Throughout gaming lore there have been certain games that come in and out of development and dodge deadlines to the dismay of their loyal fans. Starcraft Ghost, Half-Life 3, the mythical Duke Nukem Forever; all these titles have taken their fans heartstrings and thrown them across the room throughout development. Among these titles lies Max Payne 3. When its predecessor ended back in 2003, fans were expecting a swift turnaround for the sequel. However, problems with developer Remedy and publisher Rockstar eventually lead the two teams to split and for Max Payne 3 to be continually delayed. Thankfully, the release date was not a joke thistime around. Max Payne 3 is out and it delivers on the famed action, while providing a dark story sure to satisfy fans of the series.

The game picks up several years after the end of the last game. Max has fallen into a deep hole in his life and the only way to get out is to take on a private security job in Sao Paulo, Brazil. As one would expect, the 8-10 hour story has its share of backstabbing and vendettas, all narrated by Max himself in classic film noire fashion. While the writing is as strong as ever, the game switches between bad guys too quickly near the end of the game. By the time the person who you are really after is revealed, there isn’t that strong a connection or hatred for them considering they weren’t even important earlier in the game. Nonetheless, Max’s constant monologuing and heavy handed use of metaphors is much better penned than before, characterizing him as a much more cynical, yet likable character than in earlier games. His remarks are actually witty and longtime fans of the series are likely to chuckle when they hear Max’s comments on techno music or Facebook statuses. While the story does get needlessly complicated near the end game, Max’s reasons for mass murder are always clear and it delivers a satisfying conclusion to this new chapter in his life.

Either way, as it was in both games before hand, the meat and potatoes of the experience lies in the ridiculous gunplay. Rockstar has implemented a cover system to the game, leading to a more tactical approach than before. The patented Bullet Time system is back, allowing Max to fall into a trance where he is faster than his enemies and has the ability to dodge bullets with ease. Every bullet is individually modeled, leading to a much higher level of realism to this unrealistic mechanic. Unfortunately, the difficulty within the game cancels out some of the overpowering action many fans are used to. Enemies take cover intelligently and have deadly aim, even from long distance. Not to mention that near the end of the game most bad guys will be covering every inch of their body in body armor, turning them into frustrating bullet sponges. While bullet dodging out of cover and through a window is as awesome as it ever was, when it is over you find yourself awkwardly laying on the floor and struggling to get up with a middle aged groan as bullets smack you across the face. Throw in the fact that your health does not regenerate and you need to be in constant search for painkillers and it can seem unfair at times. It is a problem of new meets old that can hold the game back. Enemies have gotten smarter, and the reckless style of play so suited for this kind of game just does not fly anymore.

Yet, when breaking down the mechanics of the action, it is a beautifully made game. The transitions between animations are extremely smooth, such as when you are left on the ground after a bullet dodge and can rain hell on your enemies. Despite the sometimes frustrating painkiller health system, the game finds ways around it with style. If you have a painkiller on you when you are fatally shot, the game will slow down into Bullet Time and direct your aim towards the guilty goon. If you dispatch him then Max will take the painkiller and give you a second breath of health.

Max Payne 3 is powered by Rockstar’s Euphoria physics engine that mixes Havok-style physics with artificial intelligence. This makes empting a clip on someone more realistic than in any other game in recent memory. Add in the fact that bullets damage enemies without censor, making an entry wound that quickly fills with blood and stains anything it touches, and killing someone in Max Payne 3 looks alarmingly close to the real thing. While the game is not the best looking around, the small details are what sell you on the package. Painkillers will not just be littered around the level, you will have to look for them in logical places such as bathrooms and behind some depressed secretary’s desk. Even the fact that every weapon Max is carrying is shown on his person, and when you reload a side arm he will stick the two handed weapon in between his chest and arm so that it won’t fall on the ground, is enough to convince you of the attention to detail Rockstar has put into this. Cutscenes are all done on the game engine and will often lead directly into gameplay, never taking you out of the experience. Max is suffering from a heavy drug addiction and the game will use some distortion effect in the cutscenes to remind you of that. It can get old quickly, but it successfully captures just how out of whack Max’s life is.

In a first for the series, Rockstar has added a full multiplayer suite with a dozen different game modes and fully integrated character customization. Standard modes such as deathmatch and king of the hill serve their purpose but the real bones of the experience lies with the Gang Wars mode. Players are sorted into teams and dropped into scenes ripped from the single player story. The game mode is always random but it will evolve according to who won the last match, linking together each round with cutscenes and voice over. There are five rounds in each match and the variety of game modes makes this some of the most fun you can have with the game. Bullet time is integrated beautifully into the experience. When you activate it any player in your line of sight will slow down until they break that line of sight. This goes without mentioning the implementation of Bursts (read: COD perks) as little additions to your arsenal. Each burst has 3 levels that you build up the same as you would Bullet Time. If you hold off from using it, and can stay alive, long enough to reach level 3 then the payoff is more than worth the wait. Overall, the multiplayer suite is fully stocked and has just as much attention put into it as the single player story.

Blast Factor: What is probably Max Payne 3’s biggest problem is that it does not always feel like a Max Payne game. You will often be forced into cover and have to pick off enemies like in Gears of War or Uncharted. While there is nothing wrong with this, it is sure to strike a nerve for fans that have been waiting years for this sequel. Nonetheless, when it does feel and play like it should, the experience is bar none some of the best action you can find in a game this year. Throw in the fantastic multiplayer offering and the return of the high scoring arcade mode and the game comes stocked with quality features. Much like Max himself, this game can stumble out of the gate and many of its mechanics have not aged gracefully, but at the end of the night, it is one hell of a good time to hang out with.

Sonic the Hedgehog 4 Episode I was a good attempt at giving players a continuation of the original Genesis titles, but its wonky physics and gimmicky stages kept it from achieving true potential. It looked like a classic 2D Sonic game, but the game lacked that special essence that made its 16-bit predecessors so much fun. Luckily, Episode II is the better of the two installments and gives fans a Sonic they’re more familiar with, even if does come with a few misses.

One of the biggest additions to Episode II is the inclusion of Tails, who now brings two-player co-op to the table. Like in the classic games, Tails can pick up and fly Sonic to places he can’t reach for a short amount of time, but players have a lot more control over him this time. By simply pressing a button, the action will pause, and Tails will teleport to where Sonic is and help him out. I found this too convenient sometimes because while it gets you out of sticky situations right away, after a while, it becomes too easy to press a button and save Sonic from a misstep. Tails and Sonic also have another combo ability that turns them into a giant ball, faster and stronger than the average spindash. The duo will always be joined by one another, so levels integrate these two abilities in unique ways that create a different experience. The game may feel like Sonic the Hedgehog 2, but this is a new game, after all.

Co-op mode lets two people play together offline or online, but it does come across a few problems, one of them due to the game’s fast-paced action. If you fall behind your friend, the game will respawn you right behind him, but you’ll need to press a button to pop out of your protective “bubble” like in New Super Mario Bros. The problem here, though, is that this happens a lot when going down slopes or slides, even when you don’t intend to leave someone behind. Another thing I noticed is that the person playing as Tails will have an advantage and can easily exploit certain situations by flying; this is especially evident during boss fights. Let’s just say, playing with someone else is easier than playing solo.

Controlling Sonic and dashing through the many colorful worlds feels quite good. Episode I’s physics engine has been overhauled, and the blue hedgehog runs a bit more like he did back during his Genesis years. Sonic’s homing attack is back, but aiming feels more accurate and is easier to pull off. He is also less shiny and doesn’t look out-of-place amid his colorful backdrops, which have layered textures that often give the game a great pseudo 3D effect. Considering the game is supposed to feel like Sonic 2, it’s great that controls and graphics don’t distract you from the game’s speed, a problem that often plagued Episode I.

Stages, too, are a lot more reminiscent of the original games and are designed to keep you always in motion. While it’s a bit apparent that the themes of past stages have been recycled into “new” zones – expect to see a sky fortress and a snowy amusement park, for example – the game does have its unique charm that is complemented by its soundtrack reminiscent of Sonic’s 16-bit days. There is, however, one section of an underwater level that requires you to swim past enemies that freeze the way forward. If you’re too slow or your aiming is off, you’ll be blocked from all sides, and all you can do is wait until Sonic and Tails drown to try again. Frustrated, I tried (in vain) to find a solution, and can only wonder why the developers wouldn’t provide one that doesn’t require losing a life.

Like classic Sonic titles, Episode II is great the first time you play it, but you may question playing through it several times. To extend playtime even further, the game includes chaos emeralds and red rings to collect in each act. As expected, collecting these emeralds lets you turn into Super Sonic, but it doesn’t really affect the game’s ending that much. Also, while finding each act’s red ring is supposed to provide a challenge, they are simply in areas you’ll explore anyway, and their presence simply serves to unlock an achievement. The developers did include a score attack and time trial mode for each act, so players can at least compete with each other via the game’s leaderboards.

While I didn’t particularly enjoy Episode I that much, Episode II rewards players who played the first game and unlocks Episode I stages playable as Metal Sonic. This feels almost like an apologetic thank you to fans that played through the first game, but this expansion gives you some backstory to the character and lets you play through the first game in a whole new way. Plus, it’s great to see Sega implement a similar lock-on technology it did back when Sonic & Knuckles came out.

Episode II has some obvious gameplay issues and provides a lackluster ending, but the experience playing through each stage is very nostalgic of the fun I had playing through the Genesis games. I also appreciate the improvements the developers made to the game and that they listened to and fixed what fans disliked about the first one. At this rate, let’s hope Episode III is made and becomes something truly worth raving about.

Sniping games seem to form their own sub-genre in the crowded first person market. From the disastrous Sniper:Ghost Warrior to the original Sniper Elite, it is a genre that does not seem to have too many supporters. Nonetheless, Rebellion Software has seen it fit to revive it’s cult classic series and bring it to the next generation. Unfortunately, despite the shiny new coat of paint, the game suffers  from a major identity crisis, leading the once promising series deep into the path of mediocrity. Sniper Elite V2 acts as a sort of “revamp” for the original game.

Once again, you take control of American OSS agent Karl Fairburne who has been sent deep into war torn Berlin in 1945 to single-handedly stop the German nuclear secrets from getting into Soviet hands. Predictably, the story has you track down the most evil fictional Nazi’s ever imagined, complete with scars and ugly snarls. There are no notable secondary characters and you are literally alone during every mission. The roughly six hour story does not do enough to satisfy any narrative nerve and only drives this game deeper into the mediocrity hole. The main problem with Sniper Elite V2 is that it completely misses the point of what a sniper game should be. Instead of creating a decent stealth game with some cool sniping opportunities, the game forces you to engage all enemies in the room in order to continue.

The average level will involve some sort of artificial hallway, be it a bombed out street in Berlin or a V2 rocket facility, littered with enemies and a sniper or two perched in a building. You would think that the best approach would be  to sneak your way around the patrol, by either not being noticed or quietly picking out enemies. However, the linearity of the game prevents you from taking any other routes other than where the patrol is. You cannot traverse through broken down buildings and flank you enemy, you cannot sneak your way into a sniper’s nest, or even find any alternate routes to your objectives. Sneaking past the patrols is out of the question since the enemy snipers are guaranteed to see you  and shooting them will get the attention of every enemy in the area. There are times where background noise can be used to cover the sound of your shot, but it is few and far between. The game is built so you have to become a one man army and dispatch all of the enemies as quickly as possible.

Now, to say that a game fails at one thing does not mean that it does not succeed at another. You would think that when taking away the useless stealth, Sniper Elive V2 would be a half decent action game, but it even fails at that. Bullets are realistically impacted by gravity and wind meaning lining up a shot can be more difficult than anticipated. There is a focus system that is activated by how calm the sniper’s heartbeat is, meaning that is you were sprinting to knee high wall you are using as cover you will have to wait a minute to have a super slowdown effect. One of the few redeeming features of Sniper Elite V2 are the gruesome killcams that follow the trajectory of your bullet and show an x-ray effect as it breaks bone and  pierces internal organs. It rarely gets old and can bring about a few macabre chuckles.

Not everything in Sniper Elite V2 is horrible. There are a few cool features in place that make setting up a good shot enjoyable. If you wound an enemy they will lay on the ground screaming for help until another enemy comes by and helps them up, in which case you can finish him as well. The game encourages you to lay traps, such as using a trip mine on a door or setting a landmine on a dead body, in order to make your escape easier. However, the game will often make you escape through a different path than the one you came from, making any premeditation useless.

The amount of complaints toward this game keep stacking up. There is no Nazi swastika in the game for whatever reason, making the red and black flags in its place stand out like a sore thumb. The graphics do not fare well, with character models in the Xbox 360 version looking like Ken dolls and a horrible draw distance that makes one wonder why Rebllion used such a limited engine for a game that requires a good draw distance. To add insult to injury, the enemy AI did not graduate from kindergarten, leading them to get stuck behind walls and unable to notice you when you are right next to them. Even more annoying is the fact that they seem to have ridiculously good aim while blindly shooting a fully automatic machine gun from behind cover, hitting you in the face when you are 500 meters away in a watchtower.

To put it simply, Sniper Elite V2 is a broken game. There are cool ideas in place but the game containing them is a waste of time. The poor game design completely misses the point of a sniper game and manages to make this a painful exercise in patience.

Starhawk is one of those games where a lot could have gone wrong. The developers at Lightbox Interactive and Sony Santa Monica were quite ambitious and tried to incorporate a ton of different environments, genres and mechanics — normally a recipe for failure, but not here. Starhawk works — and it works well; even when it shouldn’t.

Dripping with style, Starhawk is an absolute joy to get and cause some chaos with. Of course, it does have its drawbacks like a short campaign and some slight graphical issues, but don’t let that stop you from enjoying one of this year’s first truly great games.

Starhawk places players in the futuristic boots of rifter, Emmet Graves. In the distant future, rifters are humans who scavenge a series of planets, known as The Frontier for a precious yet dangerous resource known as rift energy. Of course, things can’t be that easy — the rifter’s way of life is threatened by the Outcasts, a group of humans mutated by the same rift energy everyone else is searching for.

The first hour or so into Starhawk, I was trying to figure out why the game felt so familiar, then it hit me. I’m this rogue character, scrounging for resources and trying to get myself out of trouble with corporations and enemies, only to jump into my dodgy craft and try to avoid my pursuers in a dog fight — I’m practically Han Solo. I just need a wookie. Starhawk drips with style and the mix of wild west steampunk and space combat is a unique setting that’s incredibly cool and fun to explore.

One of the major reasons Starhawk works so well is just how seamlessly everything blends together. In a typical battle, you’re likely to shoot out a ton of enemies, and then jump into your mech which can instantly transform into a flying ship so you can dogfight in space. This all happens nearly seamlessly, and there’s hardly any slowdown. It becomes incredibly cool and rewarding to move so quickly in between sections of the game. It also makes a good portion of the battles a lot more epic, as you’re often chasing the same group of enemies from land into space.

Starhawk isn’t just another action game though, the game features a number of mechanics from other genres, including strategy and tower defense. The biggest example of this is the game’s structure building system, which plays an integral part in the game’s core structure. You create everything from simple walls, to gates and even entire armories. Once the game tells you how to build them, you’re free to use them practically anyway you want in battle. The best part of all this is that building these structures requires them to fall down from the sky, and it’s an incredibly cool moment when you time it just right and it falls directly onto enemies.

As well animated and voiced as it is, Starhawk’s campaign is simply a primer for the game’s intense 32-person multiplayer suite, and it’s a primer you’re going to want to take. The game’s multiplayer suite requires your knowledge of each of the game’s mechanics to be successful. It may be a bit stressful at first, but the payoff involves some of the coolest moments I’ve had with a game in a long time. There are so many ways to take out your opponents, and games end up getting personal and find you going from ground to space all in search of your rival.

The Blast Factor: There could have been a million ways to screw up Starhawk, but, thankfully, Sony Santa Monica did a great job avoiding many of these pitfalls. What they’ve created is a fun, chaotic mix of genres that’s easy to fall in love with and hard to put down. Starhawk is simply a must own for PS3 owners.

Any PC gamer out there can tell you that multiplayer online battle arena games are taking the online gaming scene by storm. In just the past year, giants like League of Legends and Defense of the Ancients have seen favorable success with players eager to experience their fusion of RPG and competitive real time strategy mechanics. Console players, however, have yet to get a title that lets them experience what this hype is all about. That is, until now.

Despite being an obvious portmanteau, Awesomenauts is also a blend of different elements that lets it work effectively on consoles. Instead of teams of five, you get teams of three. Instead of an overhead map, you get a 2D scrolling arena. While at first glance it may seem the game is a watered down version of the other MOBA games out there, players need to realize Awesomenauts isn’t trying to emulate the big boys on the PC. It’s simply trying to give console players a taste of what a MOBA game feels like. And, boy is it tasty.

The game offers both online and split-screen matches and also lets up to three local players take on another team online. Matches consist of two teams of three trying to take down their enemy’s base while also defending theirs from attack. Each team has its own set of powerful turrets that also provide barriers for the other team, so once these turrets are down, the opposing team can easily waltz into an enemy base and take it down. Each team is also assisted by friendly bots that are constantly making their way to each turret, but without the help of the Awesomenauts, they will quickly get shot down.

A lot of the game’s charm comes from its colorful cast – the Awesomenauts themselves. While the core of the game consists of winning as many matches as you can, there isn’t much room for character development. This didn’t stop Ronimo Games from giving each Awesomenaut his own personality, clearly evident after watching the opening cutscene and listening to their witty lines of dialogue during matches. Each character even has his own unique theme song that plays when you select him, and like any MOBA title, each one has his own unique bag of tricks.

During matches, your characters can pick up in-game currency called Solar that lets them purchase power-ups and abilities. Everyone starts with the bare minimum, and as matches progress, the more Solar a character picks up, the more powerful he can become. Before a match begins, you can change the loadout of your characters, furthering creating an element of strategy to the abilities you choose to upgrade. Sheriff Lonestar, for example, has both a dynamite throw attack that does splash damage and a ramming bull attack that helps clear the area by pushing enemies away. You can choose to level up both of these to give you a well-rounded character or focus on one to prioritize your role on your team. These simple choices make each gameplay session a unique experience since players can customize their characters to their liking.

Starting a match in Awesomenauts is also a painless procedure, and the game never lets you wait to get into a match. If a match doesn’t have enough human players, the computer will control any remaining teammates and continue to search for incoming players. These bots actually do a pretty good job, and I often found myself in hot water after underestimating them. Players who start a match already in progress are given extra Solar to catch up to everyone else. While I did like the ease in starting a match, I wish there had been an option to let players wait until they had a full team of people as I often ended up in matches that were close to finishing and on teams nearing defeat.

Every match you play through, even the ones you lose, will get you experience points that levels up your Awesomenauts account and unlocks more characters and abilities to buy during matches. The game starts you off with three characters, but three more elaborate classes such as the tank and healer get unlocked later on. I found that because of this, lower leveled teams may be at a disadvantage. Maybe this is why even a loss gets you lots of experience points. Of course, your account’s level has nothing to do with your in-game level that always resets with each match, so even if you’ve maxed out your experience points, you still need to use your plethora of abilities effectively to win.

Players can jump, shoot in eight directions, and do things you normally don’t do in other MOBA titles, so Awesomenauts may look more like a 2D platformer than a game like League of Legends, but Ronimo’s approach to creating a MOBA experience on the consoles actually works. Some matches can last up to thirty minutes, and are as engaging and addicting as those in other PC titles. The success of an online game is also measured by how big its online community is, and because the game is accessible to even the most casual of console gamers out there and because Ronimo plans to release more content and characters in the future, I’d say the fun won’t be over anytime soon.

It would have been almost too easy for Telltale’s The Walking Dead game to be a major disappointment. The zombie genre is of course overdone, and the once-proud developer has had a string of so-so releases in the past few years (I’m looking at you Jurassic Park: The Game). Yes, it would have been easy to make The Walking Dead another shoot first and ask questions later type of game, but thankfully Telltale has captured the spirit of the franchise and given us a poignant and almost touching tale of human desperation under the veil of a zombie apocalypse. It may not be perfect — in fact, there’s some very distinct problems lying here, but Telltale’s zombie soap opera is a return to form for not only the developer, but the genre as well.The Walking Dead tells the story not of the group of survivors we’ve all come to know, but of Lee Everett, a man being carted off to jail for a murder he either did or did not commit. As luck would have it, his trip to the big house is interrupted by a pesky zombie in the middle of the road, which sends the police cruiser he’s being driven in tumbling down a hill, killing the officer and thrusting him into a different kind of world than he was in just minutes ago. In the first episode, Lee discovers the walkers, meets some new survivors and adjusts to this new way of life — at least he tries to.

There are going to be plenty of people who are going to be disappointed that they’re not jumping into the boots of Sheriff Rick Grimes and unloading rounds into hordes of the undead, but perhaps that’s for the better. The Walking Dead aims to recapture the spirit of the original property and does a damn fine job of it. You’ll find yourself actually caring about the people you meet and the decisions you make. For example, when given the choice in games, I usually take the good guy approach, but with The Walking Dead, there were several moments when I was making decisions based purely on the emotion I was feeling rather than how I wanted the game to turn out.

This is thanks in large part to the fact that your decisions are all timed, and they’ll have less impact when you take longer to make them, meaning that you’re going to go on your first instinct more often than not. Compare this to a game like Mass Effect, where you have all the time in the world to sit and think about what you’re going to say to almost telegraph the game the way you want it. The result is a game that plays much more from the heart than the brain.

That’s not to say though that The Walking Dead doesn’t have it’s fair share of the undead, they’re just used more sparingly, which gives them much more of an impact. No, this isn’t Dead Rising, where you’ll be fighting your way through thousands of zombies, each encounter will actually mean something here. There’s a very important moment where one of your recently met survivors meets their untimely end and it actually holds a lot of weight. As opposed to the developer’s more recent games, The Walking Dead does a great job portraying action using context sensitive quicktime events, and the few zombie encounters found in episode one where great fun to play.

Jenova Chen, co-founder of Thatgamecompany and director of Journey, thanked his fans and supporters in a PlayStation Blog post today.

His company’s third game “has officially broken PlayStation Network and PlayStation Store sales records.” It has become the fastest-selling game ever released on PlayStation Store.

“It was the players who told us how moving the game was,” says Chen, “and how it was important that we keep making these types of games so that more people in the world will realize what video games can be, and can grow to love games through our work.” To thank his fans further, he provided the following image:

If you have yet to play Journey, be prepared for the most surreal two hours of your life with a video game. Much of that is due in part to its art style and evolving soundtrack composed by Austin Wintory, which will be available on both iTunes and the PS Store on April 11. There will also be a limited CD release in the near future.

Also announced today is that the company’s co-founder Kellee Santiago has left the game’s developer. Santiago told Gamasutra that she plans to take what she learned making thatgamecompany’s three titles “and go forth and take it into new arenas.”

No news yet on where Santiago’s new “journey’ will take her.

I’m staring out the helicopter’s door, the wind is whistling and the snow blisters my face. The pilot gives me the heads up and I push off, free-falling in whirlwind. before I can even collect myself, my board hits the ground,as other racers begin to whizz past me and it’s on again.

This is the world of SSX, and it’s a fun world to be in. By passionately retooling a much loved franchise, EA Canada has been able to tow the line between arcade and sim, between deep and accessible and between fanboy fodder and new experience. It may have been originally announced as SSX: Deadly Descents, but it will come to be known as the SSX experience.

In the new game, Team SSX is uniting to try to take down the nine deadly descents,or the nine largest mountain ranges in the world. Then your ex-team member and all around douche bag Griff tells the world that he’ll be the first one to do it and thus your job — of course,  is to beat him to it.It’s a simple plot device (SSX never really needed a major story anyways), but it serves it’s purpose of getting you to the mountains, and that’s where SSX begins to shine.

In a word, your first few runs will be exhilarating. You’re hurtling down these gigantic courses and there’s so many obstacles and things to trick off of that you’re unlikely to even remember that more often than not you’re in a race. You’ll often wipeout, but half the fun is turning these failures into amazing tricks, like landing on your head after a huge jump, somersaulting down a bit of the slope and then somehow turning it into a sick grind on a downed tree-trunk. The best part? The game moves so fast that it’s tough to memorize each of the different paths on each course, so you’ll have a ton of fun replaying different sections of the game.

The trick system is undoubtedly at the heart of the new SSX, and it’s surprisingly deep. On consoles, you have the choice to use the traditional button layout controls of previous SSX games or the cool thumbstick controls reminiscent of EA’s own NHL series which finds you flicking each thumbstick in certain directions to pull of specific tricks. Your best bet is using a combination of the two as it’s the easiest way to string together long combos and get the most points. Get enough air on a jump and SSX even allows you to trick off the helicopter you jumped out of — and no, it never gets old.

If there was one complaint about the game’s trick system, it would be just how light your character feels at all times. The game does a decent job at straddling the line between sim and arcade, but when you’re mid-run, your character almost feels wieghtless and bouncy sometimes, causing you to mis-judge some of your distances and biff more than your fair share or jumps. Admittedly though, this is a problem that pops it’s head up mostly in the beginning of the game, and once you get the hang of each level’s pacing, you rarely run into it.

As you play through SSX, you’ll unlock new equipment, from the badass wingsuit that allows you to glide down big jumps ala batman to the less cool items like headlamps and different colored suits. The best items will help you in one of the franchise’s newest and coolest modes — the Survive it maps. Here, you’ll have a number of new obstacles, like the amount of breathable air around you and truly epic events like avalanches to block your path.

Though SSX features no real dedicated traditional multiplayer component, the game does feature Ridernet, a mode that will be familiar to anyone who has used the Autolog features of the latest Need for Speed games that lets you keep track of everything your friends are doing in the game at any given time. It’s also the center for events held by EA, which are open to the entire world — or you can set it up to be just you and your pals, so you’ll get the traditional experience anyways.
The Blast Factor: SSX being so well done is a testament the old school design choices, to not having to put out a game every year to keep an audience satisfy. Deceptively deep, yet incredibly accessible, this isn’t just a welcome back for the franchise — it’s a complete reboot of it. Grab your board and go, the slopes are waiting.

We’ve become a society where we rely on machines for a good portion of our daily lives. Think about it, they handle our money, our utilities, and sometimes even our medical procedures to name a few. In the long run though, no machine will ever feel as authentic as a human — as something with a heart. Interestingly enough, the same can be said for Sega’s new shooter Binary Domain, which puts you at the front lines of the robot apocalypse often feels robotic in its own right. It goes through the motions of a modern day shooter remarkably well, but fails when trying to step out on its own.

Taking place in Tokyo in the year 2080, Binary Domain tells the story of the Amada Corporation, the world leader in robotics. The Amada corporation has created the world’s most advanced humanoid robots and began assimilating them into everyday life. Of course if you’ve seen pretty much any modern action movie dealing with robots you’ll realize that this is an absolutely terrible idea, and it’s up to you; as Sergeant Dan Marshall and your interchangeable squad to make sure it doesn’t happen.

For the vast majority of the game, the plot is pretty predictable, and often feels like it gets in the way of what the developers wanted to do with the game. Admittedly, there are a few cool ideas introduced in the later chapters of the game, but getting to that point means wading through a ton of uninteresting plot points that you’re unlikely to care about. In the end, Binary Domain tries it’s best to tell us a cautionary tale, but the end result feels like a mixed bag of missed opportunities and what could have been.

Luckily, Binary Domain unquestionably works when taken strictly as a shooter. Binary Domain uses some pretty cool effects and animations that allow your robot attackers to be dismantled in pile of scraps — and it’s incredibly rewarding. There are several times throughout the game where you’re going to be facing down with a literal ton of pissed off robots, and standing among their sparking debris feels remarkably cool. In general, the combat in Binary Domain feels fun, frantic and fast paced. This isn’t one of the AAA shooters we’ve been waiting for — but the gameplay makes it feel like it should have been.

It’s when Binary Domain starts to branch out from these core mechanics, that it starts to fall apart. A good portion of the game features squad based controls, which works when it wants to, but seems tacked on when it doesn’t. Your squadmates have different specialities, and you’ll find plenty of times to use them, but the game also employs a relationship system, which changes how your team will relate to your commands. Lead them helplessly into firefights and they’re going to be less likely to listen to your orders, but be a disciplined and fair leader and you’ll have their unabashed support. The catch though is that your squad is very forgiving and you almost have to try to get them on your bad side.

Binary Domain borrows (read: steals) a lot from Epic Game’s Gears of War series, but at this point, a lot of these mechanics have become genre standards, so they’re not the first to do so. You’ll roadie run, grab cover and blind fire behind it. It mostly works like it should, and there are few surprises here, but a few of the cover items often feel flimsy, and you’ll even take some shots behind it. It’s that unreliability that keeps Binary Domain a good shooter — but not a great one.

Binary Domain also features a unique voice command functionality that allows you to use a headset to issue your commands. Xbox 360 owners note that there’s no Kinect support for some reason, so you’ll be going old school on this one. The voice commands are novel, but they’re not nearly as responsive as the traditional button press system, so you’ll be screaming stuff like “on me” countless times before you get a response.

The Blast Factor: Binary Domain begins to carve out it’s own identity early on in the game, but quickly succumbs to trying too hard to be like all of the popular shooters on the market. It’s fun to mow down robots, but there’s really not much else to it. In the end, Binary Domain is a fun and satisfying shooter, as long as you don’t look too far into it.

I’ve got a bit of a confession — I don’t worship at the alter of Skyrim. Now, don’t get me wrong, I appreciate the amount of work that went into it, and sheer craftsmanship that it must have taken to make the kingdom of Skyrim so realistic — I just find myself getting bored very quickly. Maybe it’s the combat, maybe it’s just my taste in games.

It’s interesting then that with Kingdoms of Amalur: The Reckoning, it’s the exact opposite. Thanks to an impressive combat system that would be at home in any pure action game, I searched out combat and found myself caring about the progression of my character, but I couldn’t bring myself to care about the world around me. Is it big? Sure. Interesting? Not at all.

Kingdoms of Amalur starts off with an impressive enough premise — you’re dead. Well, you were dead, before a device called The Well of Souls ressurected you into a nameless, fateless being. The key here is that since you have no fate, you’re pretty much free to do whatever you want — be a hero, be a jerk, fight for justice, rob people..it’s all up to you. In essence, you’re rewriting the destiny of Amalur with your choices.

At least you should be. Reckoning puts a lot of stock in the idea of just how important your choices really are, but more often than not that’s all it is — an idea. Playing through a number of Amalur’s quests, I did see a bit of change depending on what I did, but it never seemed like the game changing, back of the box bullet point that the game made it out to be. To put it into perspective, with Skyrim, I always felt like I was a driving force in the outcome of the game’s events, but in Amalur, I merely felt like I was an active participant.

That’s not to say that EA and Big Huge Games didn’t try. There’s an impressive amount of dialogue and NPCs to be found in Amalur, and from time to time, it’s well written and interesting, but like a good majority of the game, more often than not it’s your typical RPG fodder. People in this kingdom love to talk, and I often found myself trying to get through their monologue’s as fast as possible.

Like most RPGs, the citizens of Amalur will often give you quests in exchange for goods, and from time to time you’ll get a truly epic one, but more often than not they’re incredibly underwhelming. Find this, kill that, rid this place of that heinous evil thing — it’s all stuff you’ve done in your 0ther RPGS, and it’s a bit disappointing that Reckoning doesn’t really try all that hard.

Reckoning does have a saving grace though — and boy does it save it. The combat engine of Amalur is fun, engaging and does a great deal to advance even some of the game’s worst moments. Much like the combat systems found in more traditional action games, you’ll find the action in Reckoning to be incredibly visceral and fast paced. You’ll perform combos and incredibly entertaining finishing manuever’s (I still can’t get enough of ramming my sword down a belligerent enemy’s throat). It’s incredibly rewarding to find a weapon, become proficient with it and begin to upgrade it to learn new skills and techniques with it.

It’s the combat itself that expands the game’s other mechanics to become remarkablky enjoyable. Looting becomes not only impoortant, but satisfying when you’re standing over an enemy thatr you proudly eviscerated. For the first time in a long time, I actually cared about how my character was levling up in an RPG, and wanted to see myself excel in different specializations. By the end of Reckoning, I was a broad sword carrying badd ass, and I was proud of it.

Visually, Reckoning is anything but what you’d expect. If you had to compare it with another title, it would be the fable series, since the two share a very distinct cartoon style, which is interesting because the rest of the game attempts to be mostly serious. My major problem with the game’s visuals though is just how terrible the game’s lip synching is — it’s as if the developers didn’t even try.

The Blast Factor: Kingdom’s of Amalur: Reckoning never seems to fully establish an identity to call its own — it just borrows from some of gaming’s top franchise’s and fine tunes the mechanics to its own liking. Saved by the remarkable combat engine, you’ll still have a great time with Reckoning. More than anything, it feels like a great start to a new franchise, and we can’t wait for the more cleaned up inevitable sequel.

When the original Twisted Metal was released in November of 1995, I was 10, and just about to enter junior high. That whole next year, a small group of friends and I spent far too much time on the couch, chasing each other down and giggling as we took one another out with missile. Now,over sixteen years later, somethings have become very evident — I’ve grown up, but Twisted Metal has not.

But perhaps, that’s not an entirely bad thing. It may seem juvenile and a bit of the mechanics seem dated, but there’s something that’s got to be said for a game that’s as fun as ever, and refuses to change — even as the industry around it demands maturity.

A bit of a primer first for those who may have missed the franchise’s previous iterations, Twisted Metal revolves around you being placed in badass vehicles, armed with bad ass weapons and tasks you with taking them out at any cost. It’s all part of one crazy man, known as Calypso, and his deadly tournament where the winner gets any one wish granted.

This tournament is a bit different though, as unlike previous games, with a huge number of playable characters, here, we’ve only got three, Sweet Tooth, Mr. Grimm, and Doll Face. While that may seem a bit limiting, each of the three characters comes with their own gang of followers, but most importantly has the ability to drive any of the game’s vehicles. So yes, Mr. Grimm can drive Sweet tooth’s trademarked ice cream truck.

The three character campaign offers a big change to the game’s single player format. Each of the three characters gets a chapter and leads up to a boss fight (not to mention some questionable live action cut scenes) that offer a wide range of difficulty. If it sounds like the single player game is short, that’s because it is, and you’ll more than likely finish it in one sitting. One has to wonder why the developers didn’t include more characters and a longer campaign.

Does it really matter though? Who’s really buying Twisted Metal for the single player? No, you’re paying for the mutliplayer, be it online or on the couch, and I’m glad to say that Twisted Metal still feels exactly like it should, and is a blast to play with freinds. The action is frantic, the weapons are fun and there are plenty of moments where you’re going to get some serious trash talking with your pals. There’s always a mad rush to get some of each of the powerups scattered throughout the maps.

But is Twisted Metal too stuck in its ways for its own good? The game drips with 90s gaming charm — so much so that it may turn some gamers off. The controls for instance are very arcade-like and save for a few different ratings and weaponry, the cars are predominately the same. Those different weapons though are a big part of what makes Twisted Metal so much fun in the first place. Special weaponry ranges from everything from sniper riffles with long lock-ons, to exploding grannies on stretchers (no, really), and are a blast to use. Most Twisted Metal matches start off incredibly hectic, but towards the end, the novelty of this starts to wear off, and the game actually starts to rely on actual skill to win matches

Visually, Twisted Metal feels like a lot more than a cleaned up version of the classic, as the game takes on a bit of a comic book look, but the most impressive part is that even with all of the weapons going off and the buildingings crumbling, Twisted Metal holds up pretty impressively and doesn’t fall victim to some of the same slowdown issues that other games like it have. You can’t deny just how cool it looks to narrowly escape a missile as it takes out a building behind you.

The Blast Factor: It may seem a little dated, and the packaging may be a bit thin (it doesn’t hurt that you’ll get a free copy of Twisted Metal Black), but it still retains the same off the wall, in your face high octane fun that the series is known for. Fans of the franchise, and fans of fun gaming in general will want to get behind the wheel of Sweet Tooth’s truck.

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.

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:

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.

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.

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.

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.

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.

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.

Get ready to punch, kick, sweat, and have a good time, because a new breed of videogame has arrived and it’s here to stay. You get the freedom of designing your own personal workout while giving you access to elite martial art trainers such as Mark DellaGrotte, Greg Jackson, and Javier Mendez all at your convenience? Of course, there are a few kinks and technical difficulties that come both on the Xbox 360 and Playstation 3 alike, that can slow down your workout. However, I promise that you will be out of breath and sweaty if you give it a chance; this is definitely not a game that you can sit down and relax while playing though.

The UFC Personal Trainer is fun, organized and extremely detailed, as it puts you into actual exercises that have been approved by the NASM (National Academy of Sports Medicine). If you’re ready to get fit and not afraid to move around, then this game is a must to have. Each workout is divided into several different sets with a warm-up and cool-down period, to ensure your muscles are loose and to prevent injury. Whether you’re looking to lose a few pounds or bulk up, they’ll have a workout for your goals and lifestyle, guaranteed! The only down side to this is the fact that some of the exercises and body reaction times come through as kind of sluggish or delayed. This causes your workout to move slower, so make sure you have some patience. Another awesome feature that this game has is the ability to save any designed, personal workouts so they can be easily accessed the next time you want to train like a pro.

There are also modes that appeal to the serious gamer type who want to feel accomplished and conquer objectives. The main activity for this style of play is Hit the Mitts. You will have to carefully follow arrows and successfully engage in kicks, punches, etc. Immediately, you start moving and sweating while also being given feedback and the ability to gain points in the process. People who are die hard and extremely motivated can put themselves through the 30 or 60 day programs that allows you to track yourself, which can be time consuming and feel more like a job than fun; remember, this is a videogame after all. I also found some of the commentary to be a little annoying because the dialogue script does not get changed up enough. Either turn down the volume with your remote or grit your teeth during the workout; your choice.

For those of you out there that have the Kinect, make sure to be in front of your sensor when doing your workout. Most movements are easily picked up, but some movements are a little tricky and may be difficult for Kinect to pick up if you are not right in front of the sensor. An added benefit to the game is you will have the luxury of the Kinect keeping tabs on the amount of reps that you do while also tracking the calories that you burn. I know most of you might not view this as a huge benefit, but it is much easier to keep track of your overall progress.

Blast Factor: UFC Personal Trainer is a very good game that promotes working out and gives you the motivation to better your body and endurance. It is very hands on friendly and gives you the tools to inspire a healthy lifestyle. Yes, there are some cheesy repetitive words of encouragement and technical issues that can hamper game play every now and again, but overall, a good buy for fitness gamers. This could be the beginning of the end for couch potato games, as it encourages a more healthy and active lifestyle. It might at least encourage you to stand up every once in a while; it’s your choice.

Reviewers by nature are known for hyperbole. It seems like every game, movie and album is “fantastic” and the “best thing ever.” As a personal rule, I try not to use these words very often. I say this not as some weird form of bravado, but to make sure you know that I mean this next statement whole heartedly.

L.A. Noire is one of the most impressive gaming experiences I’ve ever encountered. Rockstar’s latest combines cutting edge technology with a new and novel gameplay system to create a truly memorable and thrilling experience. Does it have its fair share of problems? Sure, but throughout my time with the game, these problems weren’t enough to take away from what made L.A. Noire so memorable in the first place. Simply put – there’s absolutely nothing like L.A. Noire.

It’s 1947 in Los Angeles, and you’re Officer Cole Phelps, just back from World War II. It’s your job to police the city, be it via chasing down random street crime perps, or investigating gruesome murders. As a Rockstar game, you probably already expecting that this process involves stealing cars, speeding down the streets and gun fights. Sure, all of that stuff is in there (note: you never actually steal a car, you borrow it for “police business”), it’s a lot less than you’d think. L.A. Noire asks players to use the brain and think not as gamers, but as detectives in order to advance through the game.

Here’s how your standard case works in L.A. Noire, you get a briefing from your department superior (sections are broken up into traffic, homicide, arson and vice desks), travel to the scene and investigate. From there, you’re pretty much free to solve the case anyway you want. Do you search the crime scene for evidence? Question the witness? Finding different leads and clues is incredibly fun, (if not too easy, but a bit more on that later) It’s all up to you, and the result is incredibly rewarding and immersive. To put it into perspective, while playing Red Dead Redemption, I never lost sight of the fact that I’m a guy playing as a cowboy, in L.A. Noire, I actually felt like a detective.

Undoubtedly, the first thing anyone will notice when checking out L.A. Noire is the amazing facial animations sported throughout the game. Using a revolutionary technology called Motion Scan,  L.A. Noire features undoubtedly the most impressive and realistic faces ever to grace a video game, and goes a long way in making the world of L.A. Noire believable. It’s not all for looks though, as the new technology plays a major role in the way L.A. Noire plays out. A major part of solving the crimes in L.A. Noire is the interrogation process. Essentially, you’ll question everyone from witnesses, to suspects of persons of interest by listening to their story and judging if you think they’re telling the truth, if you doubt them or if they’re straight up lying. Every movement, from not being able to look you in the eye to how they’re sitting needs to be observed, and if you guess wrong, it could have a huge impact on just how the case plays out. Granted, you’ll still end up at the same point at the end of the case regardless, but its how you get there that’s important.

While solving cases will take up the majority of your time in L.A. Noire, there’s also unassigned street cases you’ll be able to solve, these pretty much all involve catching purse snatchers or bank robbers (or in one case, a guy in his underwear wearing a metal pan on his head). These unassigned cases are where the game most resembles a traditional Rockstar game, you’ll weave in and out of traffic to chase down a suspect. The major issue with these cases though is that they’ll continuously pop up, and once you’ve done a number of them, you’ll often find yourself repeating them. There’s also a number of hidden cars to collect (which interestingly enough, the game doesn’t have a garage feature, so you’ll just find the car, and can’t keep it anywhere for easy access) and newspapers and film reels to collect. Much like previous Rockstar games, L.A. Noire is a completionsist’s heaven.

Possibly the most impressive aspect of L.A. Noire, above all else is the attention to detail in recreating 40s era Hollywood. The development team combed archives, interviewed experts and did a ton of research to get even the smallest details perfect, and the result isn’t a game, but a time machine that acts as a love letter to an era by-gone. Don’t want to solve any crimes? Take a cruise down Sunset Boulevard and take in the sights. If you really want an interesting ride, switch the game over to black and white to give it that extra old time Hollywood charm.

The Blast Factor: With L.A. Noire, Rockstar cements its place not only as a definitive game maker, but as a story teller. L.A. Noire is a risky, daring and novel approach to a game that pays off in spades. By focusing the experience on the police work, the result is a truly immersive thrill ride of a game that everyone should play. The tech is incredibly cool, and the entire experience is one that cements Rockstar as one of this generation’s premier story tellers. Simply put – there’s absolutely nothing like L.A. Noire.

The central question concerning Portal 2 is whether or not it could rise to meet the high bar that comes attached with every Valve game in addition to being the sequel of one of the most critically acclaimed games of all time. In many ways it not only meets but exceeds those expectations by blowing the scale of the first Portal out of the water and by incorporating several ingenious new gameplay mechanics that facilitate some of the most inventive 3D puzzles the industry has ever seen. While Valve’s sequel is not as perfect as the original due to a less captivating story and narrative delivery, it is still incredible in its own right.

Portal 2 begins with the player character, Chell, being woken up at some indeterminable point in the future by Wheatley, an AI core charged with managing the thousands of test subjects in stasis. Wheatley transports Chell’s stasis container through a maze of structures, crashing into other containers along the way and providing a nice opportunity to show off the geometry deformation that will be a graphical highlight throughout the game.  The entire sequence is a subtle, twisted nod to the tram opening of Valve’s first title, Half-Life.

After breaking through a final wall, Wheatley deposits Chell at her final destination which not so coincidentally happens to be the starting room of the first Portal. Only now, the Aperture Science facility has fallen into a state of disarray with dilapidated walls that have been overrun with fauna indicating that many years have passed since Chell destroyed GLaDOS. The first handful of rooms that Chell navigates serve a dual function of introducing new players to the mechanics of Portal while simultaneously playing up the nostalgia of veteran players for the original game.

For those that haven’t played the first Portal, the most basic way that the player moves through the world is by using the Aperture Science Handheld Portal Device which is commonly referred to as the portal gun. The portal gun fires a blue portal with one button and an orangeportal with another. Entering through the blue portal will cause the player to exit through the orange portal and vice versa. Additionally, the speed at which objects enter one portal will be the speed at which they exit the other meaning that the player can “fling” themselves over long distances by jumping down a great height into a portal on the floor and then exiting through a portal on a wall. Manipulating portalplacement to solve puzzles was the fundamental gameplay of the original game and Portal 2 covers much of the same ground in the beginning.

Wheatley helps the player move through the facility’s test rooms and back halls while an emergency broadcast system offers hilarious commentary that replaces the auto-tuned taunting of GLaDOS (my favorite: “If the laws of physics have been abandoned in the future, God help me).

Speaking of the lovable villain from the first game, it should come as no surprise that she is reintroduced in all of her sarcastic, trash-talking glory early on. In the course of attempting to leave the Aperture Science facility, Chell and Wheatley inadvertently reactivate GLaDOS which leads to a sequence of testing as experienced in the original Portal. However, since GLaDOS has been deactivated for such a long time, no test chambers are prepared so the player is treated to an impressive display of visuals as GLaDOS constructs each one on the fly. These puzzles are very similar to those of the first game with a few additional mechanics thrown in to mix things up such as flight pads that propel Chell through the air, weighted cubes that can redirect lasers, and hard light bridges that can be used to span gaps or to protect the player from turret fire. While the new puzzles are enjoyable, there is an unavoidable feeling that sets in after the first few chapters of retreading familiar ground.

Just when it seems like Portal 2 will be nothing more than a slightly tweaked rehash of the original, Valve flips the script and kicks things into overdrive

Just when it seems like Portal 2 will be nothing more than a slightly tweaked rehash of the original, Valve flips the script and kicks things into overdrive. Without giving too much away, the situation changes quickly with a twist to the story –albeit one that is a bit too obvious– that sends the player off into previously unexplored areas of the Aperture Science facility. It is at this point that Portal 2 turns a corner and becomes a fantastic game in its own right with wild new mechanics, inventive puzzles, and an awe-inspiring scale to the level design.

Progressing through new parts of the Aperture Science facility introduces additional gameplay mechanics, most prominently in the form of three experimental gels the company developed. Each one has a unique property: blue repulsion gel makes objects bounce great distances in the opposite direction, red propulsion gel causes high-speed movement, and white portal-conduction gel allows placement of portals on any surface it covers. There are pumps that output the gels into test chambers and Chell must use her portal gun in combination with the gels to tackle a nice array of new challenges. Many puzzles require a combination of gels for mind-bending solutions and these are some of the finest tests that Valve has created across both games. Things get even more creative when the excursion funnels, tubes of light that push or pull objects, are factored in allowing players to distribute the gels throughout levels in new ways. Beyond being extremely clever in their implementation and forcing players to think in new directions, the gels are simply a lot of fun to use. Splattering the bright colors across surfaces speaks to the two year old in all of us and bouncing off floors and walls is so enjoyable it will draw a smile from even the most jaded gamers.

In addition to the ingenuity of the gameplay, the latter half of Portal 2 is so impressive because of the scale of the environments that the player must navigate, particularly their verticality. The new areas are massive, cavernous spaces that in many cases are several stories in height. To navigate through these locations requires the player to span great distances with portals or, when that is not an option, by flinging at incredible speed. These are all things that have been done before in the original but the increased scale amplifies the wow factor of these actions. Using a portal to maneuver through a small test chamber is neat; crossing a chasm the length of a football field by stepping through a window in the fabric of space is downright cool. The larger spaces more effectively convey the power of the tool the player has at her disposal.

That being said, there are some issues that arise with the larger areas that are not as prevalent in the smaller test chambers. In several instances, especially in very tall levels, the “correct” solution to arrive at the exit necessitates placing a portal in a specific location very high up that can be hard to spot. One particular chamber comes to mind in which I spent roughly 15 minutes trying various solutions because I hadn’t noticed a place for a portal that was hidden at the top of the room in a dark corner.

This last point brings up another issue with Portal 2 which is that the game feels much more linear with its solutions than its predecessor did. One of the fantastic things about Portal was that there were a myriad number of solutions to each test chamber. The tests in Portal 2don’t feel like they have as much leeway for thinking outside of the box especially when navigating the wide-open areas of the game. That is not to say that there aren’t multiple solutions to the puzzles but the feeling of the game overall is that the player is searching for the path the designers intended as opposed to the organic puzzle solving of the first game.

Visually, Portal 2 is a significant improvement over the simple graphics and sterile textures of the original game. The rendering of the enormous spaces and the animation of multitudes of moving parts as tests chambers are constructed and shifted about is, in a word, impressive. Moving through the back halls of the facility’s construction area is another highlight as the player is treated to various wonders such as the piece-by-piece assembly of a turret in a beautiful, automated ballet of technology. It is admirable how far Valve has been able to push the Source engine but, as good as Portal 2 looks compared to the original, it doesn’t quite measure up to its contemporaries in the first person genre. More specifically, the texturing in the game leaves a lot to be desired when considered alongside the visuals of games like Crysis 2 and Bulletstorm. While the fidelity may not be as high as those games, graphical problems were almost non-existent with the lone issue that comes to mind being some texture popping when splashing the same space with multiple colored gels.

In many ways, Portal 2 is a massive improvement over the first game but the story and narrative delivery fall disappointingly short of the original. Unlike Portal, which presented a premise and then gradually peeled away the layers of “reality” to reveal the true nature of the situation through subtle environmental cues, the sequel is a straightforward tale of escape. The twist that is thrown in near the halfway mark can be seen coming far in advance but the reasons for its occurrence don’t make much sense and it seems to exist only out of necessity to do something interesting with the plot. As the player moves through the new areas of the facility, she is presented with a lot of background information about Aperture Science, its founder Cave Johnson, the origins of GLaDOS, and the nature and evolution of the facility itself. This knowledge provides welcome revelations but filling in the back-story feels more like a corollary to the original game. It gives off the impression that Valve made the safe play of falling back on explanations to pre-existing questions rather than forging ahead with an engaging new story.

The chief complaint lobbied against the original Portal was that the game was too short (it could be finished in less than four hours) and gamers desperately clamored for more. Portal 2 avoids that pitfall by providing plenty of gameplay, roughly double that of the first, in an experience that feels just right in length. There’s almost always a feeling of ending too soon in a game that is this fun but when the conclusion came it felt like the right time, as if all the creative angles had been explored properly. While the game’s final challenge is uninspired and too easy, the ending that follows is superb. It is one of the most memorable in recent years and nicely wraps up a fantastic journey. Many great games have finished with a whimper because of a weak ending or bad cliffhanger –several of Valve’s previous efforts included—but, thankfully, that is not the case here.

Blast Factor: Portal 2 is, simply put, an amazing game. The new gameplay mechanics make for even more incredible puzzle solving; the sense of scale is astounding; and the twisted, dark sense of humor remains hilarious. It may not come quite as close to perfection as the original title because of weaker narrative delivery but it is still a must-play for anyone that enjoys videogames. Buy it without hesitation, play it, and then share it with friends who don’t play games so they can see what they’re missing out on.

Editor’s Note: Due to PSN outages, we were unable to properly review the cooperative play mode of Portal 2 which is a significant component of the game. As soon as the service is active, we will post our review of the co-op mode as well as comparisons between the console and PC versions of the game.

Portal 2 is available now for the PS3, Xbox 360, Mac and PC from Valve, a copy of the PS3 version of the  game was purchased for this review.

I’m a wrestling fan, but comparatively I despise sports entertainment. I long for the days of Gorilla Monsoon calling epic confrontations of warriors, immortals and immovable objects.  The days of Kayfabe. When the spectacle was the athleticism of off the top rope elbow drops, and not gimmicks. Back when the McMahon family wasn’t afraid of a panda.

It’s for those reasons that I thought I would love WWE Allstars, THQ’s over the top arcade style wrestling game that pits the top stars of yesterday against the new generation, but instead, after playing though the game, I felt unfulfilled and disappointed.  While the game can be fun when played with a number of people, it gets old incredibly quick and leaves a lot to be desired.

Unlike the WWE Smackdown VS Raw series which comes off as more of a simulation, All Stars presents the WWE stars as if they were action figures, and finds even the biggest competitors doing over the top, flashy maneuvers that send them flying into the air. The roster is full of legends like Hulk Hogan, The Ultimate Warrior, Andre the Giant and Randy “it’s about fucking time” Savage along with some of today’s biggest names like John Cena, the Miz and HHH. Oh, and they brought Kofi Kingston with them as well. The legends thing has been done before, like in the majority of the recent Smackdown VS Raw games and the Legends of Wrestlemania game that hit a few years ago.

Sounds great right? Strip away all of the WWE flash, all of the legends, all of the memories and you’re left with a rather thin package. Think about it, if the exact game was available, minus the license, how would you feel? All of the match types you’d expect are here, from single to tag team, extreme rules and steel cage match, but they all come off playing out remotely the same. The roster is broken down in to four categories, brawlers, big men, acrobats and grapplers, but there’s very little strategy since most of the roster plays exactly the same.  This goes a long way in ruining what is the biggest draw of the game, playing as your favorite stars of generations past. What’s the point in being excite to play as Jake the Snake Roberts if he plays exactly the same as say Bret Hart or Mr. Perfect?

To its credit, WWE All Stars is easy to pick up and play, at first. It employs basically the same control scheme as the excellent n64 WWE grappler No Mercy, with buttons for strikes and grapples, but then throws in a few odd additions. One button runs at the ropes, but you’ll have to switch over to another button to get out of the ring? There’s a different button to reverse grapples than there are strikes? Really? Finishers are another issue, as once your meter fills, you hit a button to activate an animation that sets you up for a your specific move. Here’s the problem with this though, your enemy can attack you while you’re doing the taunt that sets up your finisher, and if that happens, you lose the finisher. Oh, and AI opponents are constantly no-selling finishers.

Pow, right in the kisser.

The game’s best mode is easily the fantasy warfare, which pits a superstar from today against one from yesterday for a specific title. For instance, Andre the Giant VS The Big Show is for best big man, while pitting the straight edge superstar CM Punk VS the beer guzzling Stone Cold Steve Austin is to determine the better lifestyle choice. Each bout is presented via a click intro that chronicles both superstars careers featuring actual video footage. The matches are fun, and are no different than if you were to do them in exhibition, but they’re fun none the less. It would have been nice though to have the results of matches online so we can see who is really winning these fantasy warfare matches rather than just who is winning them on our consoles.

It’s a shame that the rest of the game doesn’t feature the fantasy warfare mode’s slick presentation values. In fact, the game feels like a missed opportunity in that aspect. Sure, the Path of Champions mode has animated and fully voiced scenes depending on which path you choose, but that’s just your opponent cutting a promo looking at the camera. Also, the choices of Path of Champions seem a bit off. You choose whether you want to try to fight Randy Orton at WrestleMania, The Undertaker at Summerslam or DX. Since when is The Undertaker associated with Summerslam? Wouldn’t it be cooler to try to snap the dead man’s undefeated streak at Wrestlemania?

There are also no Path of Champions modes for the newer guys to take on the legends. Why not build up to facing Hogan at Wrestlemania? The game seems void of any real sense of WWE history, when I pit Hogan against Savage, I want to see a video package chronicling the Mega Powers and their rivalry throughout the years. The Legends of Wrestling game from a few years ago did a great job celebrating the history of the company and the sport, WWE All Stars merely using it as an accessory. Oh, and the commentary of JR and The King is just and random and annoying as ever.

The Blast Factor: WWE Allstars is at it’s best when playing with a group of friends, but even then it feels like a thin, wasted opportunity. As a full $60 game, it’s tough to recommend, perhaps if it were a  digital download title for half the price it would be the other way around. WWE All Stars seems like a forced attempt to win over the market from yesterday, but still cram the stars of today down our throats.

If nothing else, 2011 will be marked as a great year for first person shooters. Killzone 2 and Bulletstorm have been burning virtual ammo with aplomb, but perhaps they were merely the opening act to the main attraction—Crysis 2. The original Crysis was a PC-only release known mostly for its hardware-crippling requirements. The focus of how much raw CPU and GPU power Crysis needed to run overshadowed just how great the game actually was.

Crysis never made it to console systems. So, it’s likely that most gamers who jump into Crysis 2 won’t have the experience of the first game to guide them. Thankfully, that’s not much of an issue. While the game certainly has historical ties to the original, you won’t feel like you’re missing anything substantial by not having experienced part one of what is apparently due to be a trilogy.

Going cross-platform has helped immensely to streamline the game mechanics. The original’s convoluted controls are gone, replaced with an elegant and intuitive method for using the super-human abilities of the protagonist’s nanosuit. Interface changes aside, the focus of Crysis remains on intense action in huge areas while utilizing different tactics to take on the enemy.

In the spirit of big budget action movies, Crysis 2 starts with a bang. Players take the role of Alcatraz, an otherwise-nameless grunt sent in with his squad to extract a scientist from New York City. Far from the bustling metropolis it used to be, New York is a burning husk. A rampant alien plague has wrecked havoc through the populace, killing thousands. An alien race called the ceph has invaded and entrenched themselves into the city’s underbelly. Finally, the heavily-armed internal security troops of the corporation behind the suit’s development are searching high and low for you.

This three-way fight dynamic plays a huge role through most the game. Although the environments aren’t as huge as those from Crytek’s previous games, Crysis 2’s rendition of NYC is stunning. The levels generally feel huge and offer an incredible variety of urban settings. You’ll fight on rooftops, ground levels, in buildings, and sewers. Almost every level offers a variety of ways to take on the combat.

The suit will inform you of specific tactical choices and their locations. Switching to the visor mode enables a HUD display that points out specific points you can use to approach a situation with stealth, sniping, flanking, and other tactics. Even without such promptings, the abilities of the suit enable players to utilize an incredible number of combat styles.

The main functions of the suit are armor and stealth modes. Armor mode lets you take heavy damage and high falls. Stealth mode turns on camouflage that makes you effectively invisible under most circumstances. The suit also lets you run and jump at a superhuman level, and see the world with thermal vision. All these abilities cost energy, so you have to use them strategically.

The suit recharges its energy fast, but frequently finding cover to duck behind and recharge is a necessity. This ability to use stealth or run and gun tactics at virtually anytime, in addition to the sheer mobility afforded by the suit, makes Crysis 2 feel different than any other shooter. As you progress, you’ll also earn points that can be used to modify the suit and your weapons.

The mod system is surprisingly simple to use, and allows the player to customize their abilities to accentuate stealth, power, speed, and other elements. There are a lot of guns to choose from as well, and while most are the usual fare, being able to modify them makes even a standard assault rifle seem much more original. Where the gameplay is terrific, however, certain other elements are merely stereotypical cliché.

The story is generally fine, but hardly original. Most of the side characters are two-dimensional, and the many suffering plague victims you encounter are completely non-interactive set pieces. The plot has some cool twists in it and the evolution of the suit is clever, but the writing never approaches the quality of the rest of the game. Also, the use of a hero who is just another nameless grunt taking orders from voices over the radio is really disappointing.

The single-player campaign is surprisingly long—easily 12 or more hours. When you’re done trampling through the streets of New York killing AI-controlled bad guys, there are endless more hours of killing to be done online. Adding the abilities of the nanosuit to a team game or standard deathmatch provides a fantastic alternative to standard multiplayer fare like Call of Duty or Halo.  Since there are even more suit modifications for multiplayer, the more you play, the more you can customize your gameplay experience.

Finally, it’s no surprise to say that Crysis 2 is simply gorgeous. The sharp, HD graphics are stunning and the stereoscopic-3D support is superb—adding an intense sense of depth to the visuals. The audio work is equally as impressive. The score is dramatic, the voice acting decent, and the surround mix is enthralling.

The Blast Factor: Crysis 2 is easily one of the best games of the year so far, and the best shooter on the market. The gameplay is truly distinctive, the action is intense and addicting, and the game provides a topnotch shooter experience in both single and multiplayer. Although there are certainly some disappointing holdovers of old school design, the game as a whole is absolutely worth having.

The Ghostbusters are well known for their English deprived slogan “I aint ‘fraid of no ghosts.” Apparently, someone forgot to tell the team’s new recruits from Atari and Behaviour Santiago’s  Ghostbusters: Sanctum of Slime because one more than one occasion I witnessed them running from the action and cowering in a corner.

No, really. And that’s just the beginning of the downloadable title’s problems.  From the terrible pacing to the insulting new team, Ghostbusters: Sanctum of Slime is a literal fail reel; not even the most hardcore dedicated fans of the franchise will be able to enjoy this turd.

Sanctum of Slime follows a familiar plot, drive around New York City blasting paranormal baddies. It all sounds great right? Here’s the thing though, the game features absolutely none of the charm or intelligence found in the movies. Hell, it doesn’t even have the original Ghostbusters. Oh, they’re minor characters in the story (spoiler: they’re pretty much desk jockies), but this time around you’re going to be playing as a new batch of recruits. This really wouldn’t be a problem, except that these new recruits are just so easy to hate.  Come on, did the developers really think fans would welcome the idea of a Ghostbuster in a trucker hat? The new class is also incredibly boring and uninteresting. The fact that Atari and Behaviour took the Ghostbusters lore in favor of their red-bull generation (you won’t get much time with Ecto-1 here, the new recruits use a tricked out hummer) story is more than just a bit insulting.

The gameplay of Sanctum of Slime can best be described as Smash TV with a Ghostbusters overlay. More specifically, it’s a twin stick shooter; you’ll use the left stick to move and the right stick to shoot. It’s a simple control scheme, but here it comes off so sluggish that you’ll often feel like there’s a delay between your button presses and the corresponding action.  Compare that with something  like the Xbox Live Indie Game I MAED A GAM3 W1TH ZOMBIES 1N IT, which uses the same control style, but only 100% times smoother and better altogether – and it only cost $1.

This is not cool.

You’ll play through a number of missions set throughout different New York locales and blast different ghosts with weapons that correspond to their color. Sounds fun right? Hardly. Each level plays out essentially like this; go into a room, door locks behind you, blast all the ghosts. Move on and repeat. Sanctum of Slime’s level progression is entirely backwards though, as just when you think you’ve completed a section, you’ll find yourself backtracking through an area you’ve already completed. It’s really lazy development and shows how lacking the game really is.

Oh, it’s not like the game isn’t challenging, in fact somewhere around the 10 chapter in the story, the game ratchets up the difficulty to ungodly proportions. The game keeps throwing wave of enemy after wave of enemy at you and you’re unlikely to have the patience to deal with it. It’ not like the AI helps matters any bit either. They seem to panic when things get hectic, and fire the wrong weapons at the wrong enemies. Even worse? The fact that they get frightened and hide in corners when they seem to get scared. It’s quite possibly the worst AI I’ve ever seen.

The Blast Factor: As much as it pains me to say this, Ghostbusters seems like one of those franchises that seems destined to never have a good video game, but Sanctum of Slime takes things a step further – it’s an absolutely terrible game altogether. The AI sucks, the gameplay sucks, the pacing sucks. To put it quite simply, Ghostbusters: Sanctum of Slime..well…sucks.

This time it’s personal. This time they took out Hooters.

Welcome to Homefront, the latest shooter from Kaos Studios, the development team behind 2008’s Front Lines: Fuel of War. Oh, but don’t be confused, this isn’t your average military shooter, Homefront brings the conflict to the shores of America, and it does so fantastically thanks to sturdy mechanics, a phenomenally character driven story and an impressive online multiplayer suite.

It’s the year 2027, and out of nowhere your apartment door is kicked in and you’re dragged out and onto what used to be a school bus on the way to a detention center. In a surprising move, the Greater Korean Republic has invaded the United States; taking Hawaii first, and then moving on to San Francisco. As you progress through the city streets, watching the Koreans carry out horrible attacks and shocked and helpless American citizens, you’re suddenly broken out and the real fight begins.

Homefront succeeds wildly because it touches on a true American fear.  We live in a society where the idea of another growing nation attacking is never out of reach, and Kaos studios has done a remarkable job creating this ominous world. The incorporation of actual businesses and staples of the United States like previously mentioned Hooters, White Castle and of course the Golden Gate Bridge make things feel all too real, helping Homefront reach a level of emotional attachment that few shooters achieve. You’re not chasing some terrorist in a river in some foreign country, you’re trying to survive in actual US cities, and perhaps more than ever, you feel like you’ve got a reason to fight.

Yes, you’re going to want to take down the Korean Army for every atrocity they take out on innocent civilians, and you’ll do so set against a number of wondrous set pieces and incredibly detailed backdrops. One of the game’s slickest moments lies in the game is when you’re doing battle on the Golden Gate Bridge in San Francisco. It’s awe inspiring, but admittedly a bit unnerving to dodge rockets on the landmark as the city looms in flames on the horizon.  Homefront’s impressive production values are made that much better by its haunting audio, be it the last remaining radio waves broadcasting messages of hope or the screams of American citizens as they flee in terror.

Of course, none of this would matter if Homefront wasn’t such a fun first person shooter.  Generally, your controls are tight and reactive throughout the game, featuring a number of different guns and weapons to fit whatever suits your taste. These weapons all range in feeling impressively, from different weight and kickback to just how it sounds. As you don’t play a CIA or a hulking soldier as in many current first person shooters, you always get the feeling that your character isn’t used to firing the weapons – and it’s a rather interesting feeling. Because most of the game’s weapons feature a relatively small ammo capacity, you’ll often feel panicked throughout much of Homefront’s campaign, and you’ll be left scrambling to do close quarters melee kills and grab enemy soldier’s ammo. Said enemy AI is also impressive as they duck in and out of cover reminiscent to..dare I say it…Half Life 2?

Homefront isn’t without its fair share of issues though, mainly that the game doesn’t really have much of a cover system at all, and being in firefights can become quite tiresome when you’re dyeing over and over again. Also, the game features a few too many escort or follow missions that seem to point out the game’s flaws a bit too easily. Your counterparts always seem to hog what little cover the game offers, forcing you to run frantically, all while taking on a ton of bullets, to find the next best hiding spot.

Aside from the campaign, Homefront offers a remarkably stellar online suite that’s sure to please even the most diehard FPS fans.  While the obvious goal is complete domination, Homefront rewards players with Battle Points, the game’s reward system for doing everything from recon work, to successfully navigating the game’s vehicles (which you gain access to via battle points). The battles are large, fun and fast, with a ton of different options. I don’t expect Homefront to overthrow Black Ops on the Xbox Live charts, but it’s got to be a great contender.

The Blast Factor: Homefront is a stellar opening to what will hopefully become a long standing first person shooter franchise. The story is gripping, and you have a reason to fight unlike any other, and combined with an impressive online suite, and you’ll see why Homefront is such an impressive debut. It may not be perfect, but we can’t wait to see where the franchise goes next.

Stacking is the latest game from the minds of industry veteran Tim Schafer and Double Fine Productions. It is the second downloadable title released by Double Fine inside of six months following their new business model of developing smaller, creative games. Stackinglegitimizes the viability of this strategy as a unique and fresh puzzle adventure game that provides plenty of enjoyment for a reduced price.

The world of Stacking is one where all of the characters are wooden Russian nesting dolls called matryoshkas. The story follows Charlie Blackmore, whose family of chimney sweeps is kidnapped and forced into labor by the evil Baron. The runt of the family, Charlie is left behind by the Baron’s henchmen along with his mother because he is deemed incapable of labor. Charlie sets off at once on an adventure to free his siblings and father in a straightforward tale of the underdog against an evil tyrant. There is little in the way of character development however the underlying issue of child labor lends the narrative some gravity despite the humorous tone.

Gameplay in Stacking is a nice blend of puzzle and adventure elements where the player must guide Charlie through each location besting various challenges to rescue the members of his family. As a matryoshka doll, Charlie is capable of stacking into larger dolls that populate the world. The stacking can be repeated multiple times into increasingly bigger dolls with the sole restriction that Charlie can only stack into a doll that is the next largest size.

Each puzzle in the game is solved by stacking into other dolls and using their special abilities which is an ingenious mechanic that puts a welcome twist on traditional adventure gaming. Stacking is at its best in puzzles that require using a combination of doll abilities but, unfortunately, these don’t occur until late in the game and are the exception, not the norm.

The highlight of Stacking is the well-designed challenges that are entertaining to solve and feature multiple ways to go about them. Unlike other puzzle adventure games that force a player to discern the exact solution the developers intended, Stacking provides several different possibilities for tackling each problem; this helps avoid the frustration of getting stuck. Players can advance after discovering a single solution which keeps the game moving. Most of the solutions are not difficult to discover but do require some clever thinking. There seems to be at least one blatantly obvious way to handle each puzzle although hints are available if needed.

In addition to solving challenges, there are numerous Hi-Jinks to complete and a collection of unique dolls and sets to find in Stacking’s four locations. Hi-Jinks are smaller side tasks that can be completed independent from the story progression such as using a purse-swinging doll to whack five mimes.

Stacking does not take much time to finish –it can be breezed through in about two hours by finding just a single solution to each challenge. As such, it feels a bit short even for a $15 downloadable game. However, much of the fun of Stacking is in discovering the various ways to hilariously solve each puzzle so working out all of the techniques is encouraged. Finding all of the solutions and going for total completion pushes the length to around five or six hours which is more reasonable for the price point.

Handling a group of nested dolls with different abilities may sound like a difficult task to manage but the elegant control scheme makes it simple to execute all actions. One button stacks a doll, another unstacks, a third uses a doll’s special ability, and the final face button talks to other dolls. There is also an objective locator that is taken straight out of Dead Space making it easy to navigate from puzzle to puzzle.

Interacting with the other characters in Stacking is not only useful for finding clues but also provides a lot of the game’s entertainment. Each character will offer several responses that change depending on what doll is currently being used. The dialogue can sometimes be lowbrow –as can the game, what with farting and vomiting dolls—but generally displays the witty writing that is to be expected of a Tim Schafer creation. In addition to the humorous dialogue and cutscenes, some of the dolls’ actions are quite funny such as the geriatric man who falls asleep as he begins to tell a story.

Stacking won’t win any awards for its graphics but uses blurring and edge filters to good effect to create a stylized presentation. Many of the areas are wide open and colorful but often feel a bit too sparse. The artwork for each doll shows a better attention to detail and does well to bring the characters to life which is no small accomplishment considering they are essentially painted wooden cylinders.

An impressive musical score does a wonderful job at highlighting the action throughout the game. This is particularly important as all of the dialogue is text. The symphonic pieces, heavy on the piano and strings, work well to convey the mood in the cutscenes that have a 1920’s silent film style.

The Blast Factor: Perhaps the greatest strength of Stacking is its near-universal appeal. From children, who will enjoy the colorful worlds and silly antics, to grizzled adventure veterans, who should appreciate the fresh take on puzzle solving, there is something for everyone to like. The story, graphics, and length have room for improvement but this is such a fun game that those criticisms seem like quibbling in the end. Stacking may not be the greatest downloadable game ever created but its combination of inventive gameplay and great sense of humor make it one that everyone should play; at only $15 it is hard to find a worthwhile reason not to.

By now you’ve probably heard a lot about what Bulletstorm is supposed to be. You know, the swearing, the violence, how Fox News says it’s going to cause a rise in rape; all that stuff. Scrap ‘em. Throw out all of your preconceived ideas of just what you expect from Epic and People Can Fly’s shooter. Yes, it’s crass and ultra violent, but beneath all that lays a surprisingly solid shooter, with thrilling set pieces, awesome characterization and most importantly, one of the most fun shooter experiences in years.

It’s the 26^th Century, and you’re renegade space pirate Grayson Hunt (referred to as Gray for much of the game) , who along his with partner and soon to be cyborg warrior Ishi has been discharged from the Dead Echo; a Black Ops style group that protects The Confederation of Planets following a double cross. Flash forward ten years, and an intoxicated Gray sees an opportunity to exact revenge on his former employer. Surprise – it doesn’t go so well, and before long Gray and Ishi crash land on a Stygia, a former resort planet that’s now crawling with savages. From here you can guess what to do.

Perhaps surprisingly, it’s the strong characterization of Gray, and the world around him that make Bulletstorm so extraordinary. Hunt is basically Han Solo, if he’d taken up drinking and grown out his hair.  Famed comic book writer and artist Rick Remender (Uncanny X-Force, Punisher) has crafted a remarkably well done story that feels awfully similar to a buddy comedy (think 48 Hours, but with guns and savages). Each character is believable and fun to watch, thanks to well written and entertaining dialogue, which yes, is awfully colorful, but serves its purpose. Hey, you try keeping your words PG-13 while being chased by a ton of bloodthirsty savages.

Where Bulletstorm differs from more traditional shooters of course is with its skillshot system. Essentially, using different weapons, targeting specific boy parts and using different elements from the environment unlock cool and ultra violent stylish kills that earn you points to unlock new weapons and ammo type. Some of my favorites? The homie missile, which requires you to attach a grenade gag to an enemy, then kick him into other enemies causing a mass explosion and the Fire in the Hole, which finds you killing an enemy by shooting him directly in the rectum. Hey, it’s not Shakespeare, but it’s damn entertaining, and damn rewarding to string together moves with your different weapons, your leash and a series of “This is Sparta” style boots kicks. Though it does seem to get a bit old later in the game, it’s still a very unique and well implemented mechanic.

In the movie business, there’s a rule, show don’t tell, in gaming, it should be do, don’t show. In some modern games, developers have a tendency to show gamers the really cool moments of a game in the form of a movie sequence, but that’s not a problem with Bulletstorm; the game is filled with tons of awesome thrilling, and playable set pieces and “holy shit” moments that are sure to keep you on the edge of your seat. I may catch some flack for this, but the only game that I’d say compares to what Bulletstorm has done here would be the phenomenal Uncharted 2. Take for instance early in the game, you’re trying to outrun a bunch of the savages when you suddenly find yourself on the wrong end of a giant concrete wheel. The first time you see this thing start barreling towards you, much like the game’s later set pieces is a truly thrilling experience.

Once you finish the game’s main campaign, there’s an online co-op mode that allows other players to assist in creating skillshots, but it’s the echo mode that steals the multiplayer show. The mode, which is best played once you’ve finished, or at least gone through a good portion of the main campaign allows you to go through specific sections of the game strictly to see how many points you’re able to get via skillshots. What’s really cool is that once a friend passes your score, you’ll get a notification, and be able to jump right in and try to beat them.

In the visuals department, Bulletstorm is no slouch either, the game is filled with sweeping vistas and great views – you just don’t get to enjoy them as much on a count of the savages and all. What’s most impressive though is the astounding voice work throughout the game. Most notably, Gray, voiced by Steve Blum (most famous for his work as Wolverine in a ton of Marvel shows and games) and the voice acting for Serrano, which comes off as a character from an over-the-top Tarantino character.

The Blast Factor: It would be easy to discount Bulletstorm as just another crass shooter looking to make its mark, but doing so; you’d miss one of the year’s best shooters. Some of the mechanics may get a bit old later in the game, but you’ll hardly notice thanks to the thrilling set pieces, well written dialogue and simple, fun experience. Bulletstorm’s ending may be just a cheap way to hint at a sequel, but the promise is an exciting one.

Killzone 2 was easily one of the best PS3 games of 2009, so expectations have been high for the sequel. Thankfully, developer Guerrilla Games has taken their time to construct a superb shooter, and the result is likely to be one of the best action games of the year. Fans of new technology will especially love Killzone 3’s terrific support of both Move controls and stereoscopic 3D.

Killzone 3 picks up the saga from the previous game mere moments after the death of Helghast dictator, Visari. The ISA troops are struggling to evacuate the Helghast homeworld, after the nazi-like red-eyed stormtroopers have actually nuked their own city. You take the role of Sev, who along with his best bud Rico, are near super-soldiers who must struggle to survive against the Helghan army and the harsh environments of the planet.

Killzone 3 streamlines the gameplay enough that the action feels less like Call of Duty and more like Halo this time around. You can carry three weapons, and move more quickly, but the core shooting gameplay remains intensely intact. Helghan feels like a world on fire, and through the entire game, Sev and his comrades are consistently outgunned and outnumbered. None of this is new for a first person shooter, of course, but the way Killzone 3 expertly creates an atmosphere of intense clandestine fighting is thoroughly remarkable.

The faster pace lends a slightly less realistic feel than the previous game, but the return is a more responsive feel to the gunplay. Being able to carry a pistol, main gun, and heavy weapon gives the player far more tactical choices. Since you can always carry a heavy weapon, this adds a whole new dimension to the combat zone. The game is generally generous about supplying ammo, so you can go crazy with the rockets, chain gun, and, later in the game, an awesome energy weapon that causes its victim to explode in a massive energy surge. All the guns have a great feel, which is a major facet to the success of the overall gameplay.

Adding to the variety is the exo suit (basically a small mech) and the jet pack. Both are used sparingly in the single player game, which is sort of a shame as they’re tremendously fun to stomp around in. The suit lets you fire off rockets and heavy machine gun fire with abandon, though it’s definitely not invulnerable—especially to tank and rocket launcher attacks.

The jet pack is really a jump pack. It launches you into the air, but can only provide lift for a few seconds. This leads to some obvious platformer-style sections, where you are leaping from one ledge to another, while fending off troopers. The sections that use these new toys are great though, and provide some of the most memorable fights in the game. There are a few on-rails sections as well, where Sev is a passenger on a vehicle and must man the weapons to mow down the enemy.

The AI of both enemy and allied troops is another impressive part of the package. For the most part, your allies are effective and useful. They’ll heal you if they can get to you in time, and actually use tactics to fight the enemy. Conversely, the enemy troops respond intelligently, use cover, and even seem to coordinate their attacks. That said, there are still times when they act like brain dead video game drones, but that’s the exception instead of the norm.

Of course, most players will want to battle it out against actual humans and Killzone 3 soars online. The main focus is still on the multifaceted warzone mode, which mixes up various game styles to create an intense online experience. There is also a more standard deathmatch mode and the new operations mode, which is a team-based attack-and-defend variation. The maps are expertly designed and the class selection is excellent. As you play, you earn experience that lets you advance your online character, earning new weapons and rank.

As expected, Killzone 3 looks and sounds amazing. The diverse landscapes look gorgeous, and the character models are realistic. The game supports both the Move controller and stereoscopic 3D visuals, and both are executed fantastically. The 3D visuals are particularly stunning, adding an amazing sense of depth to the game, although we encountered some ghosting during the cut scenes.

Move support is very well done. Far more responsive than similarly-controlled shooters on the Wii, Killzone 3 manages to make the Move a viable option for controlling the action—especially for fine-tuned aiming. That said, while you certainly could play through the whole game this way, most players will still likely opt for the standard controller, if only for comfort.

Killzone 3 certainly isn’t perfect. The main issue is the sheer volume of cinematic sequences in the single player game. The story is passable, if unoriginal and laughably melodramatic at times, but the too-frequent cut scenes break up the action far too much and hurt the pacing.

A few other old school design holdovers nag at the gameplay as well. The environments are mostly non-interactive. Not being able to use a well placed rocket to create a new path in a junk yard just seems silly. Also, splash damage is a bit wonky. Trying to hit enemies behind sandbags with a rocket is almost futile, as the rockets seem to do no damage unless you hit just the right spot.

Blast Factor: Killzone 3 succeeds despite its shortcomings. The insistence on using cut scenes to tell the overly dramatic, yet clichéd story hurts the single player game’s pacing, and there are some other outdated design decisions that keep the game from feeling truly innovative. That said, Killzone 3 works in the most important way. The gameplay is terrific, with intense, tough and thoroughly involving combat.

Some things just seem to be made for each other; peanut butter and jelly, popcorn and movies, Marvel and Capcom. Yes, for the last 13 years (15 if you count the very first coin-up  Japanese release of X-men VS Street Fighter) the unlikely series pitting characters from Marvel’s comic book universe and Capcom’s lineup of games has kept fighting fans up at night and arcade stinks clanging. Now, the highly anticipated third game in the series is finally hitting retail, was it worth the wait?

Hell yes. It may be missing a few fighters compared to the last game, and the online is surprisingly lacking, but Marvel VS Capcom 3 is the ambitious and fun fighting experience that gamers have been waiting for. If you have even a passing interest in the worlds of Marvel, Capcom or fighting games in general, you can’t pass up Marvel VS Capcom 3.

Marvel baddie Dr. Doom has assembled his world’s most dangerous villains and formed an alliance with Resident Evil’s Albert Wesker in an effort to control both universes.  Sounds like a great plan right? Except for the fact that doing so has awakened an ancient evil that could potentially destroy each world. Of course, it’s up to both the Capcom and Marvel heroes to stop it from happening. Okay, so it’s not the most original story but it’s unlikely you’re going to pay much attention to it anyways. Of course, the core of the game is the fighting mechanic, and it’s sure to not disappoint.

The first thing you’re going to notice when popping in Marvel VS Capcom 3 is the eye-popping sensational visuals . Borrowing much from Capcom’s Street Fighter IV, the game features a dynamic cell shaded visual style that balances well with the 3D fighting on a 2D plane, and just wait until you see the vibrant and dynamic super moves. Much of the same love has been given to the game’s sound, all of the one liners and music from the past of both universes is well represented.

Let’s not waste any time and get to the elephant in the room right away, Marvel VS Capcom 3 only features a total of 36 characters, a far departure from 56 in the second game. It may seem like a big deal, but each of the characters in Marvel VS Capcom 3 is genuinely fun to play and unique. It’s also the most diverse of the rosters yet, with Capcom including less Street Fighters and more oddball characters like M.O.D.O.K., Deadpool (the cool comic book version, not the lame Ryan Reynolds movie one) and even Arthur from Ghosts and Goblins who fights in his trademark heart skivvies.  Of course, your favorites are still here, like Wolverine, Ryu, Captain America and the Hulk. With the promise of upcoming DLC, the strength of the roster will only get stronger.

As much as the Marvel VS Capcom series has been popular, it’s also been one of the most difficult series in recent memory.  That core experience is still here for veteran players, but Marvel VS Capcom 3 is unquestionably the most accessible of the series thanks to an intuitive training experience. You’ll start at the most basic step, having each of the attacks mapped to one button and working up to taking off the training wheels with the game’s more robust and difficult features. The game is enjoyable with a controller, but it’s downright heavenly with an arcade stick.

Much of the framework for Marvel VS Capcom 3 was borrowed from Street Fighter IV, or more specifically, Super Street Fighter IV, it’s just a wonder why they didn’t bring over the robust online engine from the game as well. As it stands, the game features only ranked and player matches, plus custom lobbies to recreate the arcade experience.

The Blast Factor: To put it plain and simple, Marvel VS Capcom 3 was more than worth the wait that the franchises dedicated fan base has suffered through since its announcement. Retaining much of the formula from the original and adding a slew of new characters and visuals – it’s the next logical step in the evolution of the franchise. Even more, Marvel VS Capcom 3 is simply the best we’ve seen of the series yet.

At the end of every year, we in the video game journalism world have a habit of making lists. We write about the bestgames, the best console, and yes – we also write about the worst games of the year. Mark my words, in December of this year we’ll be talking about Mindjack, the new futuristic third person shooter for worst game of the year.

It didn’t start that way though; in fact Mindjack started as an impressive idea. Built on the framework of modern day third person shooters, Mindjackallows players to leave the bodies of their character, and take control of an enemy. It’s not the most unique idea (last generation we saw it in Battlefield 2), but we don’t see it much in this genre so it still feels a bit fresh.

In the year 2031, government as we know it has all but dissolved, and in its place stands resource controlling corporations. Throughout most of the game you take control of Special Agent Jim (no, seriously. The dude’s name is just Jim) as he and his partner Rebecca as you try to infiltrate the compound of the NERKAS corporation for some reason. The whole thing plays out like a really bad Sy-Fy channel weekend movie. Plot points are introduced, but never wrapped up, characters come in, but are never seen again, and worst of all, the game never takes the time to fully explain just what’s going on. It’s like we’re just supposed to accept that the technology to jump into someone else’s mind is now possible.

Much like Vanquish before it, the gameplay of Mindjack could best be described as an eastern take on the Gears of War formula. Hell, if you’re playing on the Xbox 360, the controllers are mapped to the exact same buttons; you shoot with the right trigger, aim with the left and roadie run by holding down A. The only difference, while in Epic’s flagship shooter they worked – here, they’re unquestionably broken. The biggest problem is that even the most civilian actions like moving to cover, reloading and shooting, come off as cumbersome and incredibly slow. Even the “Mindjacking” itself comes off as slow. Combine that with the fact that your enemies seem to be on a permanent caffeine binge and jump around incredibly fast and you begin to get an idea of just how frustrating of an experienceMindjack can be.

One of, if not the most memorable aspects of Gears of War and its sequel is just how memorable and satisfying the action is, yet another feature this game is missing. Take for instance the seemingly simple act of snapping to cover and firing at an enemy. Somehow, even if you line up the reticule exactly on your target, more often than not you’re going to end up shooting slightly off where you wanted. It’s incredibly frustrating and defies the basic principles of shooters. What’s more, there’s pretty much no logic to any of Mindjack‘s action (seriously, if you just ignore a boss for long enough, it seemingly defeats itself).

There’s a decently enjoyable multiplayer suite that essentially turns the entire single player campaign into one large death match, but it too suffers from the same problems as the main game. To be honest, with games like Bulletstorm, Dead Space 2 and Killzone 3 on the horizon, there’s pretty much no reason to play Mindjack. Flawed in nearly every way, Mindjack is the definition of a frustrating gaming experience.

Isaac Clarke is back for another wacky adventure! If by “wacky” you mean dark, disturbing, grotesque, and ultra-violent. The original Dead Space was one of the best games of 2009 and certainly one of the best horror-themed games in years. The game’s take on science fiction terror took the typical survival-horror stereotype and revitalized it with a hefty dose of pure action, along with the ever-entertaining dismemberment-focused gunplay.

Isaac Clarke may have destroyed the bizarre alien-created marker that the Scientology-like cult, the unitologists, worship in the first game, but you can’t keep a good monster infestation down. Dead Space 2 doesn’t waste a second throwing Isaac into a new nightmare. He wakes up in a straightjacket, having horrible visions and questioning his own sanity, when the horrors he faced on the USG Ishimura are suddenly back.

Now aboard a giant space station city known as the Sprawl, Isaac finds deja vu all over again, but on a much larger scale. Where the Ishimura felt like a more intimate and claustrophobic environment for horror, the Sprawl lets the vile necromorphs wreck havoc through schools, churches, shopping districts, apartments,  and everywhere else that the creepy crawlers can reach. As a result, there’s some truly twisted stuff here.

Familiar monsters return, but with a broader environment come creatures that use the open space more effectively. Infected children have become pack-hunting creatures that use surprisingly effective tactics to trap Isaac. There are exploding babies, vomit-spewing pukers, spitters, and some truly foul and massive boss creatures. Thankfully for Isaac, pretty much all of them can be shot apart with a wide-array of fire power.

While the guns from the first game return, new toys include a spear shooting javelin gun and a mine layer. The javelin gun in particular seems a bit redundant since Isaac can telekinetically pick up any sharp object (of which there are a shocking amount, including the limbs of necromorphs) and shoot them at high velocity. Mines are a particularly good tactical choice, since the hunter creatures are exceedingly good at tracking you, so laying traps for them can help thin out their often overwhelming numbers.

Numbers is a big part of Dead Space 2. Everything feels bigger, even if it’s often merely the illusion of scope. Though a fair portion of the end game moves into the close quarters and corridors, most of the levels open up into huge rooms with massive windows. There are a lot of apartments to stalk through and unlike the first game, there’s no doubt that the Sprawl is someplace where civilians were living right up until the point where they died truly horrible deaths.

Gored bodies are everywhere and the game is full of indiscriminate carnage. The necromorphs spared no one, and the addition of the unitologist families who were so brained washed that they actually prepared for their last moments happily makes the gruesomeness even more effectively disturbing. So, there’s no doubt that Dead Space 2 works as a horror game.

Even though the pacing is frequently action-oriented, the nature of the enemies and how they attack makes the game the most effective monster game you’ll likely see all year. On the standard difficulty level, the levels can be brutal, but not unmanageable, and the superbly refined gameplay and atmosphere make Dead Space 2 insanely addicting.

Targeting is vitally important here, since dismemberment is key to quickly killing things, and controls are tight, intuitive, and effective. The camera is amazingly adept at keeping up with the action, while still keeping the view slightly claustrophobic. It seldom gets in the way, and you won’t have to adjust it in an unnatural way like so many third-person games.

That said, Dead Space 2 still sticks close to the formula of the first game and most similar games in general. Isaac is hardly his own man here. Missions are relayed from strangers via video or audio comms, and he is ultimately just an errand boy through the game. While this narrative-heavy method works in keeping the plot and action moving forward, it just feels amazingly cliched at times. Thankfully, Isaac actually speaks this time around, so he feels like an actual person this time around.

The one aspect of the game that is completely new is the multiplayer. Like a more horrific take on Alien vs. Predator, these team-based games pit teams of necromorphs versus humans. The result is an amazingly distinct online game. Short of AvP, there’s no other multiplayer game that will let you play as a standard marine-type human or a scary, wall climbing monster. Humans inevitably will be trying to use switches to complete goals, while the necromorphs are simply trying to stop them.

Since the necromorphs can respawn anywhere on the level they want and see human skeletons through walls, devious players can effectively act like a monster and sneak up on unsuspecting prey. While the overall survival horror nature of the multiplayer might not distract players from Black Ops in droves, it’s the most creative take on deathmatches since Assassin’s Creed Brotherhood.

There’s no doubt that you could nitpick Dead Space 2. The gameplay is hardly changed at all, and too much of the time, you’ll feel like little more than a badass errand boy. That said, the pacing, atmosphere, controls… well, nearly every other aspect of the game is refined, tense, and enthralling. Dead Space 2 is so addictive that it will suck your hours away well into the night. Just make sure you’re not too squeamish.