SSX 2012 (Review)

SSX, one of the most beloved arcade-style sports series of all time, is finally back. And boy, oh boy, is it welcome. Whilst there was 2007's SSX Blur on the Wii, this title is not only the first time an instalment has appeared on multiple consoles 2005'S SSX On Tour, but also marks the HD debut of the over-the-top series. As you'd expect, the return of a classic series comes with a heck of a lot of expectation. Does this new title bring back the thrills of the old titles, or have EA Canada driven a once golden series into thin ice?

From the opening tutorial, it's evident that they've done something right. This scene, which sees you being thrown from a helicopter and left dropping through the air, teaches you the trick system (whilst you're still making your decent through the clouds) which acts as the core gameplay feature. EA Canada have created a brand new control scheme for this instalment which sees you controlling your character with the two analogue sticks. The left stick is responsible for the direction of your board, whilst the right stick allows you to jump, grab and trick whilst in the air. A further use of the back triggers allows you to grind and alter your tricks. This new system, whilst confusing at first, works fantastically, and fits the modernisation of a slightly dated series to a tee. Fans of old rejoice, however, for the classic button driven system of previous titles does return as an option  should you wish to bring back the nostalgia and for players who have a desire for more of a challenge.

Line your rider up right and you can even swing off the helicopter's rails.
Awesome, I know.

SSX does have a minor plot which acts as the basis of the game's main mode, World Tour. In this mode, players assume the role of the various members of Team SSX, a super-team of expert snowboarders, bikers and surfers who vow to take on a vast array of drops and mountain ranges all around the world, and more importantly, the nine deadly descents of the globe from nine seperate regions. Before the various members set off on their tour, however, one snowboarder, Griff, leaves the team in pursuit of conquering every descent himself before SSX can. In turn, this launches a race between the two to beat all nince descents before the other does. You as the player assume the role of each member, assigned with their own region and descent. Every region has numerous mountain ranges and various differences slopes. There are three types of event which the slopes revolved around: Race, Trick and Survive. As you'd expect, in Race you are tasked with beating three other boarders' to the finish line, in Trick you have the challenge of beating opposing boarders' scores by tricking your way down the range and in survive you must make it to the bottom of the mountain alive- something which is saved mostly for the Deadly Descents.

Each event type works well and mean that things aren't too similar throughout the game. Also aiding the variation is that every region (and Descent, specifically), has a particular quirk which makes it deadly, and in turn, a piece of equipment which can be used to help you combat it. For example, on one Descent, you are surrounded by darkness, and so a headlamp allows you to see a little further than you would without. On another, the drastic change in temperature between sunlight and darkness is drastic, and so avoiding any shady areas on ranges is vital. My favourite however, and certainly a general highlight of the title, is when a specific region's Deadly twist is that the range itself is broken up by huge drops which, if fallen into, will result in death. To combat this danger, you are kitted out with a wingsuit. As you'd expect, jumping and holding a single button deploys the wings, which are web-like contraptions between the torso and arms of your boarder. Gliding through the air is an absolute joy, helping you to survive and reach higher areas.

The wingsuit really is rather cool.

There's a whole other bunch of features. The multiplayer experience was clearly a focus point for the devs, and is incorporated in a variety of ways. The Explore mode challenges players to beat their friends scores, whilst Global Events provides a slick online experience designed to eliminate lengthy waiting times in lobbies. In order to do this, EA Canada optimised a system which allows them to host non-step events which means that wherever you are, you can always jump into events and join in the action. Winning and placing high in events also gains you in-game currency which can be used in the single player modes to purchase mods- single use perks which alter abilities like speed and trick- equipment, and Geotags. What are Geotags, you ask? A neat little addition which is in actual fact a little coloured globe which can be placed anywhere on any slope in the Explore mode, by rewinding gameplay (a feature which can be used to correct any errors made during gameplay, but only a certain amount of times during Deadly Descents) and dropping it where desired. The thing is though, not only do you receive more of the in-game currency for placing it, you also get an increasing amount the longer the Geotag stays on the slope. What this challenges players to do is place their Tags in the highest, hardest to reach location they can, and for others to try and reach them. It really is an awesome idea, and one that feels right at home in SSX.

Trick enough and you'll activate TRICKY, which enhances
all of your tricks and makes you glow with
trails of orange. Groovy.

There are a couple of minor niggles. For more casual gamers, the difficulty curve is quite high at some points. That said, practise does certainly make perfect in this case. The other flaw is that in comparison to past SSX titles, this reboot is nowhere near the drastic heights of which some gamers will remember it. Whilst the trick system is perfect in terms of pulling off moves which defy physics and human skill, it does feel like EA Canada have coated the game with more of a gritty realism, in terms of graphics and styling. Customisation of your own rider is limited to the equipment they use, and even then there is no proper in-game "store". What happened to bunny ears? Flapping wings? For fans of the old games, some will often wonder where the colourful insanity of old has vanished too.

Despite that though, SSX is still a quality title. Top off rewarding gameplay with a fantastic soundtrack- including Run DMC's classic "It's Tricky", classic boarders and plenty of content to chew through, players will find a refreshing take on the sports genre which is definitely worth checking out.

8.5/10

Mafia II (Review)

Mafia II is the belated sequel to 2K Czech's classic gangster romp Mafia. Released in 2010, it follows the tale of Vito Scaletta, a man of Sicilian decent who moved to the fictional Empire Bay (a stylish, heavily influenced American city) at a young age with his family to escape a life of poverty. They prove unsuccessful, and as Vito ages he becomes acquainted with Joe Barbaro, his future best friend and partner in crime. After a failed robbery, only Vito is caught and he is forced to either go to prison, or join the US Army and aid them in their fight in World War II.

Picking the latter, he serves time fighting in Sicily, before having to return to the States after receiving a gun wound. To his surprise, he is discharged from the services as a result of his pal Joe's Mafia connections. From this point begins Vito's tale as he becomes entwined with the shady criminal underworld of Empire Bay. Controlling Vito through fourteen chapters, you drive, shoot and run your way through missions. The gameplay is the typical fare of a sandbox third-person shooter, and due to the fact that it doesn't really break out of that mould, a lot gamers will label it as yet another GTA clone. But get into the meat of the game and you'll find that it doesn't really matter- for the majority of missions, it's exciting, fast-paced and very enjoyable. The driving mechanics are very polished, making every chase scene and even just standard cruising exciting. Cars are varied, with plenty of different types to keep things fresh, and the garages located around Empire Bay provide the tools to redesign, repaint and upgrade any vehicle of your choice. Despite the fact the the shooting system looks visually dated and horribly cluttered, it works well and the weapons are satisfying, with a wide array of pistols, shotguns, machine guns and explosives at your disposal.

One fantastic thing which improves these aspects is a story element which divides the chapters. Without spoiling anything, a certain event progresses the story from the mid-1940s to the early 1950s, and the way this major period change affects just about everything you've experienced so far is brilliant. You'll notice the city is brighter than before. The pedestrians are wearing bright shirts and sharp suits, long since abandoning their dull trench coats of the last decade. The cars have evolved, beckoning in faster, more stream-lined vehicles. Weapons are faster and more damaging than ever before. Your buddy Joe now wears a hilarious bright red Hawaiian shirt. Okay, perhaps the latter isn't such a ground-breaking change, but the fact that the game world evolves and develops after a number of chapters adds even more character to Empire Bay. It makes you wonder why more games don't do it- similar things may have been done before, but never to an extent where it changes and expands everything you've experienced so far.

Empire Bay is a mash-up of classic American cities and imagery.

The story which I touched on lightly at the beginning is very interesting. Whilst you'll find that some characters are forgettable, there are some very memorable characters who you'll grow to love. Joe Barbaro, the over-sized best buddy of our protagonist adds the comic relief to the otherwise gritty and violent story of a young man trying to ascend the steep ladders of the Mafia, with explosive consequences, touching on betrayal, revenge, loss and so much more. It feels just how you would expect a gangster tale in this era would- it's clear the writers at 2K Czech have been watching their fair share of classic Mafia gangster films. Vito himself is a tough as nails star of the title, but manages to avoid the generic land mines which many games this generation manage to steer their characters into so frequently. Mafia II is a typical gangster romp, but despite that, the cast is genuinely funny, interesting and some are memorable. Vito is an excellent protagonist who narrates the opening of each chapter (accompanied by a stylish cutscene, each with superb visuals), guiding the story along. Chapters get longer and longer the more you progress through the game, eventually spiralling to explosive heights, with a few top notch twists chucked in for good measure.

Mafia II does have a few issues- shooting, for the most part. There's a few dud missions too, and some glitches, but the most harrowing issue is the lack of anything to do in the city. Despite being a sandbox game,  you never really get a chance to free-roam. Whilst the story is interesting enough by itself, it would have been great to have some extra side missions with branching story lines, as well as races and the like to stir things up a little. Empire Bay is a gorgeous looking city- but what good is that when there's nothing to do? It works perfect as a backdrop for the riveting campaign, but giving players a few extra things to do in order to break up story missions and lengthen your play time wouldn't have gone amiss.

Nothing like a good ol' car chase - especially in Mafia II.

Overall, Mafia II is a refreshing action-adventure game that will be enjoyable for fans of the genre. It never really does anything the genre hasn't seen before, but instead uses the best of the best and embellishes it with a fine character of its own. In most areas of the game, it's a very polished product. The story is clearly the shining star of the game, with heaps of creativity oozing out from every corner, just like the city and cast. It's just a shame 2K Czech couldn't have provided us with a few more things to do during our stay in Empire Bay.

8/10

Alan Wake's American Nightmare (Review)

Alan Wake's American Nightmare was released in February as part of the annual Xbox Live House Party. Despite owning the Alan Wake title, many of the original game's features and its story, developers Remedy describe American Nightmare as a "follow-up" as opposed to a sequel, proceeding to state that it's a stand alone title which only serves to expand the Wake universe. In one interview, one of the members described the original game as 2/3 story and 1/3 action, whereas this title is the opposite way round. To be honest though, this title feels like it contains 1/10 story. The game is so centred around action that fans of the original will spend most of the game wondering when the fiction of the series will actually be advanced.

American Nightmare takes place in Night Springs- a location fans of the original game will remember from its occasional referencing. Wake, a hit writer who has been suffering from writer's block in the first game, worked on the writing of several episodes of a Twilight Zone-like television series by the title of Night Springs. In this title, Alan finds himself in Night Springs hunting down the "herald of darkness", a mysterious antagonist by the name of Mr. Scratch, who is in fact the evil doppelgänger of Wake himself, created by the dark force Alan fought in his previous outing. Mr. Scratch is the culmination of all of the writers' dark side. In turn, Mr. Scratch is just a huge metaphor of fighting darkness, and in this case, your inner darkness. This is something the series revolves around; the eternal battle of light versus darkness.

The hazy styling of this title just screams B-movie, Tarantino-style. 

The combat of this title (which serves as the action you experience) is pretty much untouched. In the first game, you were armed with a torch and various different guns. In order to weaken enemies- the Taken, psychotic humans hell-bent on maiming you to death with knifes, chainsaws and any other lethal instruments as a result of their possessing by darkness- you must first break down the aurora of darkness which surrounds them by shining your torch on them, or breaking down multiple barriers at once using flash bangs or flares. Only once the barrier is broken can they be damaged by your fire-power. This stays the same in American Nightmare, albeit with the introduction of various new weapons including nail guns, hunting rifles and sub-machine guns, and  some new enemy types. These are all welcome additions to the combat: it's fast-paced, cinematic, and often very tense. Whilst none of the new additions are anything evolutionary, they do help to spruce the action up a bit. The new enemies are cleverly designed- Splitters, who duplicate every time you shine your torch onto them, causing you to rethink your tactics, bombardier-type enemies who throw explosives from a distance and various others. It's good that the combat is relatively varied- because the rest of the game is pretty repetitive.

My biggest problem with American Nightmare is the repetitiveness. I'm a gamer who's a sucker for variation, and so when the game revealed to me that I had to replay the same three levels, not once, not twice, but three times over, I was nearly tempted to stop playing. The game is divided up into the three seperate locations, each baring a single NPC who dishes out your objectives. In the long run, the whole aim of the game is to acquire a definitive manuscript page which depicts the conditions of a final location, which once set correctly will rewrite fate, and defeat Mr. Scratch. The problem is, the first couple of times, the page you receive is not complete. Due to the in-completion of the page the first time, Scratch manages to lock Wake into a constant time-loop, allowing him to proceed with his evil aims of never allowing the sun to rise again so that the dark presence will thrive and Scratch can control Wake's life forever. Using the time-loop, Wake can return to the three locations again in an attempt to try and complete the page and rewrite fate permanently. In the interest of the story element, which is rather minuscule in the end, Remedy force you to play the same levels three times around, and although they are slightly shorter as you progress, the game does suffer for it.

One of the new enemy types. Get too close and things definitely
aren't going to end well.

That is the only major niggle I have with this title. The rest is pretty enjoyable, and for the most part you can certainly see from the location design that Remedy pour a lot of detail and love into their games. Another small addition that is incredibly welcome is the chance to engage with a few more lines of dialogue with each character, something which I was dying to have in the first game. There are also various impressive cutscenes, acted out by real life actors, which look stunning. The fact that the game also now has a proper villain, who's psychotic ramblings are intriguing and exciting, also improves the small story element. Adding replay value is the collectable manuscript pages (which don't just serve as a collectable but also to expand the narrative) and also an Arcade mode which strips the gameplay down to pure combat, giving you ten minutes to survive hordes of Taken and raise your score over ten different locations. A multiplayer option would have been nice, but not highly necessary considering it's already a fun enough mode which adds a few extra hours of gameplay to the title, or dozens if you're someone who's keen on trying to beat the best of the world leaderboards.

In the end, American Nightmare is a satisfying enough title. If you're a fan of the original who enjoyed the game's psychological thriller story, which was perhaps the game's biggest strong point, then you'll feel slightly empty throughout, but Remedy do manage to redeem themselves slightly with a satisfying end. Go into American Nightmare with the right mind-frame and you'll see it as exactly what it is- a fun title purely there to broaden the series'. It's not the sequel that we're waiting for, but that's not what it's trying to be. Gameplay could have been varied a bit more, but it could have gone far worse. The perfect balance of story and tense action would have perhaps struck perfection- but I guess we'll have to wait for Alan Wake 2 for that.

7/10

Assassin's Creed: Revelations (Review)

Assassin's Creed. A series which, despite only being five years old, has now managed to rack up a significant number of instalments to one of Ubisoft's forefront franchises. Revelations is the fourth entry to the Assassin's Creed story- but has the quality which was raised so high in the second game (also recognisably retained and refined in the third title, Brotherhood) been preserved, improved, or even dwindled this time around? Well let's take a look.

Revelations is the concluding part to what Ubisoft have coined the Ezio trilogy. Assassin's Creed follows Desmond, a modern-day assassin who uses a contraption called the Animus to relive his ancestor's memories. What this means is that the main sections of the games consist of the tales of assassins of his bloodline. Naturally, the events tie into the present day, as Desmond seeks to stop the imposing threat of the end of the world. In the past, his ancestors fought the Templars for knowledge and possession of the Apple of Eden, a powerful artefact with unprecedented power. Desmond is doing exactly the same in the present, attempting to stop Abstergo, an evil corporation who are in fact modern Templars, from obtaining the Apple of Eden. The problem is though, Desmond is stuck inside his head. Quite literally. Due to over-use of the Animus, his mind isn't able to distinct between his own memories and his ancestors', and so he is trapped inside a place inside his head known as Animus Island. Here he meets Subject 16- previous user of the Animus, who tells him that in order to piece together his splintered mind he must finish off his ancestor's memories until a significant moment, in which he'll be able to distinct between individual memories and return to consciousness.

One of the ancestors whose tale that must be concluded is Ezio Auditore da Firenze, aforementioned ancestor and the Italian assassin we've all come to know and love since his introduction in the second game, finds himself travelling to Constantinople. Why? Well having travelled to Maysaf (once the home of many assassins hundreds of years ago- including Altair, the first ancestor and protagonist of the first title), he discovers that the Templars are safe-guarding a castle which deep down holds Altair's library, which appears to contain a precious artefact which could end the Assassin-Templar war forever. However, as you'd expect, there's a catch; the library is sealed shut, and in order to open the door, Ezio must have five keys. Where are these keys? Constantinople, it seems.

Revelations takes place in a later stage in Ezio's
life.

Story is a driving force in the Assassin's Creed series, and Revelations hits the mark spot on. Despite the first half of the game being slightly slow gameplay wise, sheer curiosity of the unfolding events is enough to push you through playing the game. In-game Constantinople contains numerous historical figures from the location's history, with the tale of its leadership intertwining with the Assassin-Templar feud. Speaking of Constantinople, this may just be the best environment the series has ever been taken to. It may be perhaps one of the most least known locations out of all of the games, but its beautiful sun-washed rooftops act as the perfect location for Ezio's final tale. Utilising normal day/night mechanics, there's never been such a stunning sight as watching the sun set as you zip around the city executing your kills and various missions.

Gameplay-wise, not a whole lot has changed. You've got your normal free-running and combat mechanics which are the series' staples, which appear to have been copied straight over from Brotherhood. One small change to traversing the landscapes is the introduction of a small tool called the Hookblade, which is very similar to the normal Hidden Blade contraption. What it allows you to do is extend Ezio's reach slightly when scaling walls, and also use a network of rails by attaching the hook to the rope, which speeds up navigation, probably vital considering Ezio's in his 50s now (although he does still somehow manages to retain the incredible agility he's had since his youth). This can also be used as a normal blade and to flip over enemies whilst running. It's not exactly an impactful addition and doesn't exactly make or break gameplay, but it's still a fun little perk.

Combat is pretty easy for long-time fans. Counter-attacking
will see you through most scraps.

The problem is though, for those who've played Assassin's Creed since the beginning, there is a heavy chance that up until the final third of the game, things will feel repetitive. This isn't exactly because of the missions you undertake, but because of the fact that these are gameplay mechanics we've been used to since the evolutions made in the second game. Brotherhood introduced the ability to train and call on other assassins, which stirred things up a little- but Revelations doesn't have anything to really spice up the mix. Whilst the quote "don't fix something that isn't broken" stands- the gameplay isn't exactly broken, and it's far from bad- there was a real nagging feeling throughout the majority of the game that made me question exactly while I was still playing the same old game, just slightly reskinned.

And then it hit me. Ubisoft's writers, the real talent behind the series, had done it again. It's the story, the tale behind this series, that really keeps you going. Even if missions in the first few hours of play are a tad too slow, you'll be driven on by the excellent quality of the story, which really does keep you dying for more. Finding out what happens to Ezio is really a massive selling point for long-time fans of the Assassin's Creed series, and Revelations is as fantastic a sendoff as you could wish for. Another fantastic decision made by the writers was to proceed with Altair's story, the original protagonist of the first game who's starring role has long since ended. The clever part is that every time Ezio obtains one of the five Maysaf keys, each one acts as an almost ancient Animus, allowing the Italian to relive Altair's main memories as if they were his own. This means that the player finds out what happens to both of the series' main characters and one title, with rather impressive events following. By the end of the game, I was really quite sad that we'd had our last chance at playing these two characters, because Revelations really does build up a connection with them, even more than the last instalments did. Another plus of the unfolding, intense storyline is that the last few set pieces (which include destroying a lighthouse-like tower and setting fire to the surrounding port, and creating havoc in an underground city inhabited purely by Templars) are absolutely fantastic, and make persevering through the game's dull first half well worth it. Even better still is that Revelations advances the story even further. A few questions are answered. A few more are asked. And as the second and third games did, Ubisoft leave you with a bizarre and exciting ending which really does keep you on the edge of your seat, begging for more. Assassin's Creed 3 here we come.

The destruction of Constantinople's port is fantastic.
Anarchy for the win!

Assassin's Creed: Revelations doesn't do anything new, and it's not really a suitable starting point for new players to the series either, but what it is is a impressive continuation of the series which pushes the story forward and sets the narrative up perfectly for the recently announced third instalment. Ubisoft should have perhaps spent a little more time thinking about new concepts, rather than rushing it out to meet the busy fourth-quarter release window, but it's still worth a play for fans of the series. Add in the a return of the multiplayer mode, one with improved servers, game-types, customisation and a chance to expand the narrative in the vein of the enemy  faction Abstergo, and there's plenty of enjoyment still to be squeezed out of Revelations.

7/10

Simplicity > Complexity?

Gaming has evolved greatly since its origin. As a medium which has only really been accepted into the mainstream over the past twenty five years, it has changed at such a rapid pace that some people might find it hard to keep up with the times. It's impressive to think that such huge steps have been taken in what really isn't such a long time on the grander scale of things.

So what sort of evolutions have we had? Well graphics are an obviously notable one. Back in the 80s characters, environments and everything else were represent by a gathering of pixels. In the 90s, they became cubic portions. In the 2000s, they finally began resembling more realistic forms. Now, they often look human. Many companies have even begun conquering the 3D realms, making their creations literally jump out at you.

We've also had improvements in the tech itself. Games have become bigger, bolder, sharper. No longer is gaming something always used as a spell of quick-fire entertainment- whilst the form of these is evidently still present, it no longer represents such a large portion of the market. Now we have systems which can hold incredibly long adventures to get our teeth stuck into, without colossal loading times or even having to switch the disks. This means that companies can provide us with even more complex games, holding dozens of gameplay mechanics all seamlessly melted together. Hundreds of possibilities, all at your disposal. Just see Bethesda's latest instalment to the Elder Scrolls' series, Skyrim. A tremendous feat, with an incredible number of hours of gameplay, all of which never get boring due to the vast amount of things you can do. Level up your character. Go on side-quests. Slay dragons. Talk to thousands of characters. Find new armour. There's so much to do, and yet none of this would have been achievable on a system twenty-five years back.

Despite all of this though, there's something which has become increasingly popular over the past five years. Amongst all of the complicated titles, there's been a recurring pattern of a different method of creativity. Rather than hurling dozens of different ideas at the player, developers are often using something which many type of gamers all around the world can enjoy: simplicity.

A contributing factor of this is likely to be the potential unlocked by the online stores found on every major console of this current generation. A simplistic idea, simple style, simple story, all wrapped into a single package which you don't even have to leave the house to purchase. It may not appeal to every single person interested in video games, but it's perfectly understandable as to why such a thing every caught on with the masses. These digital stores have acted as a stepping stone- they've given developers a chance to experiment with the smaller ideas, concepts which they might have been too scared to release to stores because consumers might not think they're "complete" enough. Downloadable titles have allowed mass distribution for a smaller title at a smaller price, and companies have been rewarded tremendously for these efforts. Perhaps on the next generation consoles, companies may even release simplistic titles to stores without the fear of the title being painfully unprofitable. Interest has been stirred for these sort of games. They may hold a considerable place in the medium now.

I myself am a big fan of simple ideas. There are some smaller titles which show more innovation and creativity through one straight-forward approach than many full-priced, "complete games". Read on below to find a couple of examples of great simplistic games.

Limbo [Playdead]
Limbo was released to heavy anticipation. Gaming magazines and websites were drawn to this title purely based on its unique aesthetics- a purely black and white visual style. On top of this, a speechless character and with the exclusion of various muted sound effects, no sound. This isn't something which has been tried very many times before, and it worked perfectly to Playdead's advantage. The simple style not only roped in a   great amount of praise for the game, but also worked perfectly for publicity. Gameplay itself was standard platforming fare with some neat features, such as attempting to kill the fearsome tarantula which towers over you as the protagonist. Story-wise, Limbo follows a small boy who journeys into the titular location in the hope of finding his missing sister. The dull tones certainly fit the silent, character-scarce story. It's all pretty sombre, but the atmosphere raging on whilst playing is just one of the key perks of such a simple idea. These days, not a great bunch of games get your emotions running- but Limbo certainly did.

The silent terror of this moment is bound to
 send a chill down your spine.

Flower (thatgamecompany)
I was introduced to this particular title at a friend house whilst they were showcasing some of the Playstation's best exclusives. After five minutes I was hooked- it's such a simple premise, and yet it works a treat. Flower sees you controlling the wind using the Six-Axis Playstation 3's motion features. Tilting the controller allows you to direct the flow as you guide a single petal around the level. The whole objective of the game is to guide it around the level and through other petals, which in turn adds more to your collection. After collecting a certain amount, the previously dull scenery will burst into colour as flowers blossom, leaves and trees grow and the scene generally transforms. It's a concept which may have been practised in other forms in other games, but never quite to this quality. The graphics are a lush swarm of beautiful natural colours (made even more impressive by the fact that the team consisted of only nine people!) which paint a beautiful picture as the levels progress. Music is another key feature which works perfectly with the progressive nature of the gameplay- what starts off as a tune dwindling quietly on a piano can turn into a cheerful score by the end of level. Overall though, there's no greater moment than the last level, a bleak, grey-washed city which acts as your playground for reinventing. Whereas the previous levels have you change small locations, now you have an entire city at your disposal, just begging to be recreated in a flash of colour, with vegetation and flowers growing fresh as you guide the petals. Such a simple prospect, but such a beautiful game.

Just one example of one of the many beautiful scenes in Flower.

Dead Space 2 (Review)

After being heavily encouraged by a fellow gamer to check out Visceral Games' second instalment in the Dead Space 2 series, I decided to give the game a go a few weeks ago. My experience was so awesome, I think that it's suitable to open this review by saying that it is easily one of the most under-rated games of 2011. Having been released in the first month of the previous year, it was sadly forgotten by the huge tide of mainstream titles which suddenly found there way onto our consoles in the last few months of 2011. So here's what I'm saying: if you haven't already, buy Dead Space 2.

If, like myself, you never played the original Dead Space, Visceral immediately cater for newcomers to their series by providing you with the opportunity to watch a 'Previously on Dead Space...' introductory scene which fills in the events of the first game. In short, you assume the role of technician Isaac Clarke, who in the first title is sent to tend to the distress calls of a planet-mining ship called the USG Ishimura. Over the course of the game, Clarke discovers a horrific alien infestation known as the Necromorphs and unravels a mysterious threat whilst on board.

Without spoiling those events, Dead Space 2 picks up when Isaac wakes up on a bizarre space station called The Sprawl. He cannot remember his recent past and has no recollection of how he got there. Tied up in straitjacket, he is suddenly freed by a fellow technician, who before he can explain the situation is brutally attacked by a Necromorph and soon finds himself mutating into one. This is the start of Isaac's horrific second journey on yet another alien-infested space station, one which will leave you sitting on the edge of your seat, shivering on the spot and cheering on for more by the time the credits roll.

Bad-ass.

One immediate improvement over the original game is that Isaac now has a voice. In the first title he was a speechless hero confined to his space suit, meaning that the ability for Visceral Games to really bring out his character and show how scared he was in each situation was rather limited. Luckily, the developers roped in Gunner Wright who does a great job at conveying Clarke's emotions. This was a very good move on their part- no longer is his character so one-dimensional- now we know what he's feeling, when he's feeling it. It adds depth to just about every scenario, whether it be his frustrating and yet concerned conversations with mental patient Nolan Stross (who appears to know the information to the conspiracy Isaac finds himself tangled within on board the Sprawl), or his terrified cries whilst experiencing the many visions he suffers throughout the game. The story line is a cracking tale which twists and turns like a missile trapped within a revolving door- just about every character is unique and emotive, from the power-crazy Hans Tiedemann, the enemy in this title, through to Ellie Langford, a fellow survivor on board the Sprawl who is reluctant to go anywhere near Clarke. Also helping to bring the story along are the undoubtedly Bioshock-esque voice communications and audio-dairies, which provide backstory and direction to everything you do.

Gameplay on the other hand is standard third-person survival-horror fare; you as the player control Clarke, using his famous blue-lit armour to protect himself from the Necromorph swarms. You also get a pretty wide array of weapons at your disposal, which include the Plasma Cutter- a standard futuristic pistol- the Pulse Rifle, Rivet Gun, Javelin Gun and many others. Each of these can be upgraded using collected power nodes found around the game environment, to improve speed, impact, capacity and the like. Combat is a satisfying aspect of Dead Space 2, and works well when implemented with the Necromorph activity- Visceral's design of these mutated creatures means that unlike other games, aiming for the head won't do quite as much damage as you'd expect. Instead the game teaches you early in that it is vital to aim for their limbs in order to kill them efficiently and preserve your ammo. As you'd expect with the genre, ammo isn't something that you'll find yourself finding as much as you would in standard shooters. In addition to weaponry, you also have stasis and telekinesis, which allow Clarke to slow down time and control objects respectively. Both, as expected, are awesome.

This might happen to you a fair few times...

Some situations may make you think that you're in perfect control. You have a few med-packs. Plenty of ammo. Things are going well. Check back in five minutes time, and Visceral will have chucked a swarm of Necromorph's at you, making things become incredibly tense as they rush towards you at an incredible speed. Suddenly, those precious med-packs will have been used, and that plenty of ammo you had will have depleted completely. And now you must survive as best you can until you reach a point where you'll be able to stock up again. Luckily, killing enemies and stomping on their corpses causes items to appear from within. Visceral make things very panic-inducing, but never unfair. The balance is just about perfect.

Other gameplay aspects include traversing the Sprawl, which itself is an eerie and exciting location to discover throughout the course of the game. What makes this even more exciting is the fantastic set-pieces which the developers have threaded into the game's plot. Throughout this title you'll experience intense battles with the Necromorphs, jump from one carriage to another on a uber-fast train before it plummets off rail and even fly across space in a ejector seat. These are for me, even having experienced many of 2011's most invigorating titles, some of the highlights of gaming in the last year, perhaps even of any game on this generation of consoles. Despite the fact that the last couple of chapters are riddled with a few repetitive enemy swarm sections, there's always something to keep you enthralled throughout. Lovers of the original game will be happy to hear that not only do the Anti-Gravity sections return (albeit in a different form, but still enjoyable), but also a chance to return to the USG Ishimura.

Now this is what I call epic.

Dead Space 2 is a game which starts off with an impressive opening, and only gets better throughout. I really could go on and on with the things that have been done right because to be honest the list is vast. There really are no major flaws in this title - none that hinder what is an incredibly immersive experience. Visceral have created an exciting adventure which should be experience by anyone who loves a good sci-fi romp. Add in the multiplayer option (which even comes with the chance to play as a Necromorph!) for those who enjoy online play and you've got a rather awesome experience By the time the credits rolled I was desperate for more, so the fact that a sequel is in the works is an exciting premise - I can't wait to see what they do with the next title. I'm sure that with this second title they have gained a considerable amount of new followers - I can safely say that I'm one of them. Top notch.

9.0/10

HD Collections - Retro Gamer Heaven or Cheap Cash-In?

Companies follow trends. It doesn’t matter what company it is, or even what type of media they fall under, whether it be film, television, books or even gaming itself, companies are suckers for jumping on to bandwagons. After all, it’s a tell-tale sign for product researches to discover exactly what is hot with their buyers. They want to know exactly where the money is, and as soon as they find out where it is, that’s where their focus is diverted.

One recent trend for gaming companies is the HD Collection. Early examples of this are noticeably more fixated on Sony’s Playstation 3, with ‘HD’ ports of fan favourite’s series’ such as Tomb Raider, Sly Raccoon, Splinter Cell, Prince of Persia, and more recently, Jak and Daxter. Even the two cult favourites Ico and Shadow of the Colossus were bundled together to high critical acclaim.

Now it seems that is something that companies all over the gaming scene, even on the PS3’s biggest competitor, the Xbox 360. Two of Capcom and Konami’s biggest franchises (Devil May Cry and Metal Gear Solid, respectively) have both been announced, with the latter hitting consoles in February to chart success. Even two of Capcom’s classic Resident Evil titles came out last year on PSN and the XBL Marketplace.

In some ways, this is fantastic. Gamers who don’t still have copies of their favourite classics, or even the console which they played them on, can now enjoy these titles without the hassle of having to purchase either again, because they can now play them on the comfort of a current-generation console. What’s even better for them is the fact that they can enjoy these titles in splendid HD. You get multiple titles in the same bundle, and often companies release them for a below-average store price, which whilst it makes perfect sense (you are paying for old games, after all), in this day and age, it wouldn’t have been a big surprise for companies to charge the full price or even higher.

But whilst there are many perks to these HD releases, there are some things that are perhaps generally overlooked. For example, it’s often a case that whilst graphics may seem sharper, they’re not quite of a HD standard and still look slightly aged compared to this generation. I’m not someone who is put off of playing old titles due to the older graphics, but it makes perfect sense that gamers who were perhaps introduced to gaming or are used to gaming on this generation consoles would be put off of playing these titles. It can be hard for developers- completely overhauling graphics to a high standard whilst retaining the core gameplay is no easy feat, but by today’s standards it’s certainly not impossible. Sometimes I think it’s merely a case of companies rushing through the reproduction of the titles in order to get it out onto store shelves as quick as possible because they know that it’s an easy cash-in, rather than giving the games the love they may have received the first time around.

The same can be said for gameplay. Some developers leave their HD “remakes” entirely untouched, and this can kill the experience when gameplay mechanics have not aged well. This affects two types of gamers- fans of the original title in question, and gamers who didn’t play the original titles. For the former, it can entirely kill the good memories that these games hold. For the latter, they may simply refuse to play something which feels so old. Many people are oblivious to the fact that gaming has evolved a lot over the past ten years. Whilst it’s true that many of the core genres of gaming still exist in the modern-day games industry, the way these genres themselves work have been improved immensely over the past decade, and some titles just can’t compete with today’s equivalents.

I’m not saying that companies shouldn’t do these HD Collections, it’s just I think that it’s highly necessary for developers to provide the same amount of passion for the original game as they do with the originals. Without this, gamers just aren’t going to respond with the same amount of excitement and delight as they did when the games first game out. Certain developers can get this right- Sucker Punch’s Sly Raccoon Collection was well received by gamers, and whilst it may not be as huge as many of the other famous series’ mentioned throughout this article, it still managed to stir a great amount of enjoyment from original and new gamers alike. It’s even got people anticipated for the fourth outing hinted at as a bonus in that collection. Other developers need to take a leaf out of their books, because if they do precisely that, these collections will sell by the bucket load.