack are more than worth a look. It may not be the most original game, but Dead Rising 2: off the Record feels an awful lot like coming home, like the sequel we should have gotten in the first place.

The last few years have not been kind to journalist and zombie basher Frank West. After uncovering a breaking the scoop on the outbreak at the Williamette Mall in the original Dead Rising, Frank shot to unheard of levels of fame, but he also learned that fame soon fades. In an effort to recapture that fading glory, Frank travels Fortune City, Nevada, where he hears word of a new outbreak.  What results is your basic “What if” storyline – what if Frank West was the main character in Dead Rising 2. There are a few twists thrown in, but you’ll be talking with the same people, treading the same ground and bashing the same zombies as before – only as someone new…or old…whatever.

I couldn’t help but feel that the game would be served better not as a “what if” type story, but rather an alternate take on what was going while Chuck was trying to clear his name.  There are plenty of story points in the original Dead Rising 2 that Capcom could have introduced Frank West to expand on the story, not just re-hash it.  Things get really weird when Chuck actually shows up in the game; complete with his Terror is Reality bike and daughter from Dead Rising 2 proper; so in the context of the game, certain parts of the story had to happen to Chuck.  The only real explanation is that Dead Rising 2: Off the Record occurs in some sort of weird Paradox where both Chuck and Frank’s versions of the stories are going on but never really intersecting. Mind blown.

Core mechanic wise, Off the Record plays just as you’d expect it to; run around, pick stuff up, smash zombies with it and repeat. There are a few new weapons, and a few new combo weapons that you can craft together in Fortune City’s workbench areas, and there are also a few new psychopath boss characters as well as a new area –The Uranus Zone. All that aside, Off the Record does tend to feel very familiar; and just how big a fan you are of the franchise will determine whether or not that’s enough.

Of course, with the return of Frank West comes the return of his trusty camera. Now digital (yep, no more searching for film), the camera mechanic adds a lot to the game, and I found myself using it even more than I did in the original Dead Rising game. Even in the face of imminent danger, I found myself reaching for the camera to take shots. One of my favorites was in the utility corridors of Fortune City, with a slew of zombies barreling down the steel steps at me. I brought out the camera and got a horror rating for the growling undead and a humor rating…for the ones falling down the stairs. Taking great pictures awards you more prestige points, which in turn allows you more health and the ability to carry more weapons.

By far though, the most exciting addition Off the Record brings is the fan demanded sandbox mode. Free of time, ringing cell phones and expiring missions, sandbox mode allows players to run around the majority of the game’s map and simply have fun bashing zombies. There are challenges spread throughout the map, but they’re completely optional.  I’ve always described Dead Rising to people as an interactive playground with zombies, and sandbox mode makes the game truly live up to this title. Perhaps the best thing about sandbox mode is that it allows the game to truly embrace its goofiness. In the mode Frank’s portrayed not as a guy looking for his next big break, but rather as a guy who simply loves bashin’ him some zombies.

The Blast Factor: In the last year, Capcom has kind of gone Dead Rising crazy, releasing no less than four different titles in the series. Off the Record could have easily been the entry that jumped the shark, the one that fans realized they just didn’t care anymore – but it’s not. Sure, it’s not completely original, but thanks to a few tweaks and new modes, this is the definitive Dead Rising experience and a great starting point for those who have yet to experience it.

As a kid I wanted nothing more than to be Hulk Hogan, in fact there are probably more pictures in the family album of me wearing a Hulkamania shirt than anything else –  and why not? He was the guy who made a room pop when he entered, he stood up against the bad guys for what was right, he showed no fear in the face of adversity. He trained, he prayed and he ate his vitamins.

Fast forward a few decades and much has changed. Hogan is arguably no longer the immortal icon he was before, he’s a failed reality star, slinging everything from energy drinks to grills and what’s worse – he seems to be clinging to fading glory. It wasn’t until this week that I felt his legend had hit rock bottom.

Enter Hulk Hogan’s Main Event, the Kinect based wrestling title (for lack of a better word) that makes you the protégé to the biggest name in the history of sport’s entertainment.  Long story short – it’s as bad as it sounds, in fact, it’s worse, much worse. Utterly broken and uninspired in every way, Main Event easily takes the championship as Kinect’s worst game, and that’s saying something.

The problems with Main Event start before you even pop the disc in. The game brands itself as a wrestling title, but it’s far from it. There’s no mat work, no ring psychology; no, this game is all about the entertainment aspect of the “sport.” You’ll create your superstar, who will oddly enough be noticed by the Hulkster at a backyard wrestling event, and from there you’ll work on showmanship, personality and eventually throw a few punches. This might be acceptable if you were allowed to show any spark of creativity when creating your wrestler – the entire creation suite is severely lacking; there’s no even an option for long hair. How the hell am I supposed to tease my hair ala Rick Rude to make the ladies in the crowd swoon?

The story mode in Main Event finds you attempting to climb up the ranks of a wrestling organization but being held down by an unfair booker, who is named….booker (no, really). This is told to you through a series of comic book panel like cut scenes, complete with speech bubbles. Why they didn’t just have Hogan record the lines is beyond me, but perhaps they realized how annoying the majority of the lines he did record can become. During any match, Hogan will randomly yell “inspirational” phrases your way like “You’ve got to believe in yourself” and “Nice finisher brother!” It’s important to note that Hogan seemed to yell that last one regardless of what move I was doing or what portion of the match I was in.  Remember that episode of The Simpsons where Homer is training to climb the giant mountain and his trainer just stands behind him and yells promotional slogans? To the Max! Push it! Yeah, it’s kind of like that, just not nearly as funny.

Yup, that's a winner.

So here’s how your typical match in Main Event goes; Your character is introduced and from there your goal is get the biggest reaction out of the crowd by posing how the Hulkster tells you to. Now don’t get too excited, this isn’t a free-for-all, you won’t be making your own poses, that’s what you have Hulk Hogan for, and you’ll be doing such thrilling maneuvers as raising your right arm (ohhh) and puffing out your chest (double ohhh!). From there, you’ll enter into a food dodging mini-game and yes, you read that right. The crowd seems insistent on pelting you with their nachos and beverages, which would make sense if you’re  a bad guy that’s getting over, but it happens every time. Every…single…time.

The game’s in-ring action finds you doing a lot of punching and kicking while throwing in a few actual wrestling maneuvers (if you count clothes lines and simple throws) for good measure. Your basic goal is to repeat your moves until your opponent is finally on the ground and ready for the pin, upon which you’ll have to do the strangest motion for a pin – moving side to side wildly. The most infuriating part of all of this is that your opponent’s health bar is constantly regenerating, so if one of your moves gets blocked, it’s back to square one.

It could be easy to forgive Hulk Hogan’s main event if the damn thing worked at all. The game is a perfect example of how not to make a motion game. Less than half of your moves are actually registered by the game, but it’s not like you really have to try, the game doesn’t really require you to do any certain moves. Oh, it tries to tell you that it does, but at certain parts I got so frustrated with the game that I began to wildly flail my arms around, and the game picked it up as whatever it wanted me to do. Air guitar? That’s a punch. Moving around like an airplane…that’s a punch too.

The Blast Factor: It’s tough to say just who Hulk Hogan’s main event is marketed to; it’s not really a wrestling game, nor is it a good Kinect game. Hell, it’s not even a good game at all. It’s broken, uninspired and cheap. They say you should never meet your heroes, apparently you should never play their games either.

There are a lot of ways you could describe Turn 10’s Forza Motorsport 4. It’s a racing game, it’s a driving simulator, but the easiest way – it’s simply pure unadulterated car porn.  Gorgeous and deep, the latest in the long running Xbox racing series feels like the genre perfected and while it may not change the way those who don’t like driving games feel about the genre, it’s impossible not to appreciate the level of detail and depth put on display.  Forza 4 is quite simply a car lover’s virtual dream.

The Forza series has always been a visual treat, but nothing that came before it compares to what Forza 4 is packing, and it’s all thanks to the game’s new image-based lighting model.  The locations you’ll be racing in come alive with picturesque scenic vistas and stunning backdrops, and they’re made all the better by the superb lighting model which causes shadows to stretch out to just the right points and interact in just the right ways.  You want a show piece for your new HDTV? Pop-in Forza 4 and show someone its visuals.

Of course, all of this works together to make the game’s main attraction; the cars look downright stunning.  Turn 10 has poured a ton of work into ensuring that each car is perfect down to the smallest detail.  Going through and inspecting the models, especially some of the more exotic and vintage car proves to be an impressive endeavor (especially if you’re able to do so with Kinect). The cars look great in motion as well, as they’re incredibly smooth and weighted just right as they roll down the game’s multitude of tracks.

For true car lovers though, Forza 4’s sweet spot has to be its audio presentation. The game features a wide variety of cars, from classics, to exotic models and each of them sounds incredibly authentic when punching the engine.  Want to get to the heart of a car junkie? Turn the volume up real loud and crank a few engines, it’s stellar, strangely rewarding and almost impossible to resist.

Of course, much like any good car, the true heart of Forza isn’t in its looks, but under its hood, and Turn 10 delivers here as well. Genetically speaking, Forza 4 shares a lot of its core with that of its predecessor Forza 3, but thanks to a generous amount of tweaks and new additions, this is now slight upgrade.  The most noticeable of these updates is how smooth the games monstrous suite of cars handle. Each of the cars handle remarkably true to their real life counterpart, now I may have never driven a Ferrari, but the ones in Forza 4 feel an awful lot like what I’ve always dreamed they would. One of the things I really found myself enjoying about Forza 4 is trying out different cars, how they feel, how they sound – and I’m not even a huge car guy.

One of the most notable features of Forza 4 is just how accessible it can be when compared to other hardcore driving simulators. Sure, the focus here is on sheer driving and skill, but Forza also features a slew of driving aids and tweaks that will allow even the worst driver to enjoy their time with the game. Perhaps that’s the mark of what makes Forza so enjoyable, it’s perfectly fine being one of the most deep racing sims on the market, but it’s also not afraid to turn things down a bit to encourage others to play.

Turn 10 has also made other changes to the Forza formula to better accommodate novice players, but they haven’t necessarily made the game easier, just easier to jump in to. At the easier settings, AI controlled drivers aren’t dumbed down so they’re worse drivers, they’re just not as confident as those found on the higher difficulties. These inexperienced drivers will brake more often and be cautious going in to turns, allowing newer users the ability to learn the finer points of the game, and not just scale by on the easier difficulties.

In previous Forza games, you would only be able to level up cars until they reach level 5, leading to a lot of replayability being lost. That’s fixed in Forza 4 as the game introduces manufacturer specific levels called affinity levels which can be attributed to any vehicle; as long as it’s in the same manufacturer family. In essence, what these levels do is allow players to continue using a car they really like no matter how fine tuned it is while still earning XP and credits you’re able to use throughout the game and adds a ton of replayability.

As robust as the single player experience is, Forza 4 also packs a rather impressive multiplayer suite. The best mode of this suite is easily the rivals mode, which allows you to play against your friends whether they’re online or not thanks to a ghost system. Perhaps most impressive about the multiplayer suite isn’t how robust it is, but how everything works together. Playing online will also give you XP and credits to use throughout the game. In short, that means ultimate bragging rights.

Forza 4 could also be the first game baring the “better with Kinect” branding that I actually believe, as Microsoft’s motion sensing camera actually adds to the experience quite a bit. Using Kinect will allow you to use the cool steering wheel controller as well as the ability to look to your left and right while driving, by simply doing so in real life.  The true allure of Kinect is when you use it to oogle the cars in the auto vista mode…hands off of course.

The Blast Factor: I may never own an Italian sports car or high performance muscle car (unless Guilfoil ups my salary), but thanks to Forza 4, I can know what it’s like. It’s the most detailed, fun and rewarding driving simulator I’ve ever played. Car junkies are going to love that Turn 10 gets it, and even those who don’t get hot under the collar at an engine will love the jaw dropping presentation values. Forza 4 is simply an accomplishment in every sense of the word.

I try not to be too pushy with my reviews and let you readers make up your own minds about which games you’re going to buy, but there’s really no other way to put this – you need to play NBA 2K11.  Played last year’s game? Doesn’t matter – this year’s game trumps everything that came before it. Don’t like sports games? You’ll appreciate the level of depth and production values that the development team put in the game.  Simply put, NBA 2K12 isn’t just a great sports game, with all it has going for it — it’s a great game in general.

For the second year in a row, 2K spotlights arguably the greatest player to ever grace the hardwood  — his airness Michael Jordan, but this time he’s not alone. 2K12 celebrates the complete history of the sport with players like Larry Bird, Magic Johnson, Patrick Ewing and Scottie Pippen all unlockable and playable.  This opens up an incredibly awesome mechanic in 2K12; the ability to match up the best young stars of today with the greatest of all time. How would Jordan’s Bulls, in their prime match up with the Lakers’ dynasty? This year’s Miami Heat? Or what about a battle of the big-men, pitting an in his prime Shaq against someone like Dwight Howard? It’s here that NBA 2K12 really begins to establish its own identity; if Madden is a sports simulation, this is an all out love letter to a sport, its history and most importantly, its fans.

Of course, NBA 2K12 does not rely on the past, as its real strength, much like in previous years, is in its core mechanics. Most of last year’s game remains intact, but the developers have included little tweaks that make the game better, including addressing the faults from last year’s game. Chief among these faults; at least for most gamers was the AI, which had a reputation for being absurdly cheap, it’s been addressed this go-round, and even though it still happens, it’s much more rare. To the developers credit, they didn’t just dumb down the AI more, instead, they gave you more control; control over your players movement and your offense, but be warned, the AI is incredibly realistic and aggressive and will pounce on any weakness you show.

NBA 2K12 comes packed with a ton of depth, and each is sure to appeal to a different type of player. I for instance am a franchise player, it’s always the first mode I go to in any sports game I play, and in NBA 2K12, it’s incredibly rewarding. Unlike other franchise modes, 2K12’s Association Mode truly puts you in control of a team – through the good times and the bad. Play as a team just coming off a losing season and you’re playing to practically empty arenas, but start winning and watch the fans start to come back in.  For example, I took the Milwaukee Bucks, who had a so-so season last year, and through a series of business decisions, free agent signings and a lot of wins, I was able to turn a good profit.  The coolest addition to this year’s Association Mode is the ability to take it online and complete a whole season.

My Player also returns to this year’s game, and though much of it remains unchanged, it’s a much more streamlined endeavor than in years past.  You’ll still create your player, but instead of dropping in to a few pickup games to prove your worth, you’ll be dropped in to one game and then go into an interview to prove your mental wits and then it’s off to the draft.  Hearing NBA Commissioner David Stern call out your name (if you’ve given him a somewhat normal name), but the real payoff comes from the amount of time and depth you’ll put in to the mode. Your long term goal is to make it to the NBA Hall of Fame, and you’ll do that by reaching goals on both the per-game and season basis.  It’s not an easy task, but a rewarding one none-the-less.

Far and away though, NBA 2K12’s most remarkable feat is in its astounding production values. Of course, there are some hiccups, like some of the lesser known players still having weird alien like faces, but the big names, the Lebrons and the Kobes have all received a face lift and look much more like their real life counterparts.  Even the crowd, an aspect most sports developers have had a hard time with looks remarkably lifelike. The players, and arenas are impressively detailed and everything feels crisp. NBA 2K12 also features what could be the most lifelike commentary of any sports game, as while there is a bit of repetition, still feels remarkably fresh even after countless games.

 The Blast Factor: NBA 2K12 isn’t just a great basketball sim, with all of its depth and superb presentation; it’s a phenomenal game in general.  The perfect combination of accessibility and realism, NBA 2K12 tops every basketball game before it – becoming one hell of an experience in the long run. Simply put – it doesn’t get much better than this.

Before starting this game up, I really wasn’t sure what to expect. The cover suggests playing a fantasy hero who feels compelled to slaughter orcs for various,story-driven reasons. Apparently I was over-analyzing this. The game is about one thing: killing orcs. OK, so there is a little more to it than that, but essentially, they must die. It’s basically a Tower-Defense game… in the third person. So, instead of a top-down, overall view of the map, you play as a silly man who makes off-handed comments to himself about the situation, not unlike my buddy Drake from Uncharted. There is a story in this game, somewhere. But your main concern? Just kill those darn orcs.

Each level begins with some down time where you get to select the kinds of weapons/ traps you will be using this level and then laying them out. Once you hit select, you “unleash the horde.” They come in waves, and as the levels progress, there are different kinds of orcs making each level harder and harder. Not to mention, the maps get more complicated. For the most part, it’s just you defending the castle, so you do a lot of running. The thing I loved about this game was how it plays like a Tower-Defense, but there are times where you have to get out a melee weapon and start hacking and slashing. The animation on the characters is excellent and the comments from our hero and the orcs are hysterical. Each level is different enough to make it challenging and keep it interesting.

That said, the game is not without flaws. Each level you beat unlocks new traps, but you really don’t get a lot of new weapons (ranged or melee). Which is a big part of the game since it’s played in third-person. I get the feeling that the developers underestimated the ability of the player in combat. There is plenty of room for strategy where you can just sit back and watch the blood spill, but sometimes it’s fun to jump into the fray as well. There is also a system to purchase upgrades, but it’s a bit too hard to accrue the currency required to purchase upgrades for traps. Also, there aren’t enough options to upgrade your handheld weapons, another disappointment.

The Blast Factor: When it’s all said and done, though, it’s a really entertaining game. I loved the challenges on each map (some are really tough). The game wasn’t too easy, but it wasn’t impossible either. Not to mention, when you beat a map, our hero does a little jig, which brings me a silly amount of satisfaction. For 1200 Microsoft Points, I would say it’s worth it for seasoned Tower-Defense players and casual ones alike

The apocalypse fascinates us. Tales of a grim future of desert wastelands, horrible mutations, and rampant violence have long proven to be a successful formula for movies, novels, and, especially, games. Id Software’s long-awaited Rage certainly seems to have been crafted with an exacting eye for wasteland standards. It’s a game that definitely succeeds on a technical level, but from a design and gameplay perspective might require players to lower their expectations.

Rage opens in a familiar manner. Just before a giant meteor strikes Earth, a select few are given a reprieve in the form of cryogenic status chambers in protective “Arks”. Fast forward a hundred years, and it’s clear this plan wasn’t bullet proof. The player awakes from cold storage to find themselves the only survivor of their ark, and is immediately thrust into a violent world of dusty landscapes, burned out structures, and well-armed buggies.

Comparisons between Rage and other wasteland games like Borderlands and Fallout 3 are inevitable. How Rage distinguishes itself however, is that it is undoubtedly an Id-made game. There are no role-playing elements here and no greater strategy beyond kill-or-be-killed.Anyone expecting another Fallout will be disappointed by the sheer shallowness of the gameplay.

Rage also lacks the deeper cooperative play experience of Borderlands and the sense of humor of either game. It seems to be a game that takes itself too seriously, even though players will be hard pressed to discern why. There’s no cliché left unturned and despite the initial appearance of an open world, even this is merely an illusion.

Players have no control over even the basics of character development. You can’t change the look, gender, or any physical aspect of the ark survivor, and the only real commodities in the game are money and race tickets. Both of these currencies are used to buy weapons, equipment, ammo, and vehicle parts.

Rage is divided between two distinct play styles. The standard first-person shooting elements will make veteran gamers feel right at home. The indoor levels have a distinct Doom feel to them, with tight corridors and much the same imagery and design techniques used in the developer’s past games. Even the horror elements are cribbed from so many other sci-fi horror games. Despite the apocalyptic mutant theme, the game throws in the whole growing biomass cliché that makes little sense in such an environment.
The driving portions will delight fans of arcade-style combat racing. The physics are over-the-top with an eye for fast action not realism. So, you can still steer in the air, for instance, and there’s a decided focus on making crazy jumps. There’s plenty of opportunity for extra points by destroying objects in mid-air and skillfully dispatching foes.

So long as you understand exactly what kind of game Rage is, however, there’s no denying that it’s fun to play. The whole game is just one errand run after another. Talking to the various non-combative denizens of the wasteland frequently leads to a new task (usually either a fetchin’ or killin’ mission), which you just go and do. It’s not deep, creative, or complex, but this formula provides plenty of action, which has always been Id’s design focus.

Enemies have decent AI and tactics, with excellent movement abilities. Bandits and mutants will use free-running skills to leap over things, run along walls, and be generally hard to hit—frequently too hard to hit, since the game’s auto-assist is suspect. There’s a wide array of bad things to shoot, including some impressively large boss creatures.  Bandits are divided into themed tribes. There are redneck cannibals, technologically-advanced soldiers, and British punk-rocker wannabes. Ultimately, their specific look and dialogue is irrelevant, since outside of the few “safe” towns, everyone is merely fodder for your guns.

Beyond bandits, there’s the so-called “authority” that make life in the wasteland a nightmare for anyone who crosses them. To go along with these tyrannical would-be rulers, there’s also the pre-requisite resistance for the player to join. The story is just there to service the shoot ‘em gameplay though, and it’s clear that the minimum amount of effort was put into the writing and non-shooting and driving mechanics.
Thankfully, as expected, the shooting and driving is satisfyingly entertaining. There are enough missions to occupy hours of violence and, for action lovers, that’s a fine reason to enjoy this romp through the wasteland. The other major draw is the multiplayer, which brings multiplayer car combat front and center.

Id definitely has a handle on great death matching and Rage’s vehicle-centric online play is terrific. Totally ignoring the first-person shooter elements, the competitive play is fast-paced and well-designed. There are a handful of entertaining game modes fought in superb and spacious arenas. The downside of the multiplayer is the four-player limit, which is too small given the expansive scope of the maps. There are also two-player cooperative “legend” missions, which are fun, if shallow, but not really a replacement being able to play the main single-player game with a friend.

Id Software has always been known for their technology, and the latest iteration of their graphics engine takes the core visual style of Doom 3 and expands it to vast open spaces. Despite some graphic glitches on the console versions, Rage is a beautiful game with a solid frame rate and nice variety of indoor levels. The audio is also superb, with powerful surround effects, solid voice acting, and a decent musical score.

Blast Factor: Ultimately, the best way to sum up Rage is shallow, but fun. There’s virtually nothing here that hasn’t been seen before with more depth. Even when the game threatens to evolve beyond its own shallowness, it just can’t make it. Taken as a straight-forward, mission-based shooter, there’s plenty to like. Yet, after so long in development, the game has an almost half-baked feel. The presentation, the environment, the combat… almost all the parts are in place to make Rage an epic post-apocalypse adventure, but the sum total is ultimately less than these pieces.

On paper, X-men Destiny sounds like a great idea. The game gives players the ability to take three characters brand new to the mutant universe, craft them any way they want and allow them to fight alongside (or against) famed mutants like Wolverine,  Cyclops, Gambit and Magneto. Not all ideas pan out like they should.

At times, X-men Destiny flirts with being a decent game, like when it delves deep into the X-men mythos, or lets you play mad mutant scientist by mixing powers and genes of your favorite heroes to create the mutant of your dreams – but it’s all combined with such messy, uninspired at broken mechanics that you’re unlikely to ever experience these things in full. Those who can’t get enough of the X-men should check out Destiny, if just for its fan service; just don’t expect a good game.

The stars of X-men destiny aren’t heroes like Wolverine and Cyclops, but three mutants you’ve never heard of. You take control of one of three characters created specifically for Destiny; Aimi, the mutant smuggled by her parents from Japan to escape incarceration, Grant the jock who knows nothing about the ongoing mutant VS human war and Adrian, the son of an anti-mutant to extremist.  Throughout the game you’ll interact with some of the Marvel universe’s biggest names and play an integral part in the human and mutant war that’s been raging since the death of Professor X. It’s here where X-men Destiny proves that it’s at least in tune with what makes the X-men cannon so unique. The characters origins actually have heart, and each of them (well, maybe not Grant) have a vested interest in the way the battles play out. The game may not portray this 100% of the time, but the game at least makes a valid attempt at giving us a story that fits in with those found in the X-men books on the market.

The beauty of starting with a brand new mutant is that you’ll get to craft them to your liking by finding and combining mutant genes to create a pretty cool arsenal of powers. As you play through Destiny, you’ll earn experience points by exploring, taking out identical no named thugs and even some of Marvel’s most well known mutants, you’ll use this experience to unlock genes, which in turns unlocks new abilities. Want the punishing power of Colossus combined with the speed of someone like Quicksilver? Go for it. Looking to create a badass combination of Wolverine’s berserker rage with Nightcrawler’s teleporting capabilities – you’ll just have to find the right genes. As someone who grew up creating his own X-men characters, I found this to be very intriguing and at times its incredibly rewarding; it’s just a shame that I found myself not caring about it less than halfway through the game.

For all that it has going for it, X-men Destiny falls apart when it comes to its core gameplay mechanics. Rather than fighting meaningful battles, you’ll be taking on a never-ending series of nameless thugs. The result is a boring and uninspired brawler which often feels like nothing more than a grind fest. Now, this would be alright if it were a brawler in the form of previous X-men games like Legends or the later Alliance games, but Destiny is nowhere near the quality of these titles.  Attacks have little or no weight to them and you’ll often get stuck in a sluggish combo that must be completed regardless of if your opponent is finished or not – leading to your character taking unnecessary damage. What’s worse is that these combos often cause the game itself to slowdown.  X-men destiny may present itself as a deep combat game, but it’s really nothing more than a sluggish button masher.

The game also asks you to explore quite often if you’re looking to get more of the mutant genes you’re looking for; but unfortunately, this to tends to drag the game down. Environments are often drab and uninteresting, and exploring becomes something you’ll have to do, rather than something you’ll want to do. At least the genes are hidden pretty much plain site more often than not, so you won’t have to look that hard for them.

The game’s problems don’t stop there as Destiny is an overall thin and unfinished experience. Destiny is a game that shouts its decision engine from the top of mountains, but you’ll find out very soon in the game that these decisions don’t make much of a difference at all. Throughout the game you’ll be asked to choose between two paths, one that aids the X-men and the other that helps Magento’s Brotherhood of Mutants. Making these decisions is supposed to open up new pathways and different missions, but in reality they all play out mostly the same – punch guys in the face and move on. All of this can be wrapped up in as little as 6 hours.

Presentation wise, Destiny is a mixed bag, the voice acting is surprisingly well done, but the rest of the game doesn’t feel as polished. We’ve already touched on the drab environments, but the characters as well feel incredibly awkward and move strangely at times. It’s most disappointing when characters and other elements in the game show up strangely or worse, not at all. These moments don’t happen all that much, but when they do, it’s enough to take you completely out of the game.

The Blast Factor: It’s not all bad though – if there’s one thing that X-men Destiny does right, it’s fan service. Playing through Destiny gives you plenty of different costume choices inspired by your favorite X-men characters. In that sense, there’s a ton of depth to Destiny if you really know where to look for it, it’s just a shame that it couldn’t be found in the game itself. Hardcore X-men fans, who pour of every page of the comics and have a notebooks full of sketches of their own mutant creations will get a kick out of Destiny – just don’t expect it to last too long.

Aged over a decade since its releases in arcades as well as on the Sega Saturn, Radiant Silvergun’s high definition re-release on Xbox Live Arcade still yields as a frustrating and impossible, yet addicting and challenging “shoot em up” game.

Admittedly, I had never played Radiant Silvergun until trying the re-release on the Xbox Live Arcade, so I had no idea what to expect. I assumed it to be something like an amped up version of Galaga, but I was severely wrong.

The game is definitely not for everyone, and that’s made evidently clear right off the bat.

Starting with weapons that you will stick with throughout the duration of their gaming experience, Silvergun’s story mode drops your ship off in the middle of battle. Enemies all shapes and sizes start flying in weaves and circles, shooting various artillery, hoping to blow you to smithereens. There is no training, and players hit the ground running, scrabbling with the multiple weapons they are equipped with.

The player’s ship is small, but stacked with a healthy variety of goodies to destroy enemies, regardless of their sometimes goliath size. The idea is that each weapon should be used to strategically dispose of specific enemies, and when it comes to boss battles, specific parts of your enemies. The more pieces of bosses you destroy, the larger the bonus is at the end of each stage.

Equipped with a Vulcan gun, as well as a homing laser, a lock-on scanner, diagonal missiles, and a sword, players need to utilize each in different scenarios. Knowing which weapons will be the most useful against which enemies is the goal. Sometimes the homing laser may not be able to hit weak spots on a boss’s body, so the side missiles that leave behind explosions are the route to go. Sometimes a player’s Vulcan gun may be so overpowering all they need to do is just hold down the “A” button and lay waste to everything that crosses through their barrage of death. Each plays a special role in surviving the chaos that ensues through the duration of every stage.

To be completely honest, the word “chaos” may be an understatement.

One hit from any of the enemies’ projectiles will end a player’s life, reducing the life count in the upper left corner of the screen.

And this will happen. A lot.

Ten minutes in I wanted to throw my controller through the television and call it a day due to the massive frustration and tediousness of the levels. But sticking with Silvergun is where the rewards come in. As aggravating as it is to lose all of your ships in just the first phases of level one, the arsenal you use upgrades as you play and, in story mode, continues to level up regardless of death and continues. Your Vulcan gun may be at level five when you run out of lives, but when you save and continue (and begrudgingly start on the very first stage again), the Vulcan gun will still be level five, making play-through more manageable each time. With no power ups or helpful add-ons, players must truly rely on their skills and persistence to level up each weapon. The downside is eventually the first stage becomes a chore as players eagerly (or angrily) grind to pick up where they left off with stronger weapons than before. The repetition can be a bit much. I always found myself yearning for a save function, but only the progress of your weapon upgrades are noted.

Radiant Silvergun is for the determined and strong-willed. Instant gratification gamers need not play, because they will find none here. Only the most patient players will be able to muster through the chaos of weapons that, on occasion, will cover the entire playable screen. And sometimes that won’t even be enough. You’ll grit your teeth. You’ll yell. You’ll probably even contemplate destroying your Xbox. Persistence is the only way to method getting through the story mode, as boss battle after boss battle continuously attempts to beat down players (both in the game and emotionally).

Memorization is key. Players will begin to learn stages due to the amount of times they must be replayed. Silvergun forces players back to stage one with every “game over,” which can leave people zoned out and mindless in front of their televisions for hours just in attempts to get back to where they were prior.

The game offers two modes that players can pick from, “Arcade” and “Story.” Personally, the story mode is a lot more fun, despite the attempt at a story. The arcade mode has different options, however, where players may skip to different stages after they get through stage one. There is no choice in “Story” mode.

The story itself is translated into English subtitles, but still wildly confusing and overall pointless. Subtitles come onto the screen during game play, which makes it impossible to read in attempts to survive the onslaught of enemy fire. In the end, it just becomes annoying. I disregarded trying to understand the reason I was blowing up enemy ships and just went with it, mowing down anything in my path.

Radiant Silvergun offers a multiplayer option as well, which I found, if anything, incredibly amusing. Playing with a friend, we suffered the wrath of Silvergun together, dying left and right, yelling and laughing all the way. Eventually we became numb to defeat and kept plugging away. Playing with a friend definitely eases the pain and aggravation, that’s for sure. Eventually, we got in sync with one another and began covering specific sides of the screen, knowing what to expect and leveling up our weapons, making the game that much better.

It’s clear this is a videogame from a different time, which may say something about present day gaming altogether. It brings up the issue that some games are just too sugarcoated, holding gamers’ hands too long, leading them through things they are perfectly capable of doing on their own. It was a cruel awakening that Silvergun gave me, but I found I quite enjoyed the challenge. Some games are just too easy. Radiant Silvergun loudly boasts back that it refuses to be lumped into such a category. There’s a fine line between challenging and impossible, and Silvergun rides that line perfectly. After my initial shock, my comprehension of this fact led to addiction.

Yes, I still have trouble with the game even on the “very easy” setting (the “very hard” setting is really just another way of saying “yeah, right”), but that’s the point. Silvergun is a game for those who can grind and persevere. I’m a gamer that refuses to back down and this is a game that refuses to give in. I’m sure the game is beatable, but I don’t know if I will ever get to that point. We’ll just have to see as my Vulcan gun and homing lasers get stronger and stronger with each attempt.

The Blast Factor: Radiant Silvergun has shattered my hopes and dreams over and over, but for some reason, I keep coming back for more. And it may be twisted, but I kind of like the close-to-impossible challenge. It’s one of the best arcade shooters of its kind, pushing players to really “want it,” so to speak. The re-release got a nice makeover in HD, making the madness on screen look even better. The multiplayer is just an extra treat so friends can suffer along with you. The grinding can get tedious, however, and one mistake can set players back, which can be too much on occasion. If players truly want to test their ambition and persistence, Radiant Silvergun is worth purchasing off of Xbox Live Arcade. If you’re a gamer that needs instant success, then you may want to drop some quarters at the arcade on it instead of making the long-term buy.

When I ran ReviewCenter.com back in the 90s and early 2000s, I tested out a ton of flight simulators. And I tested out a ton of joysticks and peripherals.

The one I liked the best was the CH Products Fighterstick USB. Long story short, it’s the best joystick ever made. Back then, the 15-pin game port was still the king, though it was lumbering. USB enabled us to easily use multiple devices like throttles, joysticks, and rudder pedals all at once.

More than 10 years later, the Figherstick is still CH’s flagship joystick product.

The three-axis stick controls aileron, elevator, and throttle control, while the built-in eight-direction HAT lets you control point-of-view or thrust vectoring. It works perfectly in Windows, while rotary trim wheels allow you to fine tune control for older DOS games.

Recently I decided to pull my Fighterstick out of the closet and see if it still worked. It was beat up. Dusty, with some of the rubber casing missing from the USB cable, probably from getting dropped, moved, and boxed for about six years. Well, it still works. I plugged it in, Windows 7 recognized it instantly, and the Fighterstick worked just like it did a decade ago.

Just for kicks, I had CH send me a brand new Fighterstick and see if I could tell any differences. I could not. The X and Y axis of the stick feel and move the same. The Z axis throttle is just as tight on both sticks. All buttons work and feel the same, including the HAT.

After 10 years, the Fighterstick, well out of its two-year warranty, still works perfectly. It works as good as a brand new joystick. For something made of plastic and circuit boards, with tactile buttons, only my Sega Genesis controllers have held up as long. Remember Nintendo 64? How’s that analog stick working? Still making head shots in GoldenEye?

So there’s your testimonial for CH Products. Not bought. Not paid for. Just played with, over and over again.

I’ve always felt a weird connection to the Gears of War franchise. Maybe it’s because both of the first games were released on my birthday and it became a ritual to check out Delta Squad’s latest mission as I got older – but I always felt like Gears of War 3 was somehow my game.  So please, forgive me if I gush a bit.

With Gears of War 3, Epic Games has taken the formula set by the first two games and tweaked it ever so much to create the perfect finale for their long running series. Everything you love is here, the chainsaw lancers, the grubs, the brumaks, but there’s also so much more.  The characters are deeper, the story is more engaging and the entire experience is deeply satisfying. Gears of War 3 is undoubtedly Microsoft’s biggest release of the year, and it’s also the best; one that if you own an Xbox – you simply have to experience.

It’s been eighteen months since the end of Gears of War 2, where Jacinto, the last human city was sunk in an effort to flood out the locust horde. As a result, the remaining survivors have setup camp throughout the world and must ban together to survive – food and weapons are scarce, and hope is bleak. To make matters worse, the high levels of imulsion left in the world (a luminescent, highly volatile, low-viscosity fluid) have turned some of the locust into glowing, mutating monsters.  Marcus Fenix, the leader of Delta Squad gets a message that his father is alive and being held captive. Your job is simple – return order to the world and find Adam Fenix.

The story in Gears of War 3 is easily the most well paced and thought out of the entire series. For the first time ever, Marcus and the rest of Delta Squad aren’t fighting the Locust because they’re soldiers; they’re doing it for their survival. Throughout the game, there are several emotional moments that for the first time ever, really let us see emotion from the members of Delta Squad.  One of these moments happens early in the game, where Cole returns to his former hometown, ravaged by Locust and Lambent in search of supplies and see’s statues and images of his former career as a thrashball superstar. Staring at a cardboard cutout of himself; Cole remarks to his squadmates about seeing his own death.  It’s a bit humbling for these characters, who have previously only been seen as muscle-bound brutes to show real emotion for the first time.

Of course, at its core, Gears of War 3 is built on its action – and it does not disappoint.  Sequences in the third game are incredibly large compared to those of previous games with huge badass monsters to take on, and are anything but easy. The Lambent, which sprout up from stalks from underground offer a change to the formula the franchise has setup for the last two games; as they’re mutating abilities will usually allow them to reach behind your cover to attack you, or worse – smash right through it. This of course forces you to adapt your strategy since you won’t be able to stay behind one source of cover for an entire battle.  The Lambent will explode when you defeat them, so it’s best to keep your distance less you want to take an excessive amount of damage even when succeeding. It’s these elements that make Gears of War 3 feel like a true evolution of the formula.

The lambent's explosions make for great visuals.

What surprised me most about the campaign in Gears of War 3 was just how much room it left for creativity and error. The first two Gears games were strictly linear affairs, but here, there’s a bit of user choice. Of course, you won’t be able to navigate the battlefield as you choose, but take for instance one section early on in the game where you try to sneak into a Locust stronghold without sounding the alarm. Your obvious route is to sneak around and pick off guards with the sniper rifles conveniently strewn about the battlefield (you’d think they wouldn’t want to leave them around like that), but letting one of the guards get to the alarm doesn’t necessarily mean you fail, as you’ll just have to take on the remaining horde head on. Interestingly, I also tried sounding the alarm myself, which proved to be the hard, but most fun route.It’s when you’re fighting the non-infected Locust though that the game truly feels like a Gears of War title. Don’t get me wrong, I liked the challenge of the Lambent, but you can’t do a lot of the things that make Gears unique. It’s with the Locust that you can do the game’s signature executions (there are a number of new ones here, including some really badass ones with the trusty chainsaw lancer), and it’s the Locust that feature the superb AI that the series is known for.  There are of course several new Locust types, including the Savage Grenadier and the Digger Boomer. Trust me; you’re going to hate the damn Digger Boomer.

With these new Locust types comes new weapons, and they too deliver. Killing the Digger Boomer gives you the digger gun, which sends missiles that burrow under the ground and the ground and come up rip the target to shreds. The most prominent new weapon though is the retro lancer, which replaces the chainsaw on the lancer you know with a musket like blade. At first, I hated it, but the more and more I used it, I preferred to always have one in my inventory. Rather than revving up a chainsaw to melee attack an opponent, you’ll hold down the b-button to charge and impale them. It’s deeply satisfying, perhaps even more so than the traditional lancer.

Apart from the campaign, the game features an impressive online suite. There are of course the competitive modes, which are powered by dedicated servers and features new game modes, and some awesome maps (I’m partial to the checkout map, which puts you in an abandoned grocery store and thrashball, which puts you in an old stadium –complete with falling jumbo-tron). For the first time ever, Gears of War 3 features full four player co-op throughout the entire campaign.

Horde returns in a more strategic form.

Horde mode also returns in the form of Horde 2.0, a new and more strategic way to play the survival mode. At first, I wasn’t sure about the new changes, as you and your squadmates buy barriers and bases to keep out the Locust and the Lambent, but it started to grow on me rather quickly. It forces players to work together, rather than camping out in certain areas. Also new to Gears 3 is Beast Mode, which is like Horde, but lets you play as the Locust Horde and target humans.  You start with simple tickers and soldiers, but as you progress you unlock new Locust types – it starts slow, but it’s a ton of fun, especially if you’re able to get a group of dedicated friends together to play the mode.

The Blast Factor: Gears of War 3 is easily the best game in the franchise, and it makes its case for best Xbox 360 game period. It’s a deeply satisfying and at times touching game that takes the formula set forth by the previous iterations and tweaks it in just the right places to make an incredible gaming experience. Simply put – if you own an Xbox 360, your library is not complete until it includes Gears of War 3.

Gears of War 3 releases worldwide for the Xbox 360 on September 20, 2011. A copy of the game was provided by the publisher for this review.

When the original Resistance was released alongside the PlayStation 3’s launch, it felt very much like a launch title. It was a good lucking, entertaining shooter, but certainly didn’t scream next-gen power. Full of linear paths, indestructible walls, and wide-open spaces purely used as massive arena battles, it served mostly to provide a pre-requisite sci-fi shooter and show off how many creatures the PS3 could shove on the screen at once.

Frankly, not a lot’s changed. The sequel was improved, but still suffered from a by-the-numbers design philosophy and felt like an endless string of gigantic set pieces, absurdly crowded battles, and gauntlet runs. With Resistance 3, Insomniac Games gotten off the leash just a little and while it would be easy to say the formula is fundamentally unchanged, the results are stunningly improved.

The third chapter picks up several years after the oppressively downbeat ending of Resistance 2. Players take the role of Joseph Capelli, the angry grunt from the second game whose actions lead to his dishonorable discharge. Joe has settled down, gotten married, and had a son.

Joe helps protect one of the rare “safe” towns with his family in Oklahoma, and the game does an amazing job of detailing just how dire the situation is for humanity. The chimera has overrun the United States and stopped capturing humans to replace their vast numbers. Now, they just kill any humans they find. To make matters worse, they’ve started reproducing in the wild somehow, leading to a feral breed of chimera that attack anything.

Through the game, Joseph will bear witness to all manner of horrors and wonder on this trip through the darklands of Americana. Vast wild herds of gigantic widow makers, hordes of zombie-like grims, and variations on other old favorites scour the landscape. The levels take you from Oklahoma to the Mississippi river, and through Pennsylvania, in order to reach the ultimate goal of destroying the worm hole generator in the heart of New York City.

To that end, Joe will fight through small towns, mine shafts, and burned out urban landscapes. He’ll defend a moving train and run rampant through a super max prison. Every environment feels new and different in comparison to the last, and the game’s oppressive portrait of a destroyed America makes the action feel all the more intense. Joseph, like Hale before him, isn’t a particularly personable protagonist, but the cinematic sequences and overall story do a good job of presenting him as the country’s last hope.

Resistance 3 throws in some surprisingly retro mechanics that actually make the game feel more innovative. The tired two-gun limit has been thrown out the window, allowing Insomniac to flex their creative penchant for destruction learned from Ratchet & Clank. Players now have access to all available guns all the time—provided they have ammo.

While old standbys like the shotgun, assault and sniper rifle, bullseye, auger, and magnum are all here, many of the new guns are ingenious. There’s a freeze gun, viral mutator, and lightning gun, all of which have very specific and entertaining uses. The secondary fire options are especially well-done. The mutator is a charge shot that can infect most enemies with a mutated chimera virus, leading to a truly awful death. The secondary fire, however, disperses a cloud of the virus to infect a group.

The magnum uses explosive shots that can be detonated at any time with the secondary fire. The lightning gun uses chain lightning normally, but also shoots a sucking vortex of death. The fights tend to be so overwhelming that using all the guns and constantly running low on ammo is common place.

The other change is Joe doesn’t regenerate, nor does he have a shield. Instead, he must find good ol’ health power-ups, which greatly changes up the tactics that most shooters have been relying on since the original Halo. It is somewhat annoying that Joe can’t actually hold med kits in his inventory, leading to somewhat unnecessary frustration during the harder battles.

Resistance 3 still relies heavily on a linear approach to design focusing on huge set pieces and vastly outnumbered battles. During some of these sequences, Joe has some minor help from AI allies, but mostly it’s just him against an army. The battles are well-paced, intense, and mostly incredibly entertaining.

Yet, there are times when it just feels canned. Why, for instance, would a lone human join a battle of militant chimera against a giant, feral widow maker instead of just sneaking around them? Another oddity is the final act, which bizarrely loses steam right when the game should be gearing up for a grand finale.

Just the same, Resistance 3 delivers an insane amount of over-the-top shooting carnage in an environment that feels amazingly compelling. Flaws be damned, this is a great single-player shooter. Multiplayer-centric players can opt to play cooperatively with a second player, or just battle each other with a solid array of online game modes. Some features are tweaked or missing from the earlier games and the multiplayer sessions have been downgraded (again) to 16 players, but it’s still an excellent example of online battling.

The Blast Factor: Add in excellent 3D and Move support, and Resistance 3 marks another great and much improved sequel exclusive to Sony. Insomniac has relaxed enough to tell a familiar story their way instead of simply making PlayStation alternative to Halo, and it shows.

By now you know the unspoken motion gaming mantra. Dated visuals, fluff gameplay and frustrating camera issues. Enter The Gunstringer.

With its fun gameplay and defined art style, Twisted Pixel (‘Splosion Man, The Maw, Comic Jumper) on rails Kinect shooter is like nothing you’ve ever played for Microsoft’s camera peripheral, and could be the first game that will make you forget you’re not using a controller.

The Gunstringer is really a novel idea from start to finish – you control The Gunstringer, an undead Marionette style puppet looking for revenge against his former gang. Yeah, it’s kind of like Kill Bill, but with puppets. The whole thing is done in the style of a play, with a live action audience. Of course, this is a Twisted Pixel game, and the whole thing is filled with the studio’s trademark humor and quirkiness. You can’t help but laugh when you’re shooting holes into one of those arm waving inflatable tube-men used to advertise used car sales. While most Kinect games are light on story to get you to flail you arms around, the Gunstringer brings it in classic Twisted Pixel style.

The game is an on-rails shooter, and you’ll use one hand to control the Gunstringer’s side to side movement, and the other to shoot. It’s a unique control system that given the game’s content works well. You’ll constantly be faced with a ton of enemies at one time, but the game features a “paint to shoot” feature, which allows you to move your hand like cocking a gun to select up to six targets at a time to take out. Think of it like the Kinect version of Red Dead Redemption’s Dead Eye mechanic.  That doesn’t mean things don’t get difficult, as much like previous Twisted Pixel games, things get pretty crazy, and you’ll feel awfully uncoordinated during some of the game’s most hectic sections.

Luckily, the Kinect camera does a mostly great job keeping up with your movements, which makes the game deeply satisfying and fun to play. There are some quirks abound, like one battle that I had to hide behind a rock and then duck out from cover to take out my enemies found my character wildly moving from side to side with even the smallest motion.  There’s also a bit of the disconnect that most Kinect games get between your movements and that of the character on the screen. There’s no doubt though that The Gunstringer is one of the most well performing Kinect games we’ve played. Also, it has a sit-down mode, so don’t expect to break a sweat.

Though you could play through The Gunstringer in mere hours if you really wanted to; there’s a ton of content that you’re going to want to unlock. There’s new skins, photos and items, plus for you daring players – there’s a super challenging hardcore mode that is sure to have you cussing out the team at Twisted Pixel before long.  It’s unlikely you’re going to finish the Gunstringer fully anytime soon.

The Blast Factor: The Gunstringer joins Child of Eden as the must have experiences if you own a Kinect. Here, we finally have an experience that though it’s not perfect, feels like it’s made for motion gaming, and not shoe horned to fit the experience. In short, The Gunstringer is a fun and engaging experience, and that’s something you won’t find in many Kinect games.

Anyone who has ever played Warhammer 40,000 has dreamed of strapping on the Space Marine Armor and digging into a horde of Orks. To command a squad into battle, to rev up the chainsaw sword. THQ and Relic understand this and thus created Warhammer: 40,000: Space Marine; the most intimate and gritty look at the longstanding universe.  Space Marines isn’t perfect or innovative, but it is a fun and deeply satisfying new way to look at world that so many have been in for so long.

You are Captain Titus, leader of the Ultra Marines; a squad featuring the best of the best of the Space Marines. You and your small contingent are sent to eliminate an overwhelming presence or Orks from a hostile planet. It’s not the most interesting or original story, but it does feature enough twists and turns to keep even those unfamiliar with the universe interested throughout. What it does do however is give one of the most intimate and gritty looks at the franchise yet. Warhammer has always been more of a passive experience – you command your  table-top troops from a distance above, in Space Marines however, you are the Commander, and you’re right in the mix of the battle with your fellow soldiers – and it’s just as satisfying as you would imagine.

You and the Space Marines are armed with a few weapons at the outset of your quest, and chief among them is your chainsword. The first time you equip it and walk right into a swarm of Ork soldiers, sword swinging, the weapons feel extremely weighted and satisfying. Space Marines is a bloody and violent game, and it’s not afraid to show it; it’s a regular occurrence to be up against a ton of enemies one minute, only to be lost in a sea of blood the next.  As you progress through the game you’ll unlock new weapons and abilities to tailor the commander to your play style.

The gameplay in Space Marines isn’t anything revolutionary, but it is built on strong gameplay elements that make Warhammer entertaining throughout.  The majority of the game is a mix of melee combat and gunplay, and to be successful you’re going to have to switch between the two pretty regularly.  The game has frequent supply drop boxes where you can switch out weapons, spread throughout the game, a nice tough given the fact that you’ll often go into a battle unknowingly with the wrong weapons for the job.  These supply boxes allow you to try again – from a different route.

For all that it does right; Space Marines has a nasty habit of stopping its own momentum. The game’s story isn’t anything to write home about, but Relic seems intent on making it work via a series of incredibly intrusive cut scenes. It’s often that you’ll clear one section, trigger a cut scene and then walk five feet to trigger another one. These cut scenes take you out of the game in a major way. There’s also an issue with Relic being obsessed with its own game’s beauty, as there are a number of sections where you’ll be walking down long corridors without any enemies to fight, and it seems like it always happens when the game’s environments are at their best.

Warhammer’s campaign isn’t obtrusively long, but it’s not incredibly short either. That being said, the game’s legacy will be made through its online suite. The game modes aren’t that surprising,  but adding in real players to the game’s frantic mix does wonders for the formula. In the week since the game’s release, the servers have been very busy and with any hope a solid community will spring up around the game.

The Blast Factor: Space Marine could have been a mess of a genre transition, but Relic and THQ have done a great job in giving you a different and much more intimate look at a long established franchise. There’s nothing revolutionary here, but Warhammer is a game that’s built on solid mechanics and thought out progression. Perhaps the most important aspect, it feels like the start of a brand new franchise.