D+PAD Issue 4 by dpadmagazine

ISSUE 04 | CHRISTMAS 2007

PS3 STRIKES GOLD!

Uncharted: Drake’s Fortune - REVIEWED PLUS EXCLUSIVE INTERVIEW with Naughty Dog ALSO REVIEWED:

SUPER MARIO GALAXY ASSASSIN’S CREED GUITAR HERO 3 MASS EFFECT CRYSIS & MORE!

“Give and You Shall Receive” The weather is getting colder, the days are getting shorter and there’s a distinct choral sound emanating in the distance. It can only mean one thing is just around the corner - you guessed it, Christmas! A time of giving, a time of celebration, a time of joy - how appropriate then that we’re giving one lucky reader the chance to walk away with a copy of Super Mario Galaxy, possibly the most joyous game we’ve played since...well, Mario 64. Just head over to page 61 for details on how to enter, and whilst you’re at it, check out the review - a review that initially hit my desk with a final score of 12 out of 5. If only we could... So what else are we giving you this issue? Well, earlier this month we sat down with Evan Wells, Co-President of Naughty Dog, to discuss the team’s latest game Uncharted: Drake’s Fortune, as well as find out what life was like after Crash Bandicoot. Ever wanted to know why we haven’t heard anything about a next-gen appearance of Jak and Daxter? You’ll have to flip over to page 7 to find out! And, of course, we also bring you a review of the stunning Uncharted. Seems those PS3 bashers were a bit premature eh? And in this digital age, who wants to spend Christmas Day playing boring board games anymore? We’ve put together a round-up of quiz-based videogames hitting store shelves this Christmas. A mixture of the good and the bad - we tell you which one’s will brighten up your holiday, and which will make those dark days seem even more gloomy. And on that note, wherever you happen to be in the world, on behalf of the entire D+PAD team I wish you all a great holiday and a very merry Christmas. Have a great time, enjoy Issue 4 and we’ll see you in 2008! David Scammell Editor editor@dpad-magazine.com

ISSUE 4 | CHRISTMAS 2007 EDITOR-IN-CHIEF

David Scammell

25 07

SUPER MARIO GALAXY

SUB-EDITOR

Stuart Leech

AN INTERVIEW WITH... NAUGHTY DOG

DESIGNER

David Scammell

ASSASSIN’S CREED

CONTRIBUTORS

Richard Angus UNCHARTED DRAKE’S FORTUNE

Zoheir Beig Andrew Bell

James Bowden MASS EFFECT

Ian Freeman Stefan Goerke-Hewitt Tom Hoggins

Greg Latham TOM CLANCY’S SPLINTER CELL CONVICTION

John McCormick Graham Naunton Simeon Paskell Emmet Purcell

31 13

LITTLEBIGPLANET

Richard Rohani CRYSIS

Ian Tellam

NEWS

The latest headlines from the world of video games

ACTIVISION AND VIVENDI GAMES MERGER MEGATON! Mega publisher set to dominate the competition

STRANGLEHOLD MP MAP PACK INBOUND Midway has announced that a downloadable map pack for Stranglehold will be making its way over to Xbox LIVE Marketplace and PlayStation Store, although failed to mention when or how much it’ll cost.

In a shock move, Activision and Vivendi Games have announced plans to merge in a deal worth $18.9bn (£9bn). The merger is expected to be complete in the first half of 2008 with the new company being branded “Activision Blizzard”. Activision and Vivendi are expected to have collectively raised revenues worth $3.8bn during 2007, with the highest operating margins of any third-party publisher knocking the mighty EA from atop its lofty throne.

Regardless, the pack is set to feature 10 additional multiplayer maps ranging from Kowloon Market to Chicago, as well as 21 all-new skins. The Xbox 360 version will also include 10 additional achievements worth 250 points. The pack is due “soon”.

The merger will mean that Activision Blizzard has access to a lucrative set of franchises – Activision’s successful Call of Duty, Tony Hawk and Guitar Hero series all set to live under the same roof as Blizzard’s World of Warcraft and Vivendi’s Crash Bandicoot series. It also means that Activision will have access to the world’s largest music company, Universal Music Group, which will no doubt benefit future releases of crowd favourite, Guitar Hero.

GOD OF WAR 3 COMING IN 2009 World of Warcraft is the most played PC game, reportedly bringing in annual revenue in excess of $250m

It’s been reported that God of War 3 is due to hit PlayStation 3 in 2009.

CLUB NINTENDO LAUNCHES ACROSS EUROPE Stars for points!

Nintendo have finally relaunched www.nintendoeurope.com to allow Nintendo VIP Stars be exchanged for Wii Points.

The high ratio means gamers will have to buy sixteen first-party titles in order to accrue enough stars for a 2000 point card – worth just £14.99.

The new site, previously known as NintendoVIP, lets gamers use accumulated VIP stars to buy Wii Points, which can then be used to buy Virtual Console games and additional software from the Wii Shopping Channel. The exchange comes at a price though - a 4 to 1 stars to points ratio.

Still, it’s good to see Nintendo finally giving something worthwhile back to their loyal customers. The site previously allowed stars to be traded in for Nintendo goodies but was slammed for infrequent updates and mediocre prizes.

The game’s composer Cris Velasco confirmed the date and also revealed that the title will offer SIXAXIS functionality and DualShock 3 rumble support. The title will support resolutions up to 1080p.

NEWS

The latest headlines from the world of video games

TREYARCH HANDLING COD5? HEADING BACK TO WWII?

MICROSOFT TO BE SUED OVER MISSING PIXELS?

SILVER MEMBERS SEE RED Xbox Live Silver members will no longer have access to free content, such as demos, until a week after they are first posted on Xbox Live Marketplace. Instead they’ll be treated to a red no-entry sign and a message telling them to wait or upgrade to a gold account.

Larry Hryb aka Major Nelson states “This is not done to annoy our Silver members limited time exclusive access to content is just one of the many benefits of having a Gold Xbox Live account.” So if you want access to that free content at the same time as everybody else, you better start paying up.

A recent job advert posted on Activision’s Career site suggests that Treyarch, will be handling the next iteration in the top FPS series Call of Duty, and hints that we may be heading back to the frontlines of World War II.

Class Action Connect, a website that allows its users to file class action lawsuits, has launched an investigation into complaints that Halo 3 was marketed as a high definition product, when it doesn’t natively render at HD resolutions at all.

The post titled “Level Builder - Call of Duty” is an invitation to join Treyarch, the team responsible for the disappointing Call of Duty 3 and last-gen COD venture, Call of Duty 2: Big Red One.

The record-breaking title released back in September has been deemed subject to false-advertising, the game being advertised at having a 720p resolution, when in reality it renders at 640p before upscaling to the HD resolution.

Furthermore, the post states “And if you’re a fan of World War 2 shooters, then even better!” Could Activision’s franchise be reverting back to its WWII origins after only a brief fling with Modern Warfare? Given the commercial and critical success of Call of Duty 4 we’d be surprised and somewhat disappointed to see the series move back to the weakening sub-genre. We awarded COD4 (developed by series creators Infinity Ward) five stars when we reviewed it last month, stating that it was “borderline perfect”.

It’s not the first time an HD title has failed to render natively at 720p. Many other titles, including Microsoft’s Project Gotham Racing 3 and Perfect Dark Zero as well as Activision’s Call of Duty 3 & 4, have each been caught rendering at sub-par resolutions, although this marks the first time a request for legal action has been filed. There had been no statement issued by Microsoft at the time of writing.

GT5 PROLOGUE DATED Polyphony’s GT5 teaser has finally been confirmed to hit Japanese stores this December, with a North American release following on February 19th.

A European date has not yet been revealed, although it may be worth bearing in mind that PS3 titles are region-free...

COMING SOON

Why you won't be leaving the house for the next few months BURNOUT PARADISE

NIGHTS: JOURNEY OF DREAMS

TUROK

DARK SECTOR

GEOMETRY WARS: GALAXIES

Promising to be a “complete reinvention” of the Burnout series, Burnout Paradise is the first in the hugely successful franchise to feature a seamless open-world environment, allowing us to race anywhere and smash anything. The game is also set to feature a new crash system; lose your wheels and you’ll be treated to the visual plethora of twisted metal as usual, but retain them and you’ll be able to drive out of the crash and continue racing.

It’s been over 10 years since we first saw SEGA’s “flight action” game hit the ill-fated Saturn, and other than brief cameos, we’ve seen nothing of NiGHTS since. Well that’s all set to change with the highly anticipated sequel to Into Dreams hitting stores this January. In development exclusively for Wii, Journey of Dreams looks to capture the essence of the original title perfectly, and gliding through worlds, blasting through rings and gathering orbs has never looked quite as much fun.

The seventh title in the popular dinosaur hunter series sees a change from within the normal realms of Turok, with developers Propaganda Studios deciding to take us out into space to battle our carnivorous foes.

First revealed way back in April 2004, Dark Sector was the first game officially announced for next-gen systems. Now, almost 4 years and a complete facelift later, Dark Sector is almost ready to be unleashed unto the world this January.

Everyone’s favourite 2D shooter is back, this time making its way over to Wii and DS under the watchful eyes of Surrey-based developer Kuju Entertainment.

A firm favourite of ours here at D+PAD, we’ll be burning through Paradise City January 25th.

We’ll be eradicating the Nightmaren from the dream world of Nightopia January 25th.

Set in the near future, Turok sees our protagonist Joseph Turok shot down on the approach of a mysterious planet. On a mission to take down his former mentor, Roland Kane, Turok must fight for his life against the mercenaries on his tail and the ravenous creatures that occupy the planet. We’ll be making dinosaurs extinct (again) February 8th.

Set in the near future around the crumbling infrastructure of a fictional Eastern-bloc country, Dark Sector follows Hayden Tenno, a man exposed to a biological compound that gives him the ability to grow a three-bladed weapon known as a glaive. We’ll be venturing through the Eastern-bloc January 22nd.

The follow up to Retro Evolved features a campaign mode that promises to take players to over 60 planets, battling wave after wave of enemy invaders, as well as support for multiplayer. And as an added bonus, GW: Retro Evolved, arguably XBLA’s greatest title, is also being bundled on the disc. We’ll be blasting through the galaxy January 18th.

INTERVIEW

An Interview With... This month we sat down with Evan Wells, Co-President of Naughty Dog, the team famed for bringing Crash Bandicoot and Jak and Daxter to life. With their next big title Uncharted: Drake’s Fortune hitting store shelves this month, we had a few questions to put to the team... D+PAD: Hi Evan, thanks for taking the time to speak with us today. We were quite surprised when we first saw Naughty Dog as the developer of Uncharted - not a bandicoot or ottsel in sight! What made you step back from the wondrous worlds you designed in your previous games and move into a 'real world' setting? Evan Wells: We try to let the technology of the particular system that we are developing for dictate the kind of game that we are going to design. In the case of our previous franchises (Crash Bandicoot and Jak and Daxter) we felt that in order to create an immersive world, we had to stick with heavy stylization. The machines’ limited power meant that we couldn’t get the kind of detail in our

characters and environments necessary to do anything realistic. The PS3 finally opened up the door for Naughty Dog to create a game in a believable modern day, real world environment. DP: We like Nathan Drake a lot as a protagonist and Naughty Dog have created a strong ensemble of characters for Uncharted much like you did for your previous titles. How does Naughty Dog approach narrative in their games? Do you see it as being particularly significant to have a decent plot linking the gameplay segments together? EW: It certainly isn’t necessary for all games. But for the kind of games we want to make at Naughty Dog, I absolutely feel that it’s necessary. We

wanted to make a game that made you feel like you were playing the lead role in a big budget summer blockbuster. If we didn’t take our narrative very seriously, we would have failed at achieving this goal. The transitions between gameplay and story had to be seamless, the writing and the acting had to be top notch, and the rendering of the characters had to allow for the proper emotions to come through. All of this took an enormous amount of effort, and we hope that it all will pay off. DP: The character of Nathan Drake is quite cocky but there's also something very likeable about him. Was his character inspired by anyone in particular?

PROFILE COMPANY:

Naughty Dog

LOCATION:

Santa Monica, California, USA

FOUNDED:

1986

KEY TITLES:

Rings of Power (1991) Crash Bandicoot (1996) Crash Team Racing (1999) Jak and Daxter (2001) Uncharted: DF (2007)

Evan Wells - Naughty Dog Co-President

EW: Nathan Drake was inspired by the long history of pulp action adventure heroes that have come before him. We wanted to capture the “everyman” feel of somebody who has been thrust into a situation where they find themselves in over their head and can only survive through perseverance, tenacity, and sometimes luck. John McClane from Die Hard, or just about any movie with Harrison Ford make good examples.

“WE WANTED TO MAKE YOU FEEL LIKE YOU WERE PLAYING A SUMMER BLOCKBUSTER”

INTERVIEW

08 DP: Observers of the PS3 at the moment would argue that titles like Uncharted are a clear indication of the format's hopeful resurgence in the console war as we approach 2008. How confident are you, currently developing exclusively on PS3 at the moment, that the console has the right ingredients to be a success this gen?

DP: Uncharted feels a lot like a blend of other great games, particularly the platform sections of Prince of Persia mixed with the cover/shooting system seen in Gears of War. Was the game inspired by those titles? EW: Well, we certainly played those games here at Naughty Dog and think very highly of them. The platforming sections of the game definitely have roots with our previous franchises and Jak and Daxter in particular. We had to make some adjustments to those game mechanics since we were working with humans and in the real world for the first time. And Gears of War raised the bar for what we were trying to achieve with our shooting mechanics but we without doubt wanted to achieve a different feel from their very militaristic feel. Uncharted had to have a much more wild West, shoot from the hip kind of feel to capture the essence of the pulp action/adventure. DP: Uncharted continues with the Naughty Dog trend of developing primarily single-player experiences. Have you ever felt the desire to venture into a multi-player arena now with the successes and accessibility of PSN? EW: It’s certainly something that we have considered. But for the time being we are comfortable trying to make the very best story based, single player adventure we possibly can.

DP: Is there any scope for downloadable content for Uncharted in the future? EW: We aren’t planning any downloadable content for Uncharted, but we are planning to take advantage of whatever kind of integration into Home that’s possible.

EW: I have 100% confidence in the PS3, particularly now that the price has been dropped. There has never been any question that there is a ridiculous amount of power in the system between the Blu-Ray drive, the HDD, and the Cell processor. The line up of games for the PS3 this holiday is quite impressive including a bunch of great first party exclusives. So I really think that the last barrier to entry was the price. Now that we have that out of the way, I really think we’re going to see the PS3 closing the gap with its competitors.

“GEARS OF WAR RAISED THE BAR FOR WHAT WE WERE TRYING TO ACHIEVE WITH OUR SHOOTING MECHANICS” DP: What do you think Uncharted has that it'll make it stand out in a hugely competitive market this Holiday? EW: There are a lot of great games coming out for the 2007 holiday season, but I think we have quite a bit that will make Uncharted stand out from the competition. The way in which we have integrated our story and gameplay is something that I am very proud of. We really have tried to elevate the level of narrative that is typically found in video games. The variety of our gameplay is another area that will really make Uncharted stand out. We aren’t just a shooter, or just a platformer. We’ve integrated some of our favorite mechanics from a wide variety of games and created a unique experience that you won’t be able to find anywhere else.

DP: You've said in previous interviews that Uncharted only ever uses around a third of the PS3's SPU's at one point. That's quite an impressive statement considering it's one of, if not the, finest looking games on the console. How much further can the PS3 be pushed? EW: We can still do a lot more with the hardware. As you pointed out, we are only using about 1/3 of the processing power of the SPU’s. This means that we can move a lot more of our systems over to the cell which will free up precious cycles on the PPU. Over the course of Uncharted’s development we were continually finding ways to optimize and get even more out of the machine. I honestly believe that we will see a bigger gap between the quality of the first round

of games on the PS3 and the last round of games than we did on the PS2. And looking back at the difference between Jak 1 and Jak 3 that has me very excited. DP: Naughty Dog and Insomniac Games have had a close relationship for a long time and both teams have fantastic games out for PS3 this year. Who do you think is going to come out on top this Holiday? EW: The gamers! Ratchet and Clank is a really fun game. I’ve almost completed it and it’s probably my favorite Ratchet yet. And I think for the first time our games aren’t in direct competition with each other so gamers have a reason to go out and pick up both.

INTERVIEW

09 DP: Crash Bandicoot was a huge success for Naughty Dog. Is the team bothered by the direction the series has taken, or did the company lose interest in the IP once it was sold? EW: Early on it was definitely frustrating. We received a lot of mail from fans who had thought we were responsible for the latest Crash game that they had just bought. We had to explain that we had moved on to the Jak and Daxter franchise and that Crash was a Universal property. Fortunately, over the years, people have figured it out and it’s not such an issue anymore.

“YOU HAVEN’T SEEN THE LAST OF JAK AND DAXTER” DP: Naughty Dog's first game was Rings of Power, an isometric RPG for SEGA's Genesis. Have the team ever thought about the prospects of revisiting the IP? EW: Unfortunately, just like Crash, that IP is not owned by Naughty Dog so it isn’t really on option. And anyway, it’s been a long time since we’ve made an RPG, so if we were to do it again, I think it would be very different than the isometric game Naughty Dog made for the Genesis! DP: Crash Team Racing was the final Crash game Naughty Dog worked on before shifting over to Jak and Daxter, and obviously Jak X was the last Jak title we've seen since Uncharted. So we have to ask, have we seen the last of Jak and Daxter? EW: No, you haven’t seen the last of Jak and Daxter. We still have a lot of people here at Naughty Dog who are excited to work on the franchise again. The hardest thing for us is that, as a company, we only work on one game at a time. We want to maintain that creative focus so that we can keep the quality of our games as high as possible. DP: So when are we likely to see Jak and Daxter's next-gen debut? Is there a particular reason why it wasn't the first game the team released for next-gen? EW: I can’t say exactly when you’re likely to see the next Jak and Daxter. Quite honestly, we haven’t even decided on what we will be working on next. The

reason we didn’t want to start off on the PS3 with Jak was that we really wanted to force ourselves to embrace all of the “next-gen” possibilities that the hardware offered us. If we had stuck to what we already know how to do, we would have been taking too easy a route and I think would have ended up with a lesser product. Now that we have the experience of Uncharted under our belt, I’m comfortable looking at what a PS3 Jak might look like. DP: You've recently stated that Uncharted is set to become a franchise, and the ending certainly hints that there’s more in store for Nate. Has work already started on the next title? When can we expect to see it? EW: We’ve started having post mortem meetings to see what worked best in production and finding the areas that need improvement. We’ve also only just started brainstorming on ideas for our next project. Nothing has been solidified yet. DP: So what's next for Naughty Dog? EW: Right now everybody could use a good vacation! We have our wrap party coming up next week, and then it will be several weeks off as everybody recharges their creative batteries so they can come back refreshed and ready to tackle our next project. Uncharted: Drake’s Fortune is out now on PlayStation 3. Head over to page 22 to find out what we thought of it...

“WE DIDN’T WANT TO START OFF ON PS3 WITH JAK. IF WE HAD STUCK TO WHAT WE ALREADY KNOW, WE WOULD HAVE ENDED UP WITH A LESSER PRODUCT”

PREVIEWS

10 11

TOM CLANCY’S SPLINTER CELL CONVICTION 360, PC

THIS MONTH’S BIG RELEASES 07/12/07 Alvin and the Chipmunks (Multi) Brothers in Arms: Road to Hill 30 (Wii) Disgaea: Afternoon of Darkness (PSP) Lara Croft Tomb Raider: Anniversary (Wii) Link’s Crossbow Training (Wii) Pokemon Battle Revolution (Wii) SingStar (PS3) SOCOM: Tactical Strike (PSP) Soldier of Fortune: Payback (360, PC) Sonic Rivals 2 (PSP) Uncharted: Drake’s Fortune (PS3) 14/12/07 The Legend of Spyro: The Eternal Night (Wii) The Orange Box (PS3) WipEout Pulse (PSP) 19/12/07 Sensible World of Soccer (360)

LITTLEBIGPLANET

GRAN TURISMO 5 PROLOGUE

PS3

As 2007 draws to a close, this month we take a look forward at five of the bigger titles due for release next year. We kick this month off with a look at Sam Fisher’s latest, Splinter Cell Conviction, the next in the famed Tom Clancy series from Ubisoft Montreal. Moving away from the stealth espionage that the original titles were so well known for, it seems the team are fancying Sam as a bit of a Jason Bourne; the hard-hitting gameplay looking to emulate the success of both the films and the books.

PS3

We also get to grips with LittleBigPlanet, the undeniably cutesy title from ex-Criterion and Lionhead developers Media Molecule. The side-scrolling 2D/3D hybrid will be looking to win the hearts of PS3 owners when it releases early next year, but needless to say, it’s already won over ours. Furthermore we have a look at Ensemble Studio’s real time strategy take on the Halo universe, Halo Wars, before heading off on a trip to The Club.

D+PAD’S MOST WANTED

DEVIL MAY CRY 4

BURNOUT PARADISE

ROCK BAND

HALO WARS

360

THE CLUB 360, PS3, PC

PREVIEWS

TOM CLANCY’S

SPLINTER CELL CONVICTION There’s a certain ethos within the gaming community nowadays where change is essential and repetition is criminal. Whereas once if a title was successful we could expect it to become a cookie cutter template for future titles, now evolution is the template, and perhaps no series better typifies this than the Splinter Cell series. Five years ago Sam Fisher’s debut struck home the importance of darkness and its critical role in high stakes espionage. With Double Agent the darkness was, for the most part, banished and players were forced to rethink their methods. Now with the upcoming Conviction, the latest instalment in the series, Ubisoft Montreal is looking to break the typical level structure that, despite being doused in light, still remained in Double Agent.

FORMAT Xbox 360, PC PUBLISHER Ubisoft DEVELOPER Ubisoft Montreal RELEASE Q2 2008 PREVIEWED BY Greg Latham

So, welcome to the stage the newest ingredient to the Splinter Cell series; freedom. It’s somewhat of a buzzword and a pitfall in both reality and video gaming, but Ubisoft are looking to give the player as much choice in Conviction as possible to create a fluid and

exciting experience set to change the face of the series - the gritty tone of 24 and the Bourne series shining through Fisher’s new guise. In fact, watching Sam Fisher overtly making his way through a crowded courtyard, looking dishevelled and angst ridden, one could easily be forgiven for mistaking our hapless hero as a Bourne or Bauer. The shockingly ruthless way in which he dispatches his enemies is just one way in which Conviction is undoubtedly influenced by Hollywood’s silver screen heroes.

The move fits the tone of Conviction perfectly given that the story looks to be taking on a more fundamental role. The plot details are scant, but what we do know is that Sam is still a fugitive, hunted down by an array of government authorities because of his dubious actions in Double Agent. Blocked into a corner Sam will hurl tables, chairs and paper cups at his pursuers in order to elude their attacks. Many of these actions are context sensitive, for example running towards a table and pressing the action button will result in Sam flipping it and hurling it towards an advancing police officer.

PREVIEWS

What’s even more impressive (as if flipping a table wasn’t enough) is that the process is extremely natural, helping to create a realistically fluid and engaging experience where the change from infiltrator, to attacker, to fleeing fugitive is a natural one. This is a different game to the one we’re used to playing. Gone is the calm and measured infiltration, instead it has been replaced with relentless desperation and a constant battle of wits with your former allies. That’s not to say that the tactical nuance of the previous titles has disappeared. The combat certainly looks to have undergone a drastic change but there is still room to forge a plan of attack that will negate the need for any aggressive measures, even without a suitcase full of gadgets. Civilians are an important element when manipulating your environment; using a hapless crowd as cover whilst stirring up a sense of panic will quickly cause chaos and draw the guards away from their meticulous patrol paths to investigate the raucous. Doing so will give you the opportunity to make your way into the target area relatively unimpeded and lessen the risk of drawing any unnecessary attention. It’s this kind of quick, on-the-fly decision making that promises to feature prominently in Conviction’s more free form environments, where there is no pre-defined route or omniscient guiding hand highlighting the correct way forward.

The departure from many of the series’ hallmark characteristics may deter some players; one could argue that with every sequel the series loses its uniqueness and moves towards the melodramatic tone of its opposite number on the PlayStation. Others would argue that Splinter Cell keeps its individuality because of its tangible foothold in reality. Nevertheless it’s good to see Ubisoft expanding the character of Sam Fisher and the Splinter Cell series. It remains to be seen whether the change will be consistent, even Double Agent fell back on tried and true formulas, but what we’ve seen so far looks extremely promising - perhaps even cookie cutter worthy.

PREVIEWS

BIGPLANET

LITTLE The title of LittleBigPlanet, PlayStation 3’s next big exclusive, seems a somewhat appropriate one. The possibilities of success and gratification from a videogame title suddenly aren’t in the hands of developers Media Molecule anymore, but down to you. As a newly crowned god in the LittleBigPlanet universe, the game asks you a basic question – what do you want me to do for you? And here LittleBigPlanet almost ceases to be a ‘game’ as you think you know it, and becomes a toolbox from which you are the master. As the title of the game suggests, the ‘planet’ has a length, size and density inextricably bound only to your ability to forge, your desire to create.

FORMAT PlayStation 3 PUBLISHER Sony DEVELOPER Media Molecule RELEASE TBA 2008 PREVIEWED BY Graham Naunton

In a nutshell (albeit a rather small one) LittleBigPlanet is a co-operative 2D platform adventure where you and up to 3 other players converge upon a toy-like world covered in cloth and fabric textures, to design, create and play your own games, races and challenges. The appearance of your irresistibly charming rag-doll Sack Man is the first thing on your to-do list with extensive customisation options ranging greatly from clothing, colours, animals and gender; your little cloth characters smiling and waving at you with a combination of d-pad and shoulder buttons. Despite looking and playing fantastic, LittleBigPlanet will arguably live and die on the game’s successful execution of its most significant function - to give players the ability to create their own playgrounds and adventures in a smooth, hassle free way. Thankfully, Media Molecule has implemented a superb creation tool that is simple, yet at the same time very effective. In their eyes, simplicity is key - the easier it is to understand, the easier it invariably becomes to create something truly special. Using an interface titled ‘POPPET’, players select pictures of objects and shapes that appear in a menu above your sack man’s head.

Th P sp en th w co te up ot of to

PREVIEWS

14 There are no separate screens or fiddly menus, and it all takes place in the game space with your character wielding a neon lasso to open menus, rotate and resize shapes, and place said objects directly into the game. One demonstration saw the player quickly create several wooden blocks in mid-air, only to see them clatter to the floor in a highly realistic fashion. It all sounds rather fantastical so far, but contrary to the cute toy box aesthetic, LittleBigPlanet is designed with realism in mind. Objects act exactly as you’d expect; forces of gravity roll balls and rotate wheels whilst hard and soft surfaces support differing weights. Your sack man runs and jumps with startling fluidity and momentum too, as he (or she) clambers up surfaces, pushes and pulls objects and zooms about on a jet pack. It makes sense to have real world physics implemented in LittleBigPlanet, as again it ties into the accessibility and ease of use for the everyday gamer; if you can predict how objects such as a ball are going to behave when dropped into your level, then that’s a big help. And help you may need, with up to 4 players tearing through levels, helping each other to pull heavy objects, push switches and navigate jumps (on an enormous skateboard, no less); this is real co-op gameplay. And getting together with others doesn’t stop in-game either.

The game is regularly mentioned in the same breath as PlayStation Home (Sony’s Second Life-esque virtual space) and given both of their primary targets, it’s a fair enough comparison. As highlighted by Phil Harrison at this year’s Game Developers Conference, both aim for what is known as Game 3.0. Game 3.0 boils down to the concept of free-sharing user generated content, and in terms of LittleBigPlanet, if offers you the ability to upload your games onto the PlayStation Network for others to play. They can rate them, leave feedback, and offer you their creations in return. You could end up topping the download charts, being labelled as the LBP Picasso and achieve global fame. The potential for such a thing is staggering, and the prospect of seeing professional developers usurped by a spotty-faced 14 year old working LittleBigPlanet wonders from their bedroom, truly fascinating. LittleBigPlanet is looking very special indeed, offering opportunities and experiences unparalleled on other systems. But as a cutesy and relatively niche title, we can only cross our fingers and hope that it gets the commercial recognition it’s looking increasingly likely to deserve.

PREVIEWS

GRAN TURISMO 5

PROLOGUE When Gran Turismo released on PlayStation alongside the DualShock controller back in 1998, it quite simply ran over the competition. At a time when a racing game’s vehicle line-up rarely ventured into double figures, GT came along with almost two hundred of them. While other racing games had handling physics with the depth of Paris Hilton’s vocabulary, Gran Turismo had cars that handled like, well, cars. We could go on. Nine years and three true sequels later, Gran Turismo is practically a household name, while the racing genre is bigger than it ever was pre-GT. All the more reason then why Polyphony are hard at work to squeeze everything they possibly can out of Sony’s shiny new box of tricks. Just as the Japanese team did with GT4, Prologue is set to serve as an extensive demonstration of the eagerly anticipated Gran Turismo 5. FORMAT PlayStation 3 PUBLISHER Sony DEVELOPER Polyphony Digital RELEASE March PREVIEWED BY John McCormick

As to be expected, Prologue looks truly stunning. The cars are the most striking, modelled to a staggering level of detail both inside and out. We say inside and out as

introduced for the first time in Gran Turismo is this season’s racing-game must have – the in-car view. It’s all very impressive; your driver’s hands controlling the steering wheel in an almost delayed fashion, lending to a convincing sense of realism. Even looking out the rear window is a joy, literally peering past the back seats into the harrowing gaze of your oncoming rivals.

Seemingly the biggest omission, however, is the ability to look around the car, whether inside the cock-pit or from a third-person perspective. It’s something that we hope will be added before the final release; not only a no-brainer in terms of the level of visual fidelity on show, but also proving vital to improve one’s visibility, especially when racing against more carefree human opponents online.

PREVIEWS

Physics and handling are both impressive, delivering a classic simulation racing experience; rewarding, yet brutal. Harsh, but fair. From what we’ve seen so far Prologue is set to offer a number of options set to affect your handling, including the choice between road, sport and racing tyres, various traction control levels, stability management and, of course, manual or automatic transmission. Changing each option allows for various permutations and with it, levels of difficulty. Choosing road tyres, for example, allows for some tyre-melting drifts which should only really be attempted by GT vets. Yet with risk comes reward, the change potentially allowing you to decrease your lap time by those vital milliseconds. One thing GT has always been notorious for is its ‘train-track’ AI. Thankfully your computerised rivals now have the wonderful ability to think for themselves. They’re certainly no Lewis Hamilton, but an obvious improvement on their brain-dead ancestors. Whilst it’d be nice to think that the AI cars will get some racing practice in before release, with Prologue set to feature 16 player online races, it’s unlikely to be at the top of Polyphony’s ‘To Do’ list. Some more stats, you say? How about 40 cars, 5 tracks, 1080p, 60 frames-per-second and 7.1 channel surround sound? Polyphony once again proving they know how to work the

hardware. Prologue is also set to contain Polyphony’s new baby: ‘GT TV’, allowing free downloads of various car videos and programmes from around the world, both in standard and high definition. Most exciting of which is Top Gear, the hugely popular motoring programme of which there’ll be 40 episodes to download, as well as the game featuring the famous Top Gear Test Track. There’s still a long way to go but what we’ve been shown is encouraging to say the least. GT 5 Prologue should prove to be much more than just an oversized demo. For fans; an early taster of what GT5 has to offer. For the Polyphony team; a chance to gauge player responses and trial their first online-capable GT. And for Sony; a much needed plug in the racing-simulation shaped hole present in the PS3’s library.

PREVIEWS

HALO WARS Game development must be a funny old business. One moment you think you're making a real time strategy title for the Apple Mac, the next you're releasing the same game as a first person shooter on Microsoft's debut console. Finally, many years later, Halo is returning to its RTS roots with Halo Wars. But this time it's not Bungie at the helm. Instead the task of strategizing the hallowed franchise lies in the capable hands of Ensemble Studios, the talented people who brought us the Age of Empires series. Clearly experienced in the strategy genre and closely tied to Microsoft as a company, Ensemble seem a good choice to take the brand into a new sphere of gameplay now that Bungie have relaxed their grip on the Halo universe. FORMAT Xbox 360 PUBLISHER Microsoft DEVELOPER Ensemble Studios RELEASE TBA 2008 PREVIEWED BY Ian Tellam

Thankfully Halo Wars isn't just a run of the mill RTS with units from the Halo universe swapped in. What weâ&#x20AC;&#x2122;ve seen of the game so far suggests that Ensemble are going to great pains to make sure this feels like a Halo game through and through. All the vehicles and units that gamers have grown familiar with over the past six years are of course present and correct, but the weapons, the powerups, the sound bytes and animations are all comfortingly familiar to Xbox fans. A Warthog doesn't just look like a Warthog but moves like one too, drifting and bouncing over terrain in the inimitable way a Warthog does. For those who revel in the ethos and atmosphere of the Halo universe the game is full of touches that are bound to please, whether they choose to play as the humans or on the side of the Covenant.

PREVIEWS

18 As well as providing plenty of fan service, Halo Wars is an interesting proposition in its own right. RTS’s up to this point have essentially been PC ports and, while recent efforts such as EA’s Battle for Middle Earth and Command and Conquer 3 have made admirable efforts in condensing the mouse and keyboard navigation of the PC versions, the control system have always seemed slightly kludgy. It stands to reason really; RTS’s originated on computers and every aspect of the gameplay takes advantage of what a PC offers over a console. The move to HD has certainly improved matters a great deal in terms of all-important fidelity, but control remains an issue. In Halo Wars, however, we have a strategy game that's being designed ground up for a console, giving Ensemble a license to innovate and create an RTS which blends perfectly with the hardware it's designed around. Indeed Ensemble are only too aware of this. A true console RTS isn't something that's really been tackled before and in many ways Ensemble are treading new ground. In a recent interview lead designer Graham Devine stated that he considered the controls to be the revolutionary aspect to the game, more than anything else. So important do

they consider them that in the planned two and a half year development period, six months have already been dedicated to getting the controls right. In fact development of the control system began even earlier when Ensemble reprogrammed Age of Empires to play with a console controller. So efficient were the results that Tim Deen, the lead programmer, was supposedly able to play the game even faster than with the standard PC setup.

So how does it work? Well, players are able to select single units by tapping A, select all units of one type by double tapping, or mass selecting by holding the same button down. Waypoints for troops can be set with the X button, or you can order them to dig in to a position by pressing the right bumper. There is also the ability to jump to player-set locations on the map with the D-Pad, so players will hopefully be able to flit around the level as quickly as they’d like. Although it remains to be seen whether the set-up is really as groundbreaking and intuitive as the developer suggests, the fact that the game has been designed with the 360 pad in mind from the outset can only be seen as encouraging. While they were never a perfect solution to a lack of mouse and keyboard, the controls of Command and Conquer 3 were still very usable, and the possibility of an even tighter control set combined with the undeniable allure of the Halo universe is an extremely enticing prospect indeed.

PREVIEWS

THE CLUB The Club - An established underground sport administered by an unknown yet powerful syndicate of the rich, the famous and the influential, controlling its operations, hiding its existence and recruiting renegade outlaws as representatives. Everything about The Club is carefully choreographed, above the law and out of sight.

At ground level the sport is manfully orchestrated by a known entity known only as The Secretary, a bullish Brit who organises events, sets the rules and runs the lucrative betting ring. Acting as the Kobayashi to The Clubâ&#x20AC;&#x2122;s Keyser Soze, The Secretary is the mediator, the only face of the syndicate to come into direct contact with its competitors.

FORMAT 360, PS3, PC PUBLISHER SEGA DEVELOPER Bizarre Creations RELEASE February PREVIEWED BY Stefan Goerke-Hewitt

The Club's eight competitors, each as mysterious as its syndicate overlords, are a pumped-up epic mix from all four corners of the globe. At one extreme there's the slow but strong Dragov, Russia's most wanted no less, a criminal on the run that the syndicate hires as a mighty brute. The other extreme profiles a young thrill seeker who has killed his way through to The Club's top tier. How could its operators possibly say no? The

middle ground is occupied by Renwick, a well maintained ex-NYPD detective persistently investigating The Club, but is influentially silenced and grows into a target for the sport. Tournament Mode is set to provide the entertainment for the dystopian society, placing your character at the mercy of your paymasters. Guide your bad-ass reprobate to victory through various routes, said to be mini events, in arenas located across the globe, using a combination of weapons including standard pistols, shotguns, machine guns and rifles as well as a minigun, rocket launcher and grenades - everything you need to stay alive. The game will also provide additional modes as well as split-screen and online multiplayer.

PREVIEWS

There are set to be eight distinct arenas each bought and paid for by the enigmatic operatives. As such an abandoned steel plant is known to the public as a Hollywood film set, a federal prison goes under the alias of a research facility and a sinking Venetian city is set for major restoration; a tactic that goes some way to explain thunderous explosions of strategically placed oil drums and the trigger happy nature of the sport contained within. The Club's showpiece is its arcade style gameplay. The Club after all is a sport, not a war. From the outset it has been built around keeping the action swift and as free-flowing as possible whilst you rampage through each of the arenas. Fundamentally about killing enemies, points are earned using various attributions. For instance, hitting an enemy in the head at long range will score highly with the judges, whilst they’ll be less impressed with a close range shot to the leg. Your ‘KillBar’, a time keeper between kills, fills after your first kill, accumulating combos and a score multiplier if you manage to assassinate another enemy before it depletes. There are also ‘Skull Shot’ signs dotted around each arena; hitting them increases you combo and refreshes your KillBar - handy for getting back to the higher scoring combos instantaneously. Amid the killing fields you can also perform ‘Action Moves’ such as barging doors, vaulting over obstacles or diving to a clear spot. Much like the Skull Shots,

perform an Action Move and kill an enemy to refresh your KillBar and multiply your combo. Now imagine this happening throughout the course of a single event; the immense potential to keep multiplying your score and add your name to an illustrious list of online leaderboards. Reminiscent of Arnold Schwarzenegger's The Running Man, pacing through environments, killing to survive and, in the end, maybe setting yourself free, The Club, dare we say it, sounds fun - a game that could truly live up to what we expect from Bizarre Creations. And frankly, it can’t come soon enough.

REVIEWS

21 22

UNCHARTED: DRAKE’S FORTUNE

SUPER MARIO GALAXY

MASS EFFECT

CRYSIS

REVIEW SCORES An essential purchase. If you own the console, you need this game A great game that provides hours of entertainment Good fun but ultimately nothing special If you're a fan it might just be worth a rental

Dismal, avoid

This month sees inter-galactic titles Super Mario Galaxy and Mass Effect enter orbit. Both as equally anticipated, are they the console’s flagship titles they were expected to be? You’ll have to turn a few pages to find out. But, we’re not just bringing you a review of Mazza’s latest adventure. This month we’re also offering you the chance to win a copy! Just head on over to page 61 for details on how to enter this month’s competition. We’ve also got a round-up of quiz games hitting store shelves this Christmas. If you fancy yourself as a bit of a know-it-all or film fanatic, there’s something out there for you and your family this Christmas. Click over to page 60 for that. But first, Naughty Dog take us on a treasure hunt with their first next-gen title Uncharted: Drake’s Fortune...

D+PAD’S MOST PLAYED

SUPER MARIO GALAXY

MASS EFFECT

360

ASSASSIN’S CREED

360, PS3

GUITAR HERO III: LEGENDS OF ROCK

NEED FOR SPEED PROSTREET

41 43 45

360, PS3, PS2, Wii, PC

360, PS3, PS2, PSP, Wii, DS, PC

UNREAL TOURNAMENT III

KANE & LYNCH: DEAD MEN 360, PS3, PC

BLACKSITE

360, PS3, PC

LEGO STAR WARS: THE COMPLETE SAGA

360, PS3, Wii, DS

SINGSTAR

SILENT HILL ORIGINS

WWE SMACKDOWN VS RAW 2008

PS3

PSP

360, PS3, PS2, PSP, Wii, DS

RAYMAN RAVING RABBIDS 2

Wii, DS

MARIO & SONIC AT THE OLYMPIC GAMES

THE SIMPSONS GAME

RICHARD GARRIOTT’S TABULA RASA

TONY HAWK’S PROVING GROUND

VIVA PINATA: PARTY ANIMALS

LAIR

ACE COMBAT 6: FIRES OF LIBERATION

UNCHARTED: DRAKE’S FORTUNE

Wii

We’ve been kept plenty busy this month playtesting all the latest titles competing for your cash this Christmas. With no less than 31 titles covered, there’s plenty to take your fancy in this month’s bumper review section!

PS3

Wii, DS

360, PS3, PS2, PSP, Wii, DS

360, PS3, PS2, Wii, DS

360

PS3 360

TIMESHIFT

360, PS3, PC

WIPEOUT PULSE

SYPHON FILTER: LOGAN’S SHADOW

59 59

PSP

CLIVE BARKER’S JERICHO

360, PS3, PC

GEARS OF WAR

REVIEWS

UNCHARTED

“There is plenty of time to win this game, and to thrash the Spaniards too”

DRAKE’S FORTUNE It seems there’s no stopping Sony’s next-gen behemoth at the moment. After Ratchet & Clank‘s enchanting PS3 debut last month, this month sees another classic title swinging through the trees and dangling from cliff edges before landing at the console’s powerful feet. But after having spent their entire development history creating fantasy worlds in alternate, cartoon-like realities, has the Dog bitten off more than it can chew?

FORMAT REVIEWED PlayStation 3 PUBLISHER Sony DEVELOPER Naughty Dog REVIEWED BY David Scammell

REVIEWS

“THE FIRST THING THAT HITS YOU IS JUST HOW AMAZING UNCHARTED LOOKS”

Uncharted tells the story of the brazen and wry-witted protagonist Nathan Drake on the hunt for the buried coffin of ancestor Sir Francis Drake. Joined by the chirpy and over-eager journalist Elena Fisher, a quiet voyage in the middle of the Pacific Ocean soon takes an unexpected turn as pirates invade their vessel in an effort to capture the newly-discovered treasure. Rescued by cigar-chomping, co-adventurer Sully, the trio discover a map set to lead them on the troubled path to the fabled treasure of El Dorado. The first thing that hits you is just how amazing the game looks; the lush jungle environments sparking to life in an explosion of colour and vivacity. Wildlife fills the surroundings whilst flora realistically sways in the breeze as the tropical sun stops you to bask in the game’s glorious lighting. Indeed, stepping out of murky caves and into the sun-drenched vista of a Nazi U-Boat overhanging the edge of an unbridled waterfall, truly is a sight to behold. And then there are the more subtle touches; Drake’s clothes saturating to the point they became submerged in water, or the way our hero’s shirt reacts to each animation in real time, realistically creasing as his body twists and turns. Texture work is also

exceptional, with everything in the game world resembling its real-life counterpart to the highest extent we’ve yet seen in a console game. But it isn’t just the environments that have kept Naughty Dog’s graphic artists busy for the past few years; the revelatory motion-capture animation makes interaction with the game world feel totally fluid and completely seamless. The small but noticeable change in animation of even the most subtle of movements highlighting the level of care and attention put into the immense detail; a gentle jog soon turning into a panicked run as bullets start flying, or the change in Drake’s facial expression to convey a look of fear as a bullet pings the fallen log he’s covering up against. And then there’s the oft-forgot element to videogames; the sound direction. Backed by a sublime soundtrack composed by Greg ‘Firefly’ Edmondson, the ambience immerses the player further into the milieu of the Amazonian jungle. Neither the soundtrack nor the perfectly casted voice acting would feel out of place in a big budget summer blockbuster which, as Evan Wells rightly pointed out to us in our talk with him, is exactly what Naughty Dog strove for Uncharted to represent.

So with production values sky high, the proof of the pudding is the way in which Uncharted actually plays. Rather than creating their own original experience, Naughty Dog have taken inspiration from other chart-toppers, blended them together and come out with something truly unique. Imagine a mix of Gears of War’s distinctive cover/over the shoulder shooting system coupled with the platforming elements seen in the later Tomb Raiders and you’ve got the combination pretty much covered. The ~10 hour game is split roughly 50/50 between the two elements with both sides playing just as well as the other, closely resembling, if not bettering at times, the mechanics of the aforementioned titles. Gone are the days of swinging across ravines and dangling from crumbling ledges only to die a frustrated death just because you didn’t quite make the perfect angle required for that infuriating leap of faith. Uncharted assumes correctly that you would like to progress through the game with the least amount of hassle and frustration, and whilst that may make it sound over-simplified, it actually makes the game an immensely more enjoyable experience.

REVIEWS

On the higher difficulties Uncharted escapes the age-old trend of simply increasing an enemy’s hit-points, instead focussing on the much preferred method of actually improving their intelligence. And once you reach the later stages the nature of the combat system really comes into its own, holding position whilst you work out how to maintain a steady stream of cover without being outflanked and outgunned. Naughty Dog’s combat system easily rivals the best of the best, standing shoulder to shoulder with such giants as Gears of War and GRAW.

“THE TRIPLE-A TITLE THE SYSTEM’S BEEN WAITING FOR”

Naughty Dog’s system makes climbing a 100ft cliff face before diving through an ancient guard-post window feel just as invigorating as taking on the gun emplacement rampaging through its overrun courtyard. To mix things up a little more there are plentiful set-pieces along the way, including a lone on-rails chase sequence that sees you blowing up pursuing enemy jeeps and motorcycles with a mounted grenade launcher. It’s a rare occasion of mindless destruction, but nonetheless pure fun and a flawless break from the rest of the game. You’ll also come up against puzzle sections, which despite their premise are never particularly challenging, and when coupled with the game’s useful hint tool you’ll hardly, if ever, find yourself mulling over what to do or where to go in order to progress. For the most part, AI is impressive. Mercenaries will actively run for cover and if you find yourself sitting in one place for too long, they’ll often try to flank your position. Your regular co-adventurer Elena will do her best to take out enemies frequently making daring runs to flank the enemy. She can have her moments of weakness, and on more than one occasion we caught her continually blasting bullets into a wall an attacking mercenary was using as cover. You won’t want to rely on her to get you out of strife, but for the most part she’s unproblematic and a welcome addition to the outfit.

Despite the glowing praise up to now though, Uncharted does have a few key areas that manage to drag it down a notch. Hand to hand melee combat feels awkward, relying on a perfectly timed combo in order to take your foe down. Miss the combo and you’ll be knocked flat and open to attack, meaning even at extremely close range it’s still often preferable to resort to firepower. The ill-advised, but thankfully short Jet Ski sessions are ultimately unnecessary, feeling like tacked on afterthoughts put in place only to progress the story. What should be a heart-pumping jaunt through rampant river rapids soon turns into a slow and disjointed stop-start affair as you stop to fire at adversaries and floating contact mines. The game can also suffer from the occasional technical hiccup; there’s regular tearing and the odd bit of slowdown as well as texture pop-in when first entering a new area. The technical hitches are nothing too serious though and they certainly don’t affect the gameplay, but it’s disappointing that they’re present in what’s otherwise such a visually astounding game. But having said that, Uncharted does so many things right that the very few bum notes that there actually are, are relatively easy to excuse. As a game inspired by those that have come before it, it’s ironic to think that in time Uncharted will undoubtedly have its own imitations. A graphical showcase packed with an excellent story, heartpumping action and gameplay mechanics that rival even the best, Uncharted: Drake’s Fortune is the triple-A title the system’s been waiting for. Lara pack your (fun)bags – adventuring just got a new hero.

VERDICT

REVIEWS

SUPER MARIO GALAXY 2007: A Space Odyssey

Allow me to begin with a question. Why do you play videogames? To involve yourself in a story? To live out a fantasy? To take part in friendly-or-otherwise competition? To take out your frustrations with an hour of cartoon violence, or relax with a puzzle or adventure? Whatever your tastes and however you extrapolate it, the answer essentially boils down to one thing - fun. Escaping into a different world for a time, simply to enjoy yourself.

FORMAT Wii PUBLISHER Nintendo DEVELOPER Nintendo REVIEWED BY Tom Hoggins

REVIEWS

26 So, what if you were offered more than a world? What if you were offered a whole universe? Because that is exactly what our favourite portly plumber’s latest adventure gives you. Indeed, the moniker ‘Galaxy’ is an overly modest misnomer, such is the giant breadth of the cosmos that Mario will hop, skip and jump his way through. A universe fit to burst with planets and galaxies that hold an untold wealth of magical moments. You’ll tackle tricky topsy-turvy 2D trials, go manta-ray surfing, battle giant bosses and all within your first few hours of the search for the kidnapped Princess Peach. Yes, the perennial damsel in distress has been captured by Bowser yet again. The opening sequence of Galaxy sees the Mushroom Kingdom under attack and Mario is too late to stop King Koopa ripping the princess’s castle from the ground and escaping to the centre of the universe. So our hero gives chase, finding himself in an observatory hub-world, populated by the cute star-like Lumas and their ‘mama’ Rosalina. From here, Mario can travel to many galaxies scattered across the universe in the search for power stars. Sound familiar? The structure of Galaxy follows the blueprint laid down by the seminal Super Mario 64. As you collect the stars, new galaxies will open up for you to explore. But there is no restriction on

which galaxy you go to next, which allows for a welcome amount of freedom. Also adhering to a proven formula is the basic controls for Mario; using the Nunchuk’s analogue stick to move and the remote’s A button to perform the plumber’s own brand of acrobatics - triple jumps, backflips and ground stomps. Mario 64 defined 3D platformers as we see them today, yet for all the imitation over the last decade, such a perfectly tight use of controls has yet to be equalled, let alone surpassed. You always felt in complete control over Mario, as if you were working as a team, player and avatar in perfect harmony. Galaxy is no different. Of course, there will be those who believe familiarity breeds contempt. However, any fears will be cast into the ether as soon as Mario touches down on the first planet of Good Egg Galaxy. After allowing you to settle into a comfortable groove, Nintendo then tears up its own rulebook and scatter it into the stars - everything you thought you knew about 3D platformers will, literally, be turned on its head. Mario races across the planet’s surface, but not just over a flat plane. You take the plumber over, under and around, taking in the planet’s entire circumference, all the while held firm by the gravitational pull. Initially disorientating, exploring this very first planet becomes one of those moments in

REVIEWS

27 “A BOUNCING, BOPPING, SPINNING, SWIRLING, SMILE-TIL-YOUR-FACEHURTS FESTIVAL OF FUN”

gaming that you’ll always remember. You hop into a pipe, are sucked through the planet’s core and shot to the other side of the world.

and ice planets, toy planets, giant apple planets. Worlds that, as one Luma so succinctly puts “defy all sense, imagination and limitations.”

Then, you take your leave of this first planet. Fired across the galaxy, soaring over an endless, gorgeous starscape. As you fly, you can point the remote at the screen, your Luma cursor collecting the hovering star bits that are scattered over the universe. Nintendo have made a shrewd use of the possibilities offered by the Wii, subtly working in the motion controls throughout the game. Never do they feel tacked on, always feeling part of the world, making you wonder how you ever did without them. A shake of the remote will send Mario into a spin attack or send him spiralling up a climbing vine. You’ll use the pointer to hurl Mario from sling pods or gather him up in luminescent blue stars.

The magic never stops. You’re constantly on the move in Mario Galaxy, there’s always something to leap over or enemies to pound and every galaxy contains a wealth of memorable moments, however big or small, that make you grin from ear to ear. Every inch of every planet in every galaxy has had love and talent poured into it by Nintendo. All supplemented by exquisite art design and direction that makes a mockery of the Wii’s perceived lack of grunt. Mario Galaxy is a gorgeous game - a beautiful, colourful universe that oozes style and charm from every corner. And you’re always given the best view.

Super Mario Galaxy is drenched with inventiveness, from the superb use of the motion controls to the imagination that brings life to every planet throughout the universe. Planets that require you to take leaps of faith, relying on your instincts and your trust in gravity. Planets that seamlessly throw you from 3D to 2D, when up becomes down, left becomes right and every ounce of your spatial awareness is tested. Planets of all shapes and sizes, fire

It’s a pleasure on the eyes AND the ears. Mahito Yokota and Koji Kondo’s majestic score is an eclectic mix of bombastic sci-fi anthems, imperious marches, uplifting string arrangements and remixes of classic Mario themes. The soundtrack feels integral to the game at times - the magnificent Gusty Gardens features a soaring score that seems to stir the great gales that carry Mario across the galaxy, taking your heart with it. Our hero’s whoops and yells carry his own infectious joie de vivre - you get the feeling Mario is having a much fun as you are.

Super Mario Galaxy is a phenomenal technical achievement, but to break it down in such a way would do the game a disservice. It’s more than the marvellous level design, perfect controls and faultless camera. It has all these things, but they’re just complements to what the game makes you feel - a giddy, undeniably childlike joy. Like the feeling you get waking up to find the world blanketed in snow, or watching Disney films and Saturday morning cartoons. It’s a bouncing, bounding, bopping, spinning, springing, swirling, smile-til-your-facehurts, fat-free festival of fun. Or, for something with a little less alliteration - it’s Nintendo’s magnum opus. A game that holds the very essence of why anyone picks up a controller in the first place. Me, you, young or old, male or female. Mario’s cosmic playground is open to all, and it’s not an invitation anyone should pass up.

VERDICT

REVIEWS

I may be drunk, Krogan, but you're ugly, and tomorrow I'll be sober

MASS EFFECT Ambition. It can seem a bit of a buzzword at times, a useful adjective to put at the top of a press release or on the back of a game box, even if itâ&#x20AC;&#x2122;s stretching the truth. Ambition is something everyone likes to see - aspiring to something more, something greater. But with ambition comes risk, pushing boundaries means putting your neck on the line - every inch of your work will be scrutinised, to see if what you are doing is truly a progression. However, RPG developers BioWare are not ones to shirk away from a challenge. Their new science-fiction opus Mass Effect is, without doubt, one of the most ambitious video games of all time. On its surface Mass Effect is a squad-based shooter/RPG hybrid, but delve deeper and you will find it so much more. The choice is yours.

FORMAT Xbox 360 PUBLISHER Microsoft DEVELOPER BioWare REVIEWED BY Tom Hoggins

REVIEWS

29 Ah, yes. Choice. Another buzzword. There are many games that purport to give us choice, but end up funnelling us in the same direction. The recent BioShock was an adroit commentary on the nature of choice, yet perhaps its greatest irony was its own stab at morality - which essentially boiled down to deciding between good or evil via the press of a button, with little in the way of recourse. The choices on offer throughout Mass Effect are much more astutely gauged - subtle when they need to be, yet overarching in a way that most other games can only imagine. The first choice comes with the creation of your character - Commander Shepard - allowing you to decide sex, appearance, class and even back-story. The character creation tool allows you to mould the appearance of your Shepard to your liking before embarking on Mass Effect’s adventure. Beginning aboard your ship - The Normandy - the camera sweeps through the gorgeously lit decks, following your character to the bridge. The introduction makes Mass Effects’ cinematic intentions clear, with a grandiose musical score accompanying Shepard that eventually settles into an 80s sci-fi synth. The incredible detail on the character models are enhanced by animation that tells clearly their emotions. The humans are

impressive enough, but the alien species that you will encounter throughout Mass Effect are nothing short of astonishing; incredible detail and imagination have gone into each species and each individual alien is unique in both appearance and character. Humans and aliens alike are voiced superbly to bring each inhabitant of the galaxy to life. The acting is vital to a game such as Mass Effect, conversation is one of the cornerstones to the game’s ambition. Shepard can engage in talk to quell danger, or exacerbate it. Use chatter to calm with, or threaten. Each conversation is dictated using a wheel that lines up your tone of reply, and as such conversations flow seamlessly between characters. Although occasionally Shepard’s actual replies don’t match your selected option, which can appear somewhat vague, the choices you are given will twist and turn the story, seldom throwing up some genuine moral quandaries. The decisions you make will shape your character’s psyche - are you a ruthless fighter who will do anything to get the job done? A charming rogue, who will stretch the rules, but essentially has a heart of gold? Or a dedicated soldier who will do his duty within the bounds of the law? It’s not quite as clear-cut as being the good guy or the bad guy in Mass Effect, which makes the game all the more involving.

REVIEWS

30 And involvement is the key to getting the most out of BioWare’s epic. The world and story is so rich with detail, places to go and people to see. The plot itself is an enthralling tale. A tale of xenophobia, weak government, bureaucracy and a hero that will stand up for all races and species, politics be damned. Though it could be said that it’s all rather po-faced. While there’s nothing wrong with taking your story seriously, at times you wish for some light relief to come from your crew, a sharp-tongued Han Solo or a brutish but lovable Jayne Cobb perhaps. Even the Normandy’s hotshot pilot, Joker, cuts a depressed figure with an enormous chip on his shoulder- Hoban Washburne he ain’t. But the story is just a part of what the game has to offer. Mass Effect has a whole galaxy open to explore, to ignore it would be folly and missing the game’s intention. You can take your ship out into the furthest reaches of The Milky Way, come across abandoned space stations, land on uncharted planets and take your six-wheeled Mako vehicle out into the tundra of an icy world. You can help out the countless people who will offer you sidequests, or take on work as a mercenary. The game even takes an endearing, if clumsy, shot at a romance subplot. You get out what you put into

Mass Effect and the game has an undoubted nerdy appeal to it - though this is something to embrace rather than ignore. You can spend hours just travelling through space, spending time in bars or researching all the species of the galaxy. Such is the nature of Mass Effect though; you are given the choice. If you wish, you can play through the game as a squad shooter that can be clocked in around ten hours. Doing this though, is likely to leave you disappointed - combat is not where Mass Effect excels. The cover-and-fire system is competent and engaging enough, and the basic selection of weapons and ‘biotic’ powers are accessible from a slick menu, allowing the battles to flow seamlessly without having to retreat to a menu screen. Regrettably, the fighting is let down by poor AI. Should you creep up on an enemy behind cover, you can cheerily line him with laser without him noticing. Enemies will fire point-blank at the wall in front of them, make blind rushes and display general idiocy. The two companions that are with you at all times fare little better; they may be crack-shots but seem to have little regard for survival - dancing around in circles rather than heading for cover. Though these problems aren’t constant, a tactical shooter that could have stood on its own is reduced to a solid and enjoyable but unspectacular component.

Unfortunately, poor AI isn’t Mass Effect’s only problem. For all its brilliance, Mass Effect holds an amount of glitches that is tough to ignore. The frame rate constantly hitches, texture pop-in is rife and characters will inexplicably become stuck on scenery. They are more irritations than game-breaking bugs, but suggest that Mass Effect (despite many delays) wasn’t quite ready for release. Despite the technical deficiencies, Mass Effect is still a remarkable piece of work - ushering in a new era of player integration and character interaction. This, along with superb cinematic direction and a genuinely compelling story marks Mass Effect as one of the most rewarding experiences of the year. BioWare has reached for the stars and fallen short by a hair’s breadth - but they’ve still gone a hell of a long way.

VERDICT

REVIEWS

CRYSIS Big boys don’t cry

FORMAT PC PUBLISHER EA DEVELOPER Crytek REVIEWED BY David Scammell

he most anticipated PC title in years, Crysis, finally hits store shelves this month, but what exactly is it about Crytek’s latest work of art that’s had PC gamers waiting with baited breath for the past couple of years? It’s not as if the German- based developer has a proven track record - Crysis, after all, is only Crytek’s second title, so by no means could they be considered tried and tested. It couldn’t really be the junglebased setting either, effectively a copy/paste job of their orginal title – Far Cry. So was it purely, dare we say it, Crysis’ incredible graphics that had gamers wetting themselves with excitement?

A picture speaks a thousand words so they say, and thus we needn’t dwell. Simply put, Crysis is the best looking game we’ve ever seen, and are ever likely to for the considerable future. Taking full

advantage of DirectX 10 to recreate the most stunning environments, detailed character models and lifelike scenery, you’d be a fool to suggest otherwise. Beauty comes at a price though (and I mean that literally) – Crysis requires a monster of a PC to get it looking anywhere near as great as it’s been advertised. And even those most technologically up-to-date overclockers may still have to sacrifice a few of the game’s extra special effects to get it to play at a decent frame rate. But those that have been putting off buying that uber-L337 gaming PC up to now will be relieved to know it’s been worth the wait. It’s perhaps a shame that Crysis hasn’t been scaled back to play on lower spec PCs quite so well as other recent FPSs, but considering you’ve got a relatively new PC, you should still be able to run Crysis just fine if you’re happy defaulting to the lowest setting.

REVIEWS

32 So once you’re over the gorgeous graphics (which may take a while), what of the gameplay? It seems Crytek have taken the saying “Don’t judge a book by its cover”, chewed it up, spat it out and laughed at its mushy remains. Typically a sandbox shooter, Crysis contains some of the most fun you’re likely to have had from a FPS in ages, and it all comes thanks to Crytek’s CryENGINE 2 and the abilities offered by the ‘Nanosuit’; a high-tech outfit that both you and your squad don throughout the course of the game. In essence a dynamic augmentation device that allows the wearer to switch abilities on the fly, the nanosuit allows for a mix up in tactics at the push of a button. Whether you fancy charging head on into an enemy stronghold by increasing your armour, sneaking around the outskirts using Predator-style invisible camouflage to take out each guard one by one, or simply increasing your strength to barrage your way through, tossing any North Korean soldier that threatens to stand in your way – the choice is always yours. And when coupled with a simple weapon modification interface that allows accessories such as silencers, sights, or bullet type to be changed dynamically without resorting to a pause menu, the freedom of options offered by Crysis is simply colossal.

It’s not just only the slick presentation and fancy suits that’ll blow your mind, but the incessant fun provided by the physics engine. Who could help but raise a smile to cutting a palm tree in half with a barrage of bullets, only for it to plummet onto an unaware enemy patrol? Timber indeed. But why do developers keep insisting on taking proven gameplay and unnecessarily mixing it up with outlandish and gratuitous sections? After making your way through a beautiful jungle playground for the majority of the game, you find yourself in the heart of the zero-G alien ship. It looks beautiful of course, the typical mix of greens, greys and blues a stark but welcome contrast to the rest of the game, but the section is difficult to control, and through its nature, manages to throw everything you’ve learnt up to that point completely out of the window. On the plus side, at least Crytek have learnt how to make a decent non-human enemy over the years - Crysis’ alien creatures being far more menacing and a greatly improved design over Far Cry’s inane Trigen. It seems Crytek may be a one-trick pony, ostensibly sticking to the exact same checklist that made Far Cry a million selling title. But when that trick is as astounding as it is, we’re more than happy to live with it.

VERDICT

REVIEWS

ASSASSIN’S CREED We kill for our future. We kill for peace.

FORMAT REVIEWED PlayStation 3 OTHER FORMATS 360, PC PUBLISHER

nce one of the more eagerly awaited next gen titles to grace the systems thus far, Assassin’s Creed did a frankly excellent job of cranking up the hype meter for itself, and indeed next generation gaming. The sumptuous visuals, the historical setting along with the thinly veiled shroud of mystery that cloaked the game had us hooked, eagerly looking forward to playing the next generation of 3rd person adventure. And now it lands in the run-up to Christmas amongst an unprecedented embarrassment of riches. Can it lay claim to joining the pantheon of great games that 2007 has seen? Has it lived up to the hype?

Ubisoft DEVELOPER Ubisoft Montreal REVIEWED BY Graham Naunton

Sadly, no, however it’s unfairly churlish to simply denounce Assassin’s Creed as a failure. There are sections of the game that are done perfectly and a joy to play. For instance, protagonist Altair moves with an unparalleled sense of grace, fluidity and responsiveness; a triumph in videogames. From simply turning 180 degrees to leaping over rooftops, from walking slowly amongst city dwellers to shimmying up a building, Ubisoft Montreal has implemented a superb free running dynamic. It’s undoubtedly the game’s highlight, as is the general aesthetic of the game’s setting. The three sprawling cities and the countryside that separates them are stunning to look at – teeming with life and having a very organic feel. Their biggest plus is that Ubisoft Montreal obviously had Altair’s

athletic prowess in mind when designing their layout. The rooftops are always a jump apart, and there’s plenty of handholds, beams, struts and ledges from which to scale buildings. Parkour soon becomes second nature and is incredibly satisfying, particularly when trying to escape the hordes of guards after an assassination. This chase sequence, (which is seemingly unavoidable), seems to be a deliberate attempt to showcase the free running. Which, in itself, is by no means a bad thing.

The epic scale of the environments coupled with Altair’s remarkable skills give you the firm sense of belief that you are playing a next generation title, but unfortunately, not much else does. It’s now becoming less spectacular to be given free rein over a sprawling sandbox environment, and where Assassin’s Creed falters is in its offering of things to do in said sandbox. Crucially, this glaring oversight is in every facet of the gameplay, and that includes the main missions. To cut a very bizarre story short, our man Altair has to redeem himself with his peers by offing nine dictatorial figures. Finding and killing these targets involves a number of stages. Firstly, a high vantage point must be found to refresh Altair’s memory (don’t ask). For you though, it’s the acquisition of a map. Then, three sources of information about the target must be located, which is

REVIEWS

34 “A TITLE THAT OFFERED SO MUCH POTENTIAL, YET FAILED TO LIVE UP TO ITS OWN EXPECTATIONS”

usually a case of pick pocketing someone (holding a face button in close proximity), beating someone up or eavesdropping on a conversation. Finally, the local Assassin’s Bureau provides you with the target’s location – all you have to do is get up close and stab him using your spring mounted wrist blade, which then leads to the eventual escape once the (inevitable) alarm has been raised. And that’s about it, strung together by a threadbare and frankly ropey (if ambitious) plot. Free running in beautiful environments next gen may be, having to sit on a park bench and hold one button as a crucial part of a mission frankly isn’t. Now, leaping and scrambling about buildings is fun for a while, but Assassin’s Creed sorely lacks anything else note worthily outstanding to do. The side missions are rather unnecessary and add little to the game - rescuing priests and city dwellers from guards giving them a beating being the main side quest. This is supposed to help you with regards to your escapes, with the city folk blocking off pursuing guards and the priests offering a dynamic hiding place. It’s a shame that half of the time this doesn’t actually work, just one

example of a poor AI that almost cripples the game entirely. As well as inconsistencies with the guards, there are peasants and lunatics to fend off on the streets – something which quickly becomes an infuriatingly cheap way of making the game harder as lots of identical looking deranged people take to shoving you around, instantly raising your profile and making it harder to avoid the attention of the guards. It’s safe to say that Assassin’s Creed is a missed opportunity, a title that offered so much potential yet has ultimately failed to live up to its own lofty expectations. On the plus side, this has laid some solid groundwork for an amazing sequel; it looks a dream, whether Altair is in full flow or standing atop a lofty steeple, and has some good ideas. If you can ignore its inherent flaws, Assassin’s Creed is a worthy purchase this holiday season.

VERDICT

REVIEWS

GUITAR HERO III As long as there's sex and drugs, I can do without the rock and roll

LEGENDS OF ROCK I

FORMAT REVIEWED Xbox 360 OTHER FORMATS PS3, PS2, Wii, PC PUBLISHER Activision DEVELOPER Neversoft REVIEWED BY Tom Hoggins

t was always going to be a tough act to follow. Having seen Harmonix jump ship to rival EA to develop the upcoming Rock Band, Activision needed to find a safe pair of hands to take hold of its premier franchise. Guitar Hero has been a phenomenal success since its inception, transforming even the most self-conscious people into rock gods, dropping to their knees on the living room carpet wielding a plastic guitar in one hand and throwing up the horns with another. It has captured an attitude, a feeling, helping even the most tone-deaf to shred their way through the legendary Free Bird. So, who to take on this mantle of moving the series on while keeping its as yet unrivalled rock atmosphere? Activision turned to Neversoft, if anyone could retain Guitar Hero’s feeling you would put good money on the Tony Hawk developers. So, have they succeeded? For the most part, yes. Guitar Hero III is a worthy entry to the series, featuring a wonderfully diverse set of songs that are almost universally fun to play. Musical taste being the wholly subjective beast it is, any rhythm-action game lives and dies by its set list and Guitar Hero III manages to feature a broad range of tunes including some undisputed classics. The majority of the tracks are also originals, as opposed to the covers of previous games. As expected, the sound quality throughout Legends of Rock is superb; each song bursts from your speakers with excellent

clarity, the crowds are loud and raucous and the bum notes you hit resonate painfully.

Visually, the game has had a few cosmetic tweaks. The HUD is essentially the same - displaying your score, multiplier and all important star-power and rock meter. However, the game now features a ‘streak counter’ which appears underneath the multiplier, keeping track of the number of notes you’ve hit successfully in succession, which is a nice touch. The fret-board that rolls the notes you need to hit down the screen has also had a minor tweak for the better. The angle of view is marginally higher than previous games and, in tandem with the slightly chunkier and more defined circles, makes it easier to distinguish notes in complex solos. Another excellent

visual touch that improves the game itself is the addition of ‘lights’ in the middle of certain notes, indicating when you can perform a hammer-on or pull-off without hitting the strum bar. This works superbly and helps no end in the more fiddly solos. Despite the visuals offering some extra assistance, Guitar Hero III is certainly no easier than its predecessors. Indeed, some of the later songs on the higher levels offer insane solos that will lead to torn out hair and aching fingers. At least these frustrations can be put down to you, the player and with practice can be overcome, which is more than can be said for GHIII’s biggest new feature - the ill-advised ‘boss battles’. The battles sound great in theory - take on a guitar legend such as Slash at a guitar face-off.

REVIEWS

“UNTIL THE NEW KID ON THE BLOCK ARRIVES, GUITAR HERO IS STILL THE BEST SHOW IN TOWN”

Instead of star power, battles offer powerups that can be unleashed on your opponent, such as giving them a broken string, flipping or doubling the notes and raising the difficulty for a short time, with the ultimate aim to make your foe ‘fail’ the song before you do. While this sounds like an entertaining diversion, in practice the mode doesn’t fit into a single player career at all. The trouble lies in the fact that the CPU opponent never misses a note unless affected by your power ups, and even when you’ve unleashed a torrent against them they can still do enough to get through before comfortably raising their rock meter back into the green. The result is that a lot of these battles rely far too much on luck. To have the outcome wrenched so unceremoniously from your bleeding fingers is infuriating, and what could have been a welcome mixing up of the career mode turns into a dreaded grind. Small mercies then, that these battles are kept to a minimum in single-player. The battles certainly do hold their merit in multiplayer, however. Taking on a friend

(which for the first time in the series can now be done online) and throwing your guitar up to land a killer blow is immensely entertaining. As well as the battles, friends can take each other on at straightforward point-scoring face-offs or hit the rock trail in a co-op career. The co-op this year is far more fleshed out than previously, allowing a pair of budding guitarists to work their way through a modified career set list, each able to choose their preferred difficulty. It’s a very welcome addition, rocking out is always better with a friend. Of course, this is something Rock Band is all too aware of. Therein lies Guitar Hero’s biggest problem, Harmonix’s new title will allow you to form a four-piece ensemble, featuring singing and drumming to go along with the axe-wielding, making Activision’s title look rather simplistic in comparison. Where the series goes from here remains to be seen now that its title as King of Rock is under major threat. However, until the new kid on the block arrives, Guitar Hero is still the best show in town.

VERDICT

REVIEWS

37 When the cops come all I hear is whoopwhoop

NEED FOR SPEED

PROSTREET W

ith the constant battle between videogames and their influence on gamers at an all-time high, further promotion of illegal street racing probably wouldn’t have been the best move for household name publishers EA to take. With that in mind, enter ProStreet, the first Need for Speed title to take racing off the street and into the world of legal closed circuit racing.

FORMAT REVIEWED PlayStation 3 OTHER FORMATS 360, PS2, PSP, Wii, DS, PC PUBLISHER EA DEVELOPER EA Black Box REVIEWED BY David Scammell

Despite their best efforts Need for Speed games have never had a great storyline, and unsurprisingly ProStreet isn’t any different. Told through a series of disjointed cutscenes, the vague story there is to EA’s latest is laughable at best; your racer Ryan Cooper looking to topple “Showdown King” Ryo Watanabe from the top of the racing ladder after disrespecting him at his first career victory. The structure of ProStreet will be familiar to anyone that’s ever played a Need for Speed game in the past, albeit with the open-world hub from the more recent games removed and reverted back to a standard menu interface. Progression through the game’s primary Career mode requires the player to pass, or rather dominate, a series of challenges. Each challenge consists of various trials know as Race Day Events, that allow you to build up the required amount of points in order to progress. And much like the

previous games, as you complete a certain amount of challenges you’ll be put up against ‘Elite Kings’ in boss-style alterations of the usual events. So far, so Need for Speed.

Events are based around variations of four different driving styles; grip, speed, drift and drag. Grip racing is your standard circuit racing, whilst speed racing has the player fighting it out to be the fastest racer on the track. Drift has seen a minor alteration in the handling model meaning you won’t spin out or crash nearly as often, but remains true to previous iterations. Drag racing was always something I found an interesting and unique concept in NFS, even if it was cruelly underdeveloped. Its return in ProStreet is somewhat of a disappointment, as even still its execution hasn’t been improved upon, and the impractical additions made to the event, if you’ll excuse the pun, soon turn it into a real drag. The event is predominantly built around two mechanics; a burnout minigame to build up the heat, and therefore grip, of your tyres, and a race down a strip through a series of perfectly timed gear changes. It’s fiddly and tricky to get the hang of burning out your tyres, and bearing in mind that each drag event requires no less than three rounds a piece, the once fascinating affair soon becomes unbearable.

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38 For the first time in the series there’s an extensive damage model which can affect the performance of the car, but with ProStreet’s overly helpful driving aids, crash damage really won’t be too much of a concern for most players. ProStreet offers up three difficulty modes, each with differing levels of driving aids. The only one vaguely suitable for hardcore driving fans will be ‘King’, the hardest of the three, which at least gives you control of the car. I use the term ‘control’ lightly however; the Need for Speed games of course having never been renowned for their accurate handling. To compare ProStreet’s handling to accurate models seen in games like Gran Turismo or Forza Motorsport would be ridiculous, the game never attempted to be on a par with the accuracy that those games provide, but regardless, despite the handling of ProStreet being much improved since the last game, it still leaves a lot to be desired. As is usual for a Need for Speed title, ProStreet looks great with some excellent car models and trackside detail; EA’s impeccable presentation of course remaining second to none. What is unusual for a NFS game though is the appalling voice acting rampant throughout the game, and the annoying announcers that babble away on the event selection screen do more to annoy than they do to

immerse. The PS3 version we tested was also home to a frequently choppy frame rate. Not to be confused with slowdown, ProStreet’s engine appears to skip frames to keep up with the onscreen action, resulting in a head-ache inducing judder. But ultimately ProStreet’s biggest problem is that amongst EA’s efforts to move away from NFS’s staling heritage, a lot of the fun that existed in the previous games has been removed as a result. Moving onto closed streets has meant that the ubiquitous shortcuts seen in the earlier games are now non-existent, and consequently races can become drab and samey in a very short space of time. Coupled with boring and unimpressive cars that you’ll be driving for a lengthy period of time before you start to unlock some of the more prestigious exotics, it takes a lot of patience before you’re really allowed to explore the opportunities ProStreet provides. But even when that time does eventually come, you’ll have already done the repetitive events to death and instead you’ll simply be left doing the same thing you’ve been doing for hours in a prettier and faster car.

To give credit where it’s due, at least EA decided to try a new concept this year rather than rely on a simple rehash of the same city-based racing that’s been central to the series ever since Underground. But when that noble move takes away much of the heart that a lot of casual gamers fell in love with, perhaps it wasn’t such a wise move after all.

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REVIEWS

UNREAL Boom! Headshot!

TOURNAMENT

ou know what we love most about Epic? After making us wait almost four years and countless delays for the next Unreal Tournament, as soon as it lands on our desk we’re pushed straight into an unrelenting, no holds barred match that hangs around for no one.

FORMAT PC PUBLISHER Midway DEVELOPER Epic Games REVIEWED BY James Bowden

In UT3, you are always on the move never waiting to re-spawn, never waiting to reload, never waiting for your health to regenerate and never waiting for characters to just shut the hell up so you can proceed to the next area and shoot something; UT3 arrives and it’s about fast, ‘in your face’ action crammed with ludicrous weapons, outrageous vehicles and unrelenting carnage. Despite the characters still zipping about at breakneck speeds, UT3 feels somewhat ‘heavier’ than previous titles, with characters pausing after landing a jump and including a considerably chunky arsenal. It’ll take a bit of getting used to for long-time fans of the series, but nothing radically different to put them off. Every weapon feels genuinely powerful and you are never more than a few seconds away from picking up another, which is good because the default Enforcer still appears to shoot bullets made from foam. The Shield Gun has also been replaced by the Impact

Hammer from older Unreal titles, which packs a satisfying punch as you demolish your foe.

The most obvious change however is the removal of Adrenaline Pills, which in previous games allowed you to unleash a special ‘Adrenaline Combo’. It’s perhaps a wise move as due to the increasingly powerful weapons death comes more swiftly than ever, and collecting 100 pills as per the previous games would be a highly unrealistic and unfair target. The new Hover Board is, in essence, a new method of travelling around the map faster, latching onto both ground and airborne vehicles for that extra boost of speed. The board comes at a price however; take one shot and your character will fall to the ground as an easy kill for your adversary. As such the Hover Board can only really be used for quick flag (or indeed orb) transport as well as getting into the combat area quicker – again a sign of UT3’s no loitering policy. As a multiplayer experience you would be hard pushed to find a superior game. But nevertheless, this year Epic has also strived to cater for the solo player – more so than in previous iterations, but unfortunately it’s also the weakest of the game’s numerous changes.

REVIEWS

As a backstory, an evil race known as the Necris have invaded your homeplanet, and naturally, your only option is to fight back. The plot is as thin as a cream cracker with characters trying to explain various ideas about re-spawners being used in war, and that by stealing a flag your race will achieve all-out victory. Nice try, but by having an announcer proclaim that your carefully organised attack on Necris troops is simply a ‘Team Deathmatch’, any immersion set by the cut scenes is instantly destroyed. Game modes on offer include the usual Deathmatch, Team Deathmatch and Capture The Flag that we’ve seen in almost every recent online shooter under the sun, as well as War Zone, in which your team must capture sequential power nodes, form a link from your base into your opponent’s and then destroy their core in an effervescent explosion. Due to the various methods of which to take a node, outrageous vehicles and diverse levels, War Zone is completely refreshing, a moment of genius from the masters of online play. It’s worth pointing out that it’s a shame there are notable gametype omissions from past UT’s, but in the face of War Zone this could only really be considered a minor gripe.

Fast, aggressive and brutal, UT3 is pure unabashed entertainment - the perfect game to blast away ten minutes in a quick Deathmatch, but one that holds enough substance to also make for a deep and long lasting game.

VERDICT

REVIEWS

41 He knew the risks, he didn't have to be there. It rains... you get wet

KANE & LYNCH DEAD MEN H

FORMAT REVIEWED Xbox 360 OTHER FORMATS PS3, PC PUBLISHER Eidos Interactive DEVELOPER IO Interactive REVIEWED BY Emmet Purcell

ype is something that never fails to make fools of us all. After praising IO Interactive’s co-operative action title to high heaven only last month, Kane and Lynch: Dead Men instead reveals itself to be this reviewers most infuriating title this Winter. An inspired, cinematic representation of dueling partners forced together under extreme pressure; that it succeeds on so many of its early development promises almost makes it forgivable for its army of flaws. As IO’s first stab at an original IP since Hitman, hopes were high for Dead Men. When a movie adaptation was then announced before the final product was even finished, suddenly we had a conceivable contender for action title of the year. Yet if you were expecting to bask in a Michael Mann-inspired visual feast, keep reading. For newcomers, the Kane and Lynch of the title are death row inmates Adam Marcus, ex-mercenary, and schizophrenic James Seth Lynch. After a bungled “rescue” mission from Kane’s ex-mercenary associates, The7, both men find themselves thrust into a blackmail mission to repay a previous debt. With two anti-heroes at the forefront and Michael Mann-lite street firefights (Heat) and nightclub confrontations (Collateral), Dead Men has admirable influences and bold, if misplaced ambition.

Put simply, in trying to replicate film whilst appealing to gamers, IO has come up short in their characterisation. Kane and Lynch are not “cool” anti-heroes in practice; both sour-faced and unlikable. The script itself sounds like it was written by a 14 year-old, such is the reliance on peppering the dialogue with unnecessary swearwords. In addition the graphics also betray the game’s grand ambitions with dull, simplistic textures reminiscent of first generation Xbox 360 titles. Put simply; expect the movie adaptation to have more in common with the recent god-awful Hitman flick than anything approaching Mann’s standards. So whilst stylistically the game falls far below expectations, that isn’t to say that the game doesn’t have its moments. Missions take place over a pleasing variety of locales, the storyline itself can be engaging whilst the aforementioned nightclub level will take your breath away on your first play through. It’s just a shame then that the basic game play mechanics of each are so badly handled. The game needs a Gears of War-style automatic cover system and the pin point accuracy of Call of Duty 4’s reticule. Dead Men’s hackneyed implementation of both is poor and forces players to grapple with the developer’s limitations, particularly against human opponents in the title’s online mode, Fragile Alliance.

REVIEWS

42 “FUNDAMENTALLY FLAWED...AN INAUSPICIOUS INTRODUCTION TO A POTENTIAL FRANCHISE”

To be fair, Fragile Alliance is one of the most unique online experiences of the current gen thus far. Players take part in a bank heist, with the survivors sharing their “loot” after making it into their getaway car unharmed. However, the stakes can be raised to Reservoir Dogs-style double-crossing with players able to sneakily take out their heist partners for their cash. The downed players then re-emerge as policemen whilst the traitors are named and shamed for their fellow robbers to then make their own judgment calls or fight them off. It’s a fascinating concept that, unlike the rest of the title, should at least be attempted by intrigued gamers. Sadly however, limitations once again spoil the fun. The re-spawning points of downed players’ policeman never changes from its set points, so the game quickly becomes repetitive and easy to figure out.

Again, it’s another example of a great idea that wasn’t fleshed out - a real shame. Thus, Dead Men is a fundamentally flawed title and an inauspicious introduction to a potential franchise. If IO’s hype machine succeeds over the Christmas season, perhaps we can look forward to a bigger budgeted take on this intriguing premise. Yet if Kane & Lynch fails to win over festive gamers, it’s no big loss, particularly if it allows Agent 47 to rear his recognisable head towards us sooner, rather than later.

VERDICT

REVIEWS

BLACKSITE Oh God, I hope they bring back Elvis

hen your creative developer tells the world that their latest game “was so f*cked up” before it’s even released, you know that you’re headed for trouble. And with Midway’s spiritual successor to 2005’s summer hit Area 51, that’s exactly what happened.

FORMAT REVIEWED Xbox 360 OTHER FORMATS PS3, PC PUBLISHER Midway DEVELOPER Midway Austin REVIEWED BY David Scammell

Rushing games to market in order to make the Christmas deadline is nothing new in the world of gaming; we’ve seen plenty of games released underdeveloped, lacking that polish to make them stand out from the crowd, but that doesn’t make it any sweeter each time that bitter pill is swallowed. With Blacksite that’s exactly what you get; an unfinished mess of a game that fails to live up to expectation. Riddled with graphical glitchery from stuck animations, bizarre glowing character models, missing walls, texture pop-in, tearing and the worst, albeit brief, slowdown we’ve seen in a console game in a long time, you’d be excused for thinking that the game completely missed the quality assurance process. And you’d be right of course; the game slipping straight from alpha code into final. But ultimately, if the gameplay is there, any issues with the graphics can be disregarded in one fell swoop. Well, unfortunately, Blacksite doesn’t cut it in that department either. The plot is typical B-Movie cheese. Taking control of Aeran Pierce, a member of a brash Special Forces team, the player is sent into the small town of Rachel, Nevada to fight off an alien/genetically altered human

invasion that’s threatening to destroy mankind. With a brief first chapter set in Iraq to give a bit of background to the story, it’s set up well but ultimately predictable and unfulfilling, and nothing we haven’t seen before.

Pre-release, Blacksite was touted as having a deep squad system, tracking squad morale and allowing for plentiful options for tactical play. Despite this, squad tactics are incredibly rudimentary and, in spite of what you may have been led to believe, nowhere near as deep or involving as anything we’ve seen in games before it. Simply revolving around hitting RB when prompted to do so (which 99% of the time is to just open a door), the mechanic feels a tacked on and wholly unnecessary extra rather than the USP it was originally made out to be. Of course, you would expect any game that so heavily promises squad based gameplay to have decent AI to back it up, but not so with Blacksite, that has such dire AI that it does more to hinder your progress than it does to help. One particularly moronic incident occurred when a squad mate informed me that what I was shooting at was already dead. With the path ahead clear I moved forward, whilst my team mate decided that it was probably still best to throw a grenade at the supposedly deceased body, resulting in a scrambled dive to avoid the blast radius. If you had been given the ability to open doors yourself, you wouldn’t help but feel you’d be better off without them.

REVIEWS

44 “BLACKSITE’S BIGGEST PROBLEM IS THAT IT’S JUST SO DAMN GENERIC”

And as is to be expected after being treated to their physical behaviour, don’t expect a sensible conversation with you team either, who often take it upon themselve to spout such machismo drivel as “HQ can suck my...”, “Kick ass!”, or the occasional piece of not so subtle advertising “Damn! A Dodge Avenger! This thing is brand new!” The much flaunted squad morale system is also as basic as it possibly could be. Killing numerous enemies or grabbing headshots raises your squads level of morale, whilst taking damage and getting overrun lowers it. Morale apparently affects your team mate’s effectiveness in battle, and if you were reliant on your squad mates to do the dirty work it perhaps would have made a difference, but considering your team are happier running in circles and throwing grenades at your feet rather than actively getting engaged in combat, it’s a somewhat redundant mechanic. And that’s perhaps the best word to summarise Blacksite. Graphical issues, moronic AI and under-developed mechanics aside, Blacksite’s biggest problem is that it’s just so damn generic it’s completely redundant. It isn’t a tremendously poor game, but by thinking it’s both scarier and cleverer than it actually is, results in a sub-par shooting experience. And in a period of such tremendous competition, failure to deliver on the promises it originally set means that Blacksite just doesn’t make the grade.

VERDICT

REVIEWS

45 Aren't you a little short for a stormtrooper?

LEGO STAR WARS

THE COMPLETE SAGA

I FORMAT REVIEWED Xbox 360 OTHER FORMATS PS3, Wii, DS PUBLISHER Activision DEVELOPER Travellers Tales REVIEWED BY David Scammell

’ve always found the Lego Star Wars series somewhat of an enigma within the gaming world. Whilst Travellers Tales undoubtedly succeeded in capturing the essence of the Star Wars universe, and created a winning combination by marrying it up with the cutesy humour that only Lego could provide, the actual gameplay always felt rather shallow and monotonous. Relying on repetitive and exceptionally basic combat as well as undemanding puzzle sections, the core of the game always seemed rather drab in comparison to the entertaining cutscenes and interesting basis. And whilst that’s understandable given Travellers Tales primary younger audience, it’s unfortunate that the only substantial form of entertainment for the older gamer still lies in the fun-poking nostalgic cinematics.

Despite this, the series continued to score highly with both consumers and critics which has lead to The Complete Saga, the latest in the series that combines the two previous games into a singular package, as well as bringing a few new extras into the fray.

The most significant addition to The Complete Saga is the ability to play online co-op over Xbox LIVE and PSN. Whilst the series has always sold itself around drop in/drop out co-operative play, up until now it had never allowed players to play online. Fortunately the online integration works extremely well and it’s incredibly easy for a player to jump into a game at almost any point thanks to the continuation of the drop in/drop out thesis. There’s also little to nil lag, making the online co-op experience as good as its offline counterpart, and players can choose to play as much, or as little as they like with their partner. Obviously those that prefer to go (Han) solo can still do so, operating one instantly recognisable character at a time and switching between the two in order to complete puzzles.

And talking of characters, there are literally dozens of the lovable little Lego men and women to unlock. Each fit into one of the few character classes, from the light sabre swingers, the nimble laser pistol shooters, the slower but essential droids, or the combat driven Wookie-style characters. And of course it’s not just the main characters that have received the Lego makeover; the environments, vehicles and aliens each receiving the plastic brick treatment in order to create an endearing aesthetic.

As touched upon earlier, the gameplay itself is incredibly basic, with levels generally requiring the most jaded of tasks in order to proceed. Pushing a block onto a pressure pad wasn’t fun the first time we had to do it, let alone the countless times it’s required along the way. Other mindless tasks include holding down B to build or move appropriate objects, switching to a suitably skilled character in order to advance, or just blowing stuff up. There are also a few vehicular levels to break up

REVIEWS

“THERE’S NO DOUBTING TRAVELLERS TALES’ REMARKABLE SENSE OF HUMOUR”

the monotony along the way, such as the attack on the Death Star in an X-Wing or defending the assault on Hoth in Luke’s Snowspeeder. Thankfully Travellers Tales haven’t confined the player to working through the Star Wars story in order of the Episodes. Each Episode becomes unlocked early on, accessed of course through the familiar Mos Eisley cantina hub, allowing players that may have already played one of the two previous games to jump straight into the portion they’ve never experienced before. It’s good thinking, as without it, it could have led to a lot of veterans feeling frustrated, eager to jump into new territory.

There are a few extra chapters to have worked their way into the story to suit such needs, such as Anakin Skywalker’s pursuit through Coruscant of bounty hunter Zam Wessell, whilst a few existing chapters have also had the odd change. New Force powers and power-ups litter the levels whilst the graphics of the original Lego Star Wars (built on last-gen consoles lest we forget) have been enhanced to match those of the Xbox 360’s Original Trilogy, complete with a wealth of plastic enhancing post-processing effects for the Lego stars. There’s no doubting Travellers Tales’ remarkable sense of humour, but unfortunately it all boils back to the tedious cyclical gameplay. If you didn’t enjoy the Lego Star Wars games in the past, The Complete Saga definitely won’t change your mind, and even if you did, there isn’t enough new content in here to warrant an additional purchase. One for intrigued Lego newbie’s only, or the many of you that just can’t get enough of anything Star Wars.

VERDICT

REVIEWS

SINGSTAR Video killed the radio star

FORMAT PlayStation 3 PUBLISHER Sony DEVELOPER Sony REVIEWED BY David Scammell

f you’ve ever played any of the PS2 SingStars, SingStar PS3 will feel extremely familiar, and even if you haven’t, the premise is simple; grab a mic and sing, either alone, or much more preferably, with a party of people. That’s it. Don’t expect any fancy trickery or a deep single player mode to sink your teeth into, just straight up karaoke carnage.

There are 30 tracks on disc, a number on par with the previous SingStar games in the series, and whilst most of the tracks on offer are your standard mass market chart-toppers, there are some rather odd choices of tracks in there; the distinctive tone of Thom Yorke in Radiohead’s “No Surprises” proving to be a bizarre choice of song for the principle of SingStar. Great track, not so great karaoke party tune.

SingStar works by measuring your pitch through USB microphones, which you’ll have to pick up if this is your first delve into the SingStar world. Your singing aptitude is then scored accordingly to how well you hit those notes, resulting in some friendly admiration or more likely, open humiliation. If there’s one fault that’s plagued the SingStar games since the beginning it’s the lack of word recognition, meaning you can do just as well humming along to the tune rather than actually singing the lyrics.

Sadly, the majority of the music videos you’ll be attempting to sing along to aren’t in HD, so those who’ve paid out hundreds, if not thousands, for that sparkly new 1080p set will be reduced to watching SD feeds while they scream their lungs out. It’s also odd that there’s still no option to play with the original track’s vocals muted, and instead the game plays more akin to if you were singing along to your favourite song on the radio, rather than a true karaoke experience. But wait, the previous games were each crammed onto DVD’s and they had roughly the same amount of songs, so what’s happened to all that extra space offered by Sony’s much publicised Blu-Ray disc? Well, whilst that may be unexplainable, there’s plenty of scope for further karaoke once you’ve exhausted the pre-loaded content.

New to PS3 SingStar is, of course, the SingStore, an iTunes-esque music store that allows you to download exactly what songs you want. At the time of writing the store was already packed with dozens of songs to choose from, which, just like the disc, range from the mundane to the ridiculous. Coming in at just 99p per song they’re not overly expensive, hitting that spontaneous purchase sweet spot that so much DLC fails to do (Guitar Hero, we’re looking at you.) But downloadable content doesn’t just stop with new tracks, animated wallpapers are also available to completely customise your SingStar experience. The Store is clean and painless to use, filled with search options and easy to use shortcuts, with the added function of being able to preview songs before you purchase them. Bear in mind though that due to the accompanying video each SD track weighs in at around 60mb, so be prepared to wait a while if you’re on a relatively low connection speed. Online functionality doesn’t just end there however. The game also allows for two-way traffic, allowing players to upload pictures and video clips of themselves and their friends “rocking the mic”. Online integration works wonderfully and the foundations are definitely in place for an online SingStar community to grow over time.

SingStar’s a tough one to put a score to. Whilst not so much a game and more a piece of advanced karaoke software, it manages to capture the fundamentals of party play perfectly, and the online structure of SingStore makes it something that could, in theory, last forever. Ultimately that statement comes down to quite how far your PlayStation Wallet stretches and indeed how social you are. What the game lacks in depth it more than makes up for in potential entertainment value, and if the idea of witnessing your merry friend hopelessly attempt to pull off Musical Youth’s “Pass The Dutchie” sounds appealing, then SingStar is more than worth the asking price.

VERDICT

REVIEWS

SILENT HILL ORIGINS Come on baby...Don’t fear the reaper

hen Silent Hill first appeared on the original PlayStation it was a title that brought a revelatory Western-friendly psychological emphasis to the then still-embryonic survival horror genre. The combination of searing Freudian-based imagery and subtle audio flourishes was arguably perfected in the second game, proving influential on everything from Manhunt to Eternal Darkness.

FORMAT PSP PUBLISHER Konami DEVELOPER Climax Studios REVIEWED BY Zoheir Beig

Nevertheless, like any self-respecting horror series a succession of sequels and spin-offs (most notably the recent Hollywood production) have helped to dampen the sense of the unknown around Silent Hill, creating an awareness of plot twists and scares whereas before such narrative tangents offered genuine shocks. Konami’s solution to keeping this iconic series feeling fresh and relevant, prior to

2008’s next-gen fifth instalment, is Silent Hill Origins. However, an external developer (Climax, whose past titles include Moto GP and, er, The Italian Job), early hints of a Resident Evil 4-inspired direction and doubts as to whether a handheld could convey the necessary atmosphere were just some initially foreboding signs.

Thankfully a troubled gestation hasn’t led to a troubled game. For a start that last concern can be struck off immediately; play Origins in the dark with a comfortable pair of headphones, and you have arguably 2007’s most unsettling gaming experience. Buried in the sound mix are eerie shards of noise, while the visuals retain the familiar grainy texture and reliance on expressive lighting. The aesthetics are a wonderful showcase for the PSP. Climax has also taken the PSP into consideration in terms of movement and combat. The former is analoguebased and far more fluid then before, whereas combat is similarly streamlined, but without compromising the requisite moments of panic-induced fumbling that are series trademarks. Melee weapons are easily accessed via the d-pad, although their use has to

be sporadic given that they break easily. Or you can do what any sensible person would do when faced by faceless nurses in an abandoned hospital, and run. Our only real concern is that, despite these concessions for the host hardware, Silent Hill Origins doesn’t feel like a game designed to be played on the move, not least for it’s languid pace. Save points are often scarce, while the plot is better appreciated in lengthier sessions.

Narrative has always been integral to the series’ success, and here Silent Hill Origins is reliably convoluted. The nature of memory and regret is called into question, and the possibility of three different endings make repeated playthroughs in a quest for clarity that much more palatable. Though as ever, what’s supposed to be going on sometimes doesn’t matter; that it’s so tangibly scary does. The most significant feature is the return of the Otherworld system, a parallel Silent Hill that can be travelled between freely using any mirror. It’s a familiar device but one used with great effect. Origins isn’t a particularly long game, the puzzles (which mostly use the Otherworld system in satisfying ways) taking up the bulk of the gaming time. But it’s a series entry that confidently pulls an established franchise into the as-yet unexplored portable medium with substantial panache and, crucially, identity intact. Given the rarity of games that survive such turbulent early development (Origins’ original US-based

developer were reportedly sacked), the game is also something of a minor miracle. Familiar yet fascinating, gruelling yet rewarding, those fearing a botched addition into such a hallowed gaming franchise need not worry: in attempting to explain Silent Hill’s backstory, Konami and Climax have given the series an excellent and intelligent rebirth.

VERDICT

REVIEWS

49 To be that man, you've got to beat the man

WWE SMACKDOWN VS. RAW 2008 A

FORMAT REVIEWED Xbox 360 OTHER FORMATS PS3, PS2, PSP, Wii, DS PUBLISHER THQ DEVELOPER Yukes REVIEWED BY Zoheir Beig

s a spectacle WWE lends itself superbly to the medium of videogames, better perhaps than nearly every other form of sports entertainment. There’s the uniquely American extravagance, an amusing reliance on flimsy narratives, a regressive air of machismo (or should that be homoeroticism?); all ingredients you’d imagine would be perfect videogame fodder.

the effect of turning your brawler of choice into someone who thinks nothing of smashing their opponent around with the referee. This is 2008’s sole nod to tactical nous, and although the idea does a good job of reflecting the larger-than-life aggression of these superstars, more often than not you’ll be left cursing at the manner in which these steroid-like lurches in power significantly (and frequently) upset the balance.

THQ’s series of yearly titles would however beg to differ. As flag-bearers for the WWE they’ve been excellent examples of how to use a license, packed with all manner of fanboy-friendly features and exhaustive details. As games though, they’ve often been close to unplayable.

When allied with the AI in general, which is one of the areas that fails to be addressed every year (e.g. in matches featuring more than two wrestlers, those not involved in the action tend to flail around with no idea what may be going on elsewhere), and the tedious, glitchy trawl that is the 24/7 career mode, it’s certain that were SvR a strictly single-player experience, it would be a disappointment of The Great Khali proportions.

WWE SmackDown vs. RAW 2008 aims to capitalise on what was a solid iteration last year by making additions that appear sensible in the context of an annual franchise (unless you’re Konami, in which case releasing half-complete versions of Pro Evolution Soccer each year seems to be OK), but actually work less well within the game itself. The most notable of these extra features are ‘fighting styles’, which can temporarily alter characters depending on the style chosen. So be a Powerhouse and your wrestler will be immune to strike attacks while for a period of time all grapples will come off, while the Dirty option will have

Yet despite the initial incongruity of having such perversely addictive source material compromised by haphazard translation and moments of frustration, developers Yuke haven’t entirely wasted this year’s opportunity. For a start the gameplay is virtually identical as 2007’s edition (save for the aforementioned ‘fighting styles’); the same combination of button-bashing and combinations that only bear fruit when committed to memory. It’s a system that can be clunky, the complete antithesis of something like Virtua Fighter 5 for

example, but it’s a method that still feels right for the sport, reflecting wrestling’s physicality in a way that the straightforward mechanic of individual energy bars just wouldn’t do. WWE is a game of grinding your opponent down, of strain and exhaustion, and just like in real life finesse isn’t the first word that springs to mind. After countless years the WWE games are clearly reaching some sort of plateau. Short of a complete re-invention to the control system (a move that would probably alienate the hardcore as much as it would draw in new players) there isn’t much more that could be added to the series now save for the odd graphical tweak to further buff what is already excellent presentation, or maybe another match type to add to the countless already available. Like the sport itself then, WWE SmackDown vs. RAW 2008 is unashamedly over-the-top; a preening, cocksure testament to every jock’s fantasy. The fans, at least, wouldn’t have it any other way.

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REVIEWS

RAYMAN RAVING RABBIDS 2 On the farm, It's rabbit pie day

he sequel to one of the Wii's better launch titles, Rayman Raving Rabbids 2 follows the same formula set out by its predecessor; a mix of humour and minigames starring Rayman and those crazy Rabbids. This time the action is set on Earth as the Rabbids invade the planet, with each game on offer loosely based on their journeys around the globe.

FORMAT REVIEWED Wii OTHER FORMATS DS PUBLISHER Ubisoft DEVELOPER Ubisoft Paris REVIEWED BY Richard Rohani

There are a few real gems amongst the set of 50 minigames, including our favourite, the aptly titled 'Are We There Yet?'; a game involving the use of the Nunchuck to slap mischievous Rabbids frustrated by the traffic queue they find themselves stuck in. In addition there are a total of five games based around playing as a member of a band, each player playing one of the instruments or singing vocals, swinging the controllers in time with the beat. However, bar only a few other goodies, most of the

other minigames fail to impress, often seeming to control exactly the same as the last one, only with a different facade.

Just like the original, the controls for each minigame are introduced by one of the pesky Rabbids demonstrating exactly what movements are required. A nice helping hand you would think, but the zany minigames aren't explained well at all from the text instructions, and you’ll often be left wondering exactly what it is you need to do. For instance, one asks that I eat chillies using the A button and shake to the Wii remote to cook the chicken, but exactly when or why can’t be made out from the tiny accompanying video. Sometimes the introductory video also seem completely irrelevant to the actual gameplay; one minigame begins with a cutscene of Rayman stealing a coconut from a monkey, but the minigame in question is a sack race. The game is structured into 'Trips', and each of them (of which there are five in total) is based around an individual continent. The player (either alone or with friends) must play through each minigame in each trip in order to progress. Once each minigame is completed they become unlocked for free play and can be combined together

to create a personalised trip around the globe. Unfortunately, playing through each trip feels like more of a chore than a pleasure, with the only reason to continue playing the off chance that you might actually unlock a half-decent minigame. But of course, at least once the initial chore is over you can always manually construct a trip built out of your favourites for repeat play. In addition to unlocking each new game, high scores unlock additional costumes for both the Rabbids and Rayman, and completing a trip unlocks a first-person shooting minigame level. This shooting game, filmed in real-life locations with the Rabbids and their invading fleet superimposed over the top, is one of the game’s highlights, and thankfully take a relatively larger chunk of time to complete. Also in RRR2’’s favour is the fact that it still very much has its comical moments; the opening intro being one of the funniest things we’ve seen in gaming in a long time. Disappointingly however, the game on the whole isn't anywhere near as comical as the original Rayman Raving Rabbids, and it seems that the humour is as hit and miss as the minigames themselves. Sadly then, with so much rabid competition this Christmas, Rayman Rayman Rabbids 2 is perhaps something to think about only when it inevitably hits the bargain bin.

VERDICT

MARIO & SONIC

REVIEWS

"Well, either side could win it, or it could be a draw."

AT THE OLYMPIC GAMES A fter fully exerting your body in order to reach the pinnacle of your sporting career, you awake the next morning aching all over; your arms and wrists stiff and tingeing with pain. Now I'm not describing the feelings of an Olympic athlete here, but the D+PAD team after an exuberant night of playing SEGA’s latest.

FORMAT REVIEWED Wii OTHER FORMATS DS PUBLISHER SEGA DEVELOPER SEGA REVIEWED BY Richard Rohani

The title may be a mouthful, but Mario & Sonic at the Olympic Games aptly describes what’s on offer, bringing about a moment that many would have thought unbelievable as Sega and Nintendo's flagship mascots finally appear in the same game. That alone will be enough of a draw for many, but judging by Sega’s recent form with any title involving their valiant icon, many will be reserved about its quality. Fortunately all of the events (bar perhaps a couple) are great fun to play, covering such sporting areas as sprinting, hurdling, javelin, fencing, archery, trampolining, table tennis as well as a few extra special events. Each one works well with the Wii controls, with the swimming events in particular showcasing the console’s control system brilliantly - each different character having different swimming styles, and thus different control methods. In total there 24 different Olympic events to play though, although most will need unlocking through the 'Circuit' mode, a mode where you must compete across three to five different events against characters from the Mario and Sonic universes. Players can play from

a host of characters from within both franchises, but despite each having their own unique statistics, in reality the choice of character doesn’t make too much of a difference to proceedings. Alternatively you can opt to play as a Mii, a great option to aid accessibility to fans of Wii Sports, as well as proving rather humorous. Having your Mr.T Mii line up against the likes of Luigi and Tails isn’t something that you’ll see every day!

There is also 'Single' mode allowing the player to compete for medals in each particular event, and then allowing them to upload your best scores online via WiFi. Alternatively, 'Mission' mode has the player aiming to complete various objectives for each event, such as winning the hurdles without hitting a single one, or throwing a javelin a particularly short distance. Some objectives can become surprisingly difficult and the mode makes for an interesting diversion if you don't have any friends to hand. Attempting further to extend the play-time of the single player game, Mario & Sonic holds a selection of unlockable emblems for the player to collect, each unlocked by achieving hidden goals during gameplay. Ultimately though, the single player is relatively short-lived and the nature of the game means that you’ll get much more out of it when playing along with other people. After prolonged sessions Mario & Sonic can become incredibly strenuous. In track and field games of old, broken joypads and

analogue stick imprints were common place and taking advantage of the Wii controls, Mario & Sonic relies on the player to shake the controller as hard and as fast as possible in order to run, jump and throw. After an hour chances are you’ll have picked up a sweat, your arms will ache and you’ll find it hard to continue playing. The game warns that you should take regular breaks and it's sound advice. Perhaps it should have come complete with a warming up routine and playing in moderation comes highly advised. What was perhaps the biggest annoyance though was how some of the mini-games seem deliberately clipped back. The Table Tennis event, for example, has the depth to stand up well enough on its own, and being forced into a mini table tennis tournament just doesn't fit in with other events along the circuit. It could quite easily have been expanded into something with much more substance, providing another option to players that will perhaps get bored of the repetitive nature. Also, the tentatively titled ‘Trivia' mode hidden away in the menu

turned out to be a disappointing series of simple and tedious minigames, rather than a quiz mode that we’d expected; a cheap way of getting the player to replay each minigame a number of times to unlock snippets of information. However, all these faults total up to nothing when you consider that this is the most compelling 'minigame compendium' to have been released on the console since launch, and for that and the potential family fun alone, should be high on the list for anyone this Christmas.

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REVIEWS

THE SIMPSONS GAME How did the pig tracks get on the ceiling?

t has been a bumper year for fans of The Simpsons. First there was the long awaited movie, and now this – The Simpsons Game. Hailed by EA as the definitive Simpsons videogame experience, can Homer and his maladjusted family’s latest excursion into the pixelated universe of the platform game live up to the quality of its source material?

FORMAT REVIEWED Wii OTHER FORMATS 360, PS3, PS2, PSP, DS PUBLISHER EA DEVELOPER EA Redwood REVIEWED BY Simeon Paskell

The Simpsons has a long and varied history in the videogames market. From the glorious arcade beat ’em up of the 90’s to the Grand Theft Auto-inspired The Simpsons Hit and Run, it is a franchise that has always sold but cannot be relied on for quality. The Simpsons Game on the Wii arrives with much fanfare, fantastically authentic visuals, and gameplay that will have you laughing and crying in equal measure. After having his copy of ‘Grand Theft Scratchy’ confiscated by his well-meaning mother, Bart stumbles upon the manual for The Simpson Game – leading him to the realisation that he and his family possess special powers. From this somewhat clumsily implemented premise, the doors are opened for truckloads of game-related parody and initial impressions are very promising. Jumping into Homer’s dream (based on the classic ‘Homer in the Land of Chocolate’ scene), it is the visuals that initially impress. Though the Wii version lacks the high-definition of the PS3 and Xbox 360, it mirrors the look and style of the cartoon perfectly. Controlling Homer as

he beats chocolate rabbits to death before eating them captures The Simpsons surreal sense of humour beautifully.

Unfortunately it’s not long before you sense that all is not right in Springfield. The camera (so vital to 3D platformers) almost single-handedly wrecks the potential that is so evident in the opening five minutes of the game. Running around a corner causes the most problems, as it seems more interested in the walls than our yellowskinned heroes. This wouldn’t be so much of a problem if the manual camera control wasn’t so woefully inadequate, with the Wii remote’s D-pad struggling to offer anywhere near the amount of flexibility to compensate. As is to be expected, The Simpsons Game has a strong vein of comedy running throughout. Lampooning videogame conventions is the order of the day – Jeff “Comic Book Guy” Albertson is on hand to point out gaming cliches (‘The double jump – how original!’) and titles are mocked left, right and centre. We witness Homer competing in ‘EA’s Bite Night’, where the pounding of faces in the boxing ring is replaced by an eating competition. Springfield’s favourite dad gets to lock and load in the World War II themed ‘Medal of Homer’ (fnar, fnar!) and Marge and Lisa attempt to sanitise the ultra-violence of ‘Grand Theft Scratchy’. As humorous as these spoofs are, the fact that ‘The Simpsons Game’ itself relies on so many tired conventions to bulk out its gameplay results in the jokes quickly wearing thin.

Humour is often lacking in games, but it is hard to laugh along with the scriptwriters when on-screen actions are often so difficult to implement. There are numerous occasions when what you need to do is obvious, but actually doing so proves far more problematic. Leaping from one platform to the next should be fun. Bartman’s ability to glide using his cape should be fluid. But it isn’t. For the most part it is immensely frustrating. Principle Skinner may be giving a voice over and delivering some cracking one-liners, but this is garnish on an otherwise very badly prepared meal, and tacked on Wii remote based mini-games fail to compensate. When not platforming The Simpsons spend their time scrapping. Although conjuring up memories of The Simpsons arcade game (an aging title that embraced the concept of the beat ‘em up with aplomb), the fisticuffs in The Simpson Game are far less satisfying. There is comedy value to seeing Homer duking it out with Bumblebee Man but, again, it is a novelty that soon fades.

The Simpsons Game does have some redeeming features. The animated cut scenes retain the quality of the TV series and for fanatics will probably be worth the entry fee (though it is hard to shake the feeling that you would be better off just watching the movie!) Additionally, there are some great moments. Racing Homer through an internationally themed eating contest holds some beautiful set design, and touches like this run throughout. Remove the tight scripting and gloriously stylised visuals from The Simpsons Game and you are left with a fairly hollow and frustrating experience. Although the Comic Book Guy may tell you otherwise, adding an arbitrary time limit to a level does not make it more fun. This joke falls flat, and unfortunately neatly sums up a title that is no way near as clever as it thinks it is.

VERDICT

REVIEWS

53 Shoot a nuke down a bug hole, you got a lot of dead bugs

RICHARD GARRIOTT’S

TABULA RASA B

acon ice cream; the pure concept enough to make a lot of people queasy at the mere thought of it, instantly deciding that it is a bad idea, while others will openly try it and genuinely enjoy it. Tabula Rasa is something of a gaming equivalent, combining the fast visceral combat of a shooter with the slow, grinding gameplay of a traditional MMORPG.

FORMAT PC PUBLISHER NCSoft DEVELOPER Destination Games REVIEWED BY James Bowden

The story of Tabula Rasa is archetypal; an evil alien force has attacked Earth, consequentially forcing the government to ship the principal humans off to other planets. After discovering an ancient ability to use magic, or as Tabula Rasa calls it, ‘logos’, the humans decide to fight back against the Bane, and thus begins Tabula Rasa. The juxtaposition of human and alien technology is pleasant to look at, with humans sporting plain, angular weaponry whilst alien technology appears organic complete with mandatory tentacle-like armament. In Tabula, each player starts as a basic grunt with key levels that offer the choice of class. At top tier play there are a total of eight distinct classes; this method allowing players to shape and mould their character more dynamically than standard. Furthermore, you’ll gain items that allow the creation of a ‘clone’. The clone is somewhat unique to an MMO allowing the player to sample another class at any stage without the requirement of re-starting at level one.

The next thing that will shake MMO fans is Tabula’s approach to combat, with the mouse controlling a crosshair rather than the typical pointer. As a result, fighting feels much more like a typical FPS experience of pointing and shooting at your enemies, rather than the MMO standard of clicking an enemy and deciding which moves to use. However, this soon feels redundant due to the fact that locking on to an enemy gives them an enormous hit box, meaning you can usually still shoot at them from a distance and register hits; a mechanic which is surely going to annoy both FPS and MMO players. Combat also requires the careful management of five weapons and five secondary skills such as sprinting and special attacks. Once you get a grasp for the combat in Tabula, the game becomes quite a unique experience. Unfortunately, one of the games weaker aspects is in its AI. Tabula calculates all manner of deep statistics to determine damage in battle including distance, ammo type, armour, cover and altitude, so it seems odd that enemy AI is quite so lacking. To alleviate the potential grind of slaughtering enemies, there are plenty of quests to be getting on with, some even presenting the player with curious choices that lead to interesting results, often affecting your status with certain NPCs. Exploring the world of Tabula Rasa can be an interesting prospect as the planets are

always under attack from the Bane, randomly attacking and occasionally taking control of human outposts. It’s an interesting idea that keeps players on their toes, forcing a group of players to try and recapture the outpost in order to restore the features it provides, however it seems odd that players cannot choose to play as an alien character, as it would have made the mechanic a rather interesting and dynamic PvP event. Instead, PvP is limited to combat ‘duals’ and between clans. Tabula Rasa is a game that will unquestionably grow over time. The combat system is a fresh and intriguing concept for the world of MMO’s, whilst the game world has enough back-story to keep players interested. The concept may seem odd, but just like bacon ice cream; you can’t say whether or not you like it until you’ve tried it.

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REVIEWS

TONY HAWK’S He wasn’t good enough for her

PROVING GROUND T FORMAT REVIEWED Xbox 360 OTHER FORMATS PS3, PS2, Wii, DS PUBLISHER Activision DEVELOPER Neversoft REVIEWED BY Richard Angus

ony Hawk’s has always been king of the genre. Even in recent times, when the quality has started to fluctuate, the series has been on top. Then again, it hasn’t exactly faced much in the way of competition. However, with the arrival of a refreshingly innovative rival in Skate, a challenge was issued to Neversoft. Would they retain the crown with Proving Ground, or lose out to potential mediocrity? Only the developers could make the changes necessary to avoid the latter. As always, there have indeed been changes made to the formula. Diverting from the ranked based progression Project 8 used, Proving Ground gives you the option of following three main ‘lifestyles’. You can follow a path of competition through the ‘career’ option, journey down a more ‘hardcore’ course, or even take up the ‘rigger’ branch, where you focus on building your own ramps, rails and routes to perform on. Each lifestyle has around three stories, each with a well-known skater to guide you through it. Stories are broken down further into episodes, with three attainable difficulty awards; Amateur, Pro and the rather frustratingly difficult level, Sick, requiring a lot of practice. Added to that, there’s an innumerable amount of non-lifestyle trick-points smattered around the game world; suffice to say there is plenty to keep you busy.

The quandary however, is would you want to do it all? There are plenty of new gameplay features that, on paper, would seem to enhance the experience. Yet in practice they result in more to memorise and thus, more to go wrong. Of course, it’s not all bad. The new Nail The Grab feature expands well on Nail The Trick from Project 8, allowing you to clock higher scores than ever with complex combinations. Unfortunately though, other elements are not as well implemented. Nail The Manual is an awful inclusion; the camera focuses on the board, obstructing your view of the path ahead, often resulting in a frustrating end to a solid chain. More annoying though are episodes which require you to take a picture of yourself using the right stick whilst performing a trick. All too often you will find your flow disrupted, having to click at the right time, just as you’re attempting to execute a double Impossible. It’s quite frankly ridiculous, especially when attempting the higher difficulties. The online mode is an option you may consider, but only if you enjoy being thrashed by veterans, as they teleport past you in a flash of lag. But it’s not just gameplay elements that flaw the game. As with Project 8, Proving Ground has an array of technical bugbears that sully the experience. These can range from minor annoyances such as skaters finding their body or board halfway lodged inside a building, to the really quite frustrating problems with the rather

lacklustre level editor. It all takes away from the polish of the game and makes it look, from a technical viewpoint at least, very last-gen. The graphics themselves are of a good quality for the most part. Whilst it sounds dull, the washed out colours of the inner-cities and parks that make up the world actually work quite well. The customisation of your skater is solid too, with fairly extensive options that expand as you earn money and experience. That doesn’t mean it’s beautiful though. Videos of pro-skaters and shamelessly blatant advertising that pop up from time to time look fairly rough on larger TVs, and even though the overall graphical look is better than Project 8, it’s not quite as good as Skate. There are a number of things that resemble a dog’s dinner too, particularly vehicles. Whilst the game is visually sound, you certainly get the feeling that Neversoft could have made more of an effort. The world is very large though, so it is excusable to an extent. The map makes up three east-coast areas in the USA, each busy with architecture resembling quarter pipes, grinding rails and ramps, and as a result it’s just as fun as ever to free skate around the game world. There would be no problem with the size of the world if it wasn’t so difficult to navigate between zones. The navigation arrow that ‘guides’ you to your destination is nigh-on

useless, due to a combination of only one access to each area, a design flaw, and an arrow that points directly to the next area even if that, annoyingly, means pointing through a building, river or sheer face. Proving Ground isn’t a terrible game. It manages to nail most of what the series has always done well, whilst including some new features like the excellent video editor, and remains the most accessible skating series on the market. Unfortunately though, many of the new features, combined with frequent technical errors make for a rather disappointing outing. Whilst comparisons shouldn’t be made to Skate, there is surely only room for one king in such a small genre, and faced with such an exciting young pretender, the reigning series is looking increasingly stale.

VERDICT

VIVA PINATA

REVIEWS

Franklin, do you believe in Chewnicorns?

PARTY ANIMALS V

FORMAT Xbox 360 PUBLISHER Microsoft DEVELOPER Krome Studios REVIEWED BY Richard Angus

iva Pinata was a real achievement. In a pleasing return to form, Rare served up the perfect balance between an accessible, relaxing experience for the casual gamer and a deceptively deep gameplay mechanic for those who play a little more. Turning your small stretch of garden into an Eden-like paradise was a fantastic and innovative experience. So much so that it warranted some excitement about future instalments of the franchise; further forays into the dazzling world of the living party pieces.

The project was handed over to Krome Studios to present a new take on Pinata Island. What they have produced is a simple, four player ‘party’ experience, where you battle it out in a series of over forty mini-games and kart-style races. You must race between at least every three games, and a good performance there will give you a bonus on your mini-game scores until the next race, all the endeavour of having the highest candiosity rating come the end of the game. Simple. Graphically, Party Animals is top notch; the saccharine colours and charm from the previous game maintained to the highest standard by Krome Studios, and it all runs at a silky smooth frame rate. The vibrant world of Pinata Island, from the fantastical gardens to the Willy Wonka-esque factory, is presented wonderfully, far beyond the realms of the first game. It’s a delight to behold for both children and adults alike

and makes for a refreshing look in Microsoft’s library this year.

However, the good news stops there; behind that sugary outer shell, the game is as shallow as a Sparrowmint birdbath. The presentation of the game feels thoroughly unfinished. You’re offered few options on the menu screen, opting to either ‘Play at Home’, or ‘Play Online’, with very little else, aside from a ‘Keep The Game Close’ option, which appears to do nothing at all. When you finally get down to the main feature, a criminal lack of anything between mini-games becomes apparent. There are some cut-scenes at times, but those, along with the characters’ catchphrases, are recycled to a ridiculous extent. Often you will find yourself listening to the same phrase throughout the majority of a game, which can become incredibly tedious.

Gameplay is key though, and so hope remains. And, initially at least, the races are a strong point. Each track is nice to look at and offers fast-paced action. However, there are a number of problems. Firstly, with just fourteen short tracks, races get old quickly. What’s worse though is the heavy focus on a number of unbalanced power-ups. Not only are they unbalanced, but going without an item for more than five seconds is actually a challenge; there are literally hundreds of them lying around. Just as well - there’s not enough skill involved, due to the poor layout and non-existence of a racing line. You’re going to need a steady flow of items to stay ahead. If you try to make a racing element a major part of the scoring system there has to be some technique involved, and it’s sadly lacking here.

Rather than the animal-style approach of the first game, the genuinely enjoyable TV show is the inspiration this time around. The lead characters from the TV show, Hudson, Fergy, Franklin and Paulie, are the main characters in the game too, and come to the party with four others. It would have been great to see a Chocodile in there, or even an Elephanilla, but in a quest to keep the game limited, you are offered only the female counterparts of the same characters. Stick a bow on Paulie, et voila, you have Petunia. With so few species of playable Pinata in a world full of such variety, it seems awfully unimaginative.

The party games, the bulk of the experience, aren’t much better either. There are around forty, which pales in comparison even to the tired looking Mario Party series. If, however, the games were entertaining, the number would still be acceptable. There are six tantalising categories on offer that vary from “mash one button repeatedly”, to “mash one button whilst moving the cursor”, to the rather spectacular “mash multiple buttons, preferably in an order”. Too many games feel identical to others; what’s the difference between smashing moving barrels with sticks, smashing moving

loathers with sticks and smashing moving star shaped pinatas with sticks? After having played just a quarter of the games, you’ve probably played them all. Have you ever been infuriated to find that someone has eaten all the best chocolates in a box of confectionary, only for the joker to leave the wrappers in there, leading to inevitable disappointment when you eagerly reach in and grab it? Party Animals is similar, though while the fun, innovation and soul of the Viva Pinata series has been eaten, left only with the wrapper, you’ll notice there’s a bill for £40 stuck to it too. It’s truly disappointing that, after its unique and charming daddy, we are left with nothing more than a shallow and restrictive experience this time around.

VERDICT

REVIEWS

LAIR

If a dragon falls in the forest and nobody gets to hear about it, does it make a thud?

ere’s a question for you – how would you define the word ‘tragedy’? Or to be more specific, what would you consider to be tragic in the medium of video gaming? The demise of SEGA? Gaming gems being outsold tenfold by yearly update dross? That bit in Final Fantasy VII? Buying an Atari Jaguar?

FORMAT PlayStation 3 PUBLISHER Sony DEVELOPER Factor 5 REVIEWED BY Graham Naunton

Whatever your biggest gaming tragedy is, for PlayStation 3 owners in 2007 the answer is simple. There have been a few missteps for the console thus far, but in terms of exclusive games (save for the recent Uncharted and Ratchet & Clank), Sony has struggled. Heavenly Sword was beautiful to play yet ultimately rather shallow while Folklore was solid and interesting yet wholly unspectacular. But the game that stands head and shoulders above these on the ‘close, but no cigar’ scale is the much publicised and anticipated Lair. Mainly because it’s not even remotely close to being good at all. In this generation, and with console owners expecting more innovation from their games than ever, Lair duly obliges, giving us motion control over our scaly flamespewing dragon steeds by arcing and tilting the SIXAXIS controller. It also attempts to tell us an epic story of warring nations, presenting us with mouth-watering, yet exceedingly brown-looking graphics. Early screens and play tests were encouraging, Lair soon becoming synonymous with the

console’s exclusive titles this year. Where Lair has gone cataclysmically wrong, embarrassingly, is with the basics; elements of a game that we almost take for granted these days are bizarrely and infuriatingly absent. A camera which appears to be steered by a hyperactive toddler? It’s back. Substandard controls? Check. Frame rates so slow that you’ll think you’ve slipped into some sort of bullet-time mode by accident? Check again. Now, correct us if we’re wrong, but surely the first thing to be considered when making a videogame is the needs of the person who’ll be sitting down to play it – the consumer, me and you. Try telling that to Factor 5; Lair is all about style over substance, and it’s frankly embarrassing that it ends up with neither. It starts off decent enough – familiarising yourself with the SIXAXIS to steer proves to be relatively painless, the setting is pleasing (if very drab) and the cut scenes and voice acting aren’t too shabby. By mission two, alarm bells start to ring. Adding combat into the mix brings all sorts of woe. Swooping and pitching your beast feels liberating and relatively trouble free at first, but soon becomes wildly inconsistent and inaccurate as the screen fills with activity once you’re facing off against other dragons. Performing certain manoeuvres such as jerking the pad up to spin the dragon 180 degrees only seems to work half of the time, effectively branding them useless. More frustrating though is the

QTE’s that lead to failure due to the game’s inability to register your movements correctly. Free flowing combat in any game demands accuracy, something which is sorely lacking in Lair. More standard combat (which makes up a large proportion of the game) with rival dragons becomes unintentionally hilarious. Lock onto a foe with L1 (which won’t guarantee a lock onto the correct target) and hitting circle to swoop towards the enemy (complete with compulsory screen blur) becomes a ‘handbags at ten paces’ bicker as the two mighty beasts bump into each other a few times before one of you falls out of the sky. It’s almost as if they’re performing some sort of comedy routine. Mashing the buttons whilst tilting the pad, completely oblivious as to whether it’s making any difference or not, isn’t funny either way. So, tragedy then. Many consoles are renowned for having slow starts, and Lair is indeed a thoroughly underwhelming disappointment, but this simply has to stop. Another game that falls short of expectations on a machine that is threatening to do the exact same. Sony’s black box has enormous potential to offer something truly great, and those games that are likely to do so can’t come soon enough. Now that is tragedy.

VERDICT

REVIEWS

ACE COMBAT 6

TIMESHIFT

FIRES OF LIBERATION FORMAT

FORMAT

Xbox 360

360 (Reviewed), PS3, PC

PUBLISHER

Atari

Sierra

DEVELOPER

Namco

Saber Interactive

REVIEWED BY

David Scammell

t should come as no surprise when we say that AC6 looks simply stunning; gorgeous mountain ranges and striking horizons, beautifully modelled aircraft and intricately detailed cockpits it’s no lie to say that AC6 is one of the better looking titles on 360. But it’s not just the beautiful graphics that reels us in. Namco has always managed to get flight control spot-on and thankfully AC6 is no different. Don’t go expecting needlessly over the top controls – this isn’t a realistic flight simulator - but each action is mapped to the controller exactly as you’d expect, while tight handling allows for easy control of your 25 tonne jet fighter. Action in AC6 starts off slow; a leisurely paced chug between targets, shooting Estovakian forces out of the sky with little sense of urgency or threat. It’s a slightly disconcerting start to a series that’s always relied on balls to the wall, heart-pumping gameplay, but thankfully it picks up the pace for the second half of the game, as unrelenting bogies tail your six while you destroy SAM sites and other installations.

But as has always been the case with Ace Combat (and a continual flaw in Namco’s otherwise perfect package), the attempt to build a convincing and engaging story fails dramatically. The plot behind Fires of Liberation is told through a series of cutscenes, and whilst they look great, they have little to no relation to the action occurring in the skies, feeling largely irrelevant as a result. AC6 marks the first time Namco have ventured their much-loved flight combat sim into the online multiplayer world; a dream come true for any budding top guns. With support for up to 16 players, online dog fighting is extremely fast and intense, and by including four distinct modes of play Namco have gone someway to eradicate the potential tedium endured by the repetitive dog fighting. AC6 is a slow-burner and many may be put off by the slow and simplistic early missions, but given you’ve got both the patience and the desire to be Top Gun, Fires of Liberation turns out to be the best in the series so far, and as a result, the best flight-combat game ever made.

VERDICT

e had a severe sense of deja vu when we first loaded up TimeShift - quite appropriate given the subject matter. A scientist, in a suit, transported to an unknown authoritarian world - the watchful eyes of an all-powerful dictator raining down on us from 10ft TV’s as rebel forces duke it out on the streets below. It’s as if we’d travelled back in time to pre-2004 and straight into the hands of a wannabe Half-Life 2. But blatant comparisons aside, we were pleasantly surprised to see a level of competence displayed by TimeShift. Granted the initial hour or so is dire, filled with nonspecific rebels fighting a nonspecific war. It’s generic, uninteresting and incredibly off-putting, but as soon as time-manipulation becomes intensified and the story starts to come together, TimeShift expresses a level of uniqueness unattainable in other FPS’s. It’ll just click - out of nowhere you’ll start to think outside the box. Pausing time to steal an enemy’s gun from under his nose, only to shoot him in the face with it just as he realises its missing soon

becomes second nature. Freezing time to greet a group of enemies with a sticky grenade never manages to get old. Or lining up that perfect headshot, pausing time to place the bullet right between your oblivious adversary’s eyes. Suddenly TimeShift becomes cool. It’s just a shame that, despite the enormous potential for complete mind-benders, puzzle design is as incredibly basic and underdeveloped as it possibly could be. Who’d have thought that we could make it through a destroyed tunnel by simply rewinding time, or slowing down time so we can run through a doorway just before it closes on us? You don’t even have to think about it either; the suit pre-selecting the appropriate time-shifting ability throughout. But that’s TimeShift in a nutshell; a cool and unique, albeit disappointingly simple experience filled with the odd great set piece, only let down by sloppy puzzles and generic design. But hey, at least it’s better than Blinx.

VERDICT

REVIEWS

SYPHON FILTER

WIPEOUT PULSE

LOGAN’S SHADOW

FORMAT

PSP

PUBLISHER

Sony

DEVELOPER

Sony Studio Liverpool

Sony Bend

REVIEWED BY

David Scammell

ipEout has always been a franchise at the forefront of Sony’s gaming consoles. Launching alongside PS1, it made the new 32-bit generation seem desirable the world ‘cool’ striking each person’s lips that managed to witness it in the flesh. Frustratingly delayed and thus narrowly missing the launch of PS2, WipEout was ready for action at the launch of Sony’s next gaming gadget, PSP. Becoming both a critical and commercial success, it was a game that got everybody’s pulses racing; a sequel seemed a dead-cert. Two years later, Pure becomes Pulse. So what’s changed? First off, Pulse offers up no less than seven different game modes, including the return of ‘Elimination’; a fast and frantic “destroy everyone else before they destroy you” mode that’s shied away from WipEout since the third iteration. ‘Zone’, the incredibly popular “go faster until you die” mode first introduced in Pure has also been integrated into the main game, something bound to please the fans. Control has been tightened - the ships now reacting that little bit faster to help save you from

scraping along the sidewall to certain death. Of course, as the ships get faster and the tracks get twistier, you’ll still have to perfect the art of using your air-brakes to swing around tight bends at 400kph. Mag-Strips have also been introduced strips that bind your ship to the track allowing you to pull off loops and stick to 90-degree drops.

s fans of Logan’s original PS1 adventures and his latest outing on PSP last year, we were quietly confident that Sony Bend’s second venture on PSP would meet the high standard set by Dark Mirror. Thankfully Logan’s Shadow equals the quality of its predecessor, but 18 months on, is that enough?

The biggest addition to Pulse however is the inclusion of Ad-Hoc multiplayer, allowing players to join up over the net and race online. A neat addition sorely missed (and subsequently hacked) in Pure, Pulse marks the first time WipEout has ventured online. With only 12 tracks, circuit repetition is definitely a concern, but with the prospect of DLC we’re hoping there will still be plenty of life left in the old dog in months to come.

Action is typical for an SF title; third person espionage, sneaking around boats and back alleys whilst armed to the teeth with high-tech weapons and gadgetry. SF’s cover system is just as effective as ever, but the ability to line up that perfect headshot without exposing yourself, coupled with an enemy that is more than happy to just stand out in the open makes the game that little bit too easy. New to LS is the ability to swim, although those sequences are home to the weaker points of the game, when an already arduous control system is made even more complex.

Ultimately, WipEout Pulse is a slightly prettier and faster version of what you’ve already played seven times in the past. Without doubt it’s the best WipEout yet, but with WipEout HD quietly sitting around the corner itching to hit the PS Store in a matter of months, if you have the patience and access to both formats, the wait for that may be the more sensible option.

VERDICT

Although Sony Bend should be commended for fitting Syphon Filter’s control scheme around the PSP, controls can still feel clunky. There are three different options for players to choose from, but because of the glaring omission of a second

analogue nub, none of them feel manage to feel completely fluid. We found the “Advanced” configuration the easiest - the face buttons used to strafe and the nub to look around - but even that would take a fair bit of getting used to for SF amateurs. For a PSP title production values are sky high. Excellent in game visuals are backed by fantastic FMV sequences and a great score, making Logan’s Shadow one of the best presented games on the platform. But then we wouldn’t have expected anything less; Dark Mirror already proving that, when pushed, there’s a lot of muscle ready to be exploited out of the tiny handheld. We’ve always found the core gameplay of Syphon Filter enjoyable, but due to some substandard enemy AI and simple level design, it’s starting to look old when compared to more recent third person shooters. Having said that, offering up a good campaign and a great online component, Logan’s Shadow is a worthy successor to Dark Mirror. And whilst it doesn’t do enough to sway non-believers, it’s definitely worth a look in from Syphon Filter fans.

VERDICT

CLIVE BARKER’S

JERICHO

REVIEWS

GEARS OF WAR

FORMAT

360 (Reviewed), PS3, PC

PUBLISHER

Codemasters

Microsoft

DEVELOPER

Mercury Steam

Epic Games

REVIEWED BY

Tom Hoggins

David Scammell

ar from being the tense and terrifying horror you may hope for, Jericho is one of those games that thinks ‘mature’ means splattering the screen with gore and saying ‘f*ck’ a lot. Horror author Clive Barker is the mind behind the story of Jericho squad, an elite unit of soldiers skilled in military magic. Presumably penned on an empty crisp packet one lazy afternoon, the tale follows the squad on their mission to close a breach to another world or else leave mankind to extinction. How much Barker had to do with the dreadful dialogue is unclear, which features such gems as ‘You just got your ass kicked by a girl’ and ‘Hey Abby, how many lesbian telekinetic snipers does it take to clear a road?’ No, that second one isn’t made up. If you can abide the B-Movie schlock, Jericho offers a passable FPS with an interesting squad mechanic. As deceased psychic Captain Devin Ross, the player can possess any one of the other members of Jericho squad, each with their own weapon skills and magic powers. The gunplay is satisfyingly robust, only to be let down by a lack of variation in enemies and weak AI. Your squad may have been blessed with paranormal abilities, but

were at the back of the queue for intelligence. It takes a special kind of moron to attempt to shoot point blank a demonic entity that has a penchant for blowing itself up, something your squad seems to enjoy immensely. As if contending with your brainless team-mates wasn’t enough, Jericho keeps up the challenge by sending hordes of gruesome bad guys rushing towards your position. Eventually as you’re overwhelmed for the nth time, the game becomes a grind, frustrating and tedious. However, those determined enough to reach the game’s denouement will find a satisfying finale. A visit to a blood-stained Roman palace, culminating in a pitched Colosseum battle is undoubtedly the game’s highlight. Underneath the river of blood that Jericho is so keen to flow lies much untapped potential. Glimpses of this are seen towards the game’s end, but unfortunately come too late to save it from macabre mediocrity.

ver four million of you have already picked up Epic’s blockbuster title Gears of War on Xbox 360, so to save the relatively short space we have, we needn’t dwell on the basics for too long. GoW follows our hero Marcus Fenix in the struggle against the Locust Horde, an subterranean race determined to eradicate mankind from the Planet Sera. The buzzword with Gears of course is cover, with Epic’s fantastic duck & cover system allowing for some truly intense standoffs. So how have Epic handled their unusually backward transition from console to PC? Well, the keyboard and mouse control system (which whilst perhaps doesn’t feel quite as natural as using a 360 controller) is well implemented, with each action mapped perfectly to the keyboard, while mouse support gives hardcore players the increased amount of accuracy needed to climb to the top of the multiplayer leaderboards. And of course it all looks great; the increased resolutions available on PC allowing for some superb visuals. The highly anticipated new content comes in the form of five new chapters placed at the beginning

VERDICT

of Act 5, bridging the awkward gap between the later scenes of the original 360 version. They do a good job of tying the story together, but feel a little out of place amongst the rest of the game, being larger and rather non-linear sections that require a different approach to every other act. While it’s still equally as good, the new content isn’t enough for existing owners to shell out again for the PC version, which in all adds around an extra hour to the story. Also included is the Unreal Engine 3 Editor, allowing gamers to create their own multiplayer maps for play over LAN or LIVE. It’s a great addition but, as is to be expected, massively confusing to anyone other than the experienced modder. Even a year after release, both the single and multiplayer still stand proud as some of the best gaming experiences out there. There may not be enough new content for existing owners to rush out and play through it all over again, but if you’ve never experienced the fight against the Horde and have a PC to match it’s requirements, Gears of War for Windows is an essential purchase.

VERDICT

SPECIAL

CHRISTMAS QUIZZES A round-up of party games hitting stores this Christmas SCENE IT? LIGHTS, CAMERA ACTION Xbox 360 Microsoft Screenlife/WXP

The videogame conversion of the popular movie quiz board game contains an excellent selection of movie trivia, succeeding in being inclusive to casual cinema-goers while also testing movie buffs.

BUZZ! THE HOLLYWOOD QUIZ PlayStation 2 Sony Relentless Software

The included wireless buzzers are swish, stylish and a pleasure to hold, and the game is host to some imaginative categories and a plethora of movie clips. It may lack a little character, but Scene It is an impressive overall package and well worth the time of movie lovers.

SMARTY PANTS Wii EA Planet Moon Studios

The quiz-master is back, spreading his wings into the world of cinema. If you’re after character you’ve come to the right place - Jason Donovan returning as the wildly entertaining host Buzz. Packed with eight different rounds, tonnes of movie-based questions and support for up to eight players - The Hollywood Quiz is not only the best Buzz yet, but the best quiz game on the market.

CHEGGERS’ PARTY QUIZ While EA’s first foray into the quiz market may be more suited for the younger ones, there’s still plenty of fun to be had for the whole family this Christmas. Taking advantage of the Wii-mote, Smarty Pants manages to feel like a traditional board game by enticing the player to spin a wheel in order to choose their category of choice, before dancing away for maximum points. Packed with great questions and good variety, Smarty Pants is one title from EA we’d definitely like to see more of.

PlayStation 2 Oxygen Interactive Oxygen Interactive

Possibly the worst title we’ve had to endure this year. A constant stream of boring and uninspired questions coupled with a frankly ridiculous voiceover from Keith ‘Cheggers’ Chegwin. Zero variation, poor presentation and more annoying than it is amusing - if you were planning on having fun this Christmas, you’ll get more enjoyment from removing the turkey’s giblets than you will ‘playing’ Oxygen’s pathetic cash in.

COMPETITION

WIN!

This month we’re giving away a copy of the fantastic Super Mario Galaxy on Wii and entering the competition couldn’t be easier! For your chance to win simply CLICK HERE* to send us an email with your name and address. Then just sit back, cross your fingers and one lucky winner will be chosen at random! We awarded Super Mario Galaxy with the elusive 5 Stars this month, stating that it was “Nintendo’s Magnum Opus”. So what are you waiting for? ENTER TODAY!

*Terms & Conditions: D+PAD reserve the right to close this competition at any time without notice. Entrants must be residents of the United Kingdom and all entries must be received by 11th January 2008. One entry permitted per household. A winner will be chosen at random and notified within 28 days of the competition closure. Entrants will be added to our mailing list to be notified of future D+PAD releases. Your details will not be passed on to any third-parties. The editor’s decision is final.

DISCUSSION

D+BATE is a monthly column that sees our highly opinionated writing team tackle hot topics from within the world of video gaming. We’ll discuss the good and we’ll discuss the bad, before coming to a D+PAD verdict.

GOING SOLO Producing a fantastic single player experience has almost always been the predominant factor when creating games. These are some of the best:

Ocarina of Time won over the hearts of millions of gamers when it launched in 1998. To this day it’s widely regarded as the best videogame of all time.

Proof that single player gaming is far from dead, Super Mario Galaxy lands this month to rapturous applause.

Half-Life’s immersive single player experience remains rivalled only by its sequel.

This month we ask the question, what’s more important; single or multiplayer gaming?

THE BLUE CORNER - SINGLE PLAYER It’s a shame that these two game modes, now transformed into bitter arch rivals, must go head to head because they complement one another perfectly. They’re the Simon and Garfunkel or the Turner and Hooch of the gaming world; the foul mouthed and in your face attitude of one perfectly complementing the intricate and awe inspiring majesty of the other. Yet like all great double acts there’s always one side of the act that we call our favourite, and in this particular instance there was never any question as to which fighter I would hold the spit bucket for; the single player. The sweeping emotive highs and the crushing lows that the single player mode so effortlessly conjures up makes all the short lived excitement and hollow comradery present in the multiplayer mode look shallow in comparison. As shallow as the contents in the spit bucket? Quite possibly. When talking about emotions it’s probably logical to first look at the stories that weave their way through the single player mode. It could be the voice of a narrator introducing us to a fictitious world, or the increasing tempo of high pitched beeps letting us know that the end of a round is imminent; one

certainly has more pay off. Although storytelling is becoming an increasingly important aspect to the creation of a videogame, that’s not to say this is a new revelation only taking centre stage because of the seamless narrative seen in Half-Life 2, or the dark dystopian themes weaving their way into Rapture. The much revered classics of the past all have key narrative moments that had us sitting in awe, shock or amazement as vividly engrossing pixelated events unfurled on the screen. It could have been the heart breaking sacrifice of a close friend or feeling an odd sense of pride as a young hero sheds his teenage skin and transforms into an adult. The moments that we look back on, the moments that are close to our heart, and the moments that cause the most controversy call single player their home.

play elements they’ve put into place. Let’s use something as an example to illustrate this; Splinter Cell and Metal Gear Solid. Whilst both are expanding into online territory, the stealth mechanics present in both would just be far too difficult to tune for teams of three or four in an online adversarial mode. It’s been attempted in Splinter Cell, and to be honest it was a fairly successful endeavour, but the gameplay mechanics had to be trimmed, sheared and decapitated in order for the mode to work. Whether it’s abseiling down the side of a building in the dead of night as an illustrious fireworks display dances majestically on the horizon, or whether you’re beneath a cardboard box soaked in urine, gameplay is far more varied when you’re the only good guy in a world of treachery and moustache wielding antagonists.

But the single player isn’t simply a playground for budding Tolkien’s to flex their narrative muscle. From a gameplay perspective there’s also a certain creative freedom at the developer’s disposal when sculpting their single player experience. There isn’t the sheer multitude of restrictions that are necessary in the multiplayer side of things, and the developers have free reign over how to best exploit the various game-

For years gaming has been trying to stand on its own two feet in the entertainment industry, forever snubbed by the media and the general public as an outlet for the childish fantasies of pasty men. It’s still that. But, it’s getting better. By creating heroic idols such as Master Chief and creating artistic masterpieces seen in the likes of Okami, the industry is gaining more depth, and slowly, more recognition.

Luckily it’s in the developer’s best interests to craft a single player experience that draws the attention of both the general public and the gaming community; opening the door to the masses whilst exposing us to some truly revolutionary concepts and ideas. If you’re still teetering in no man’s land, sitting comfortably on a neutral fence, perhaps choosing a favourite comes down to the company you wish to keep. On one side you have a group of charismatic, enigmatic and occasionally terrifying individuals with shaky alliances and ulterior motives; it’s an uncertain but positively engrossing experience. And on the other, a group of foul-mouthed individuals who have complete disregard for both their rivals and team mates, perhaps even resorting to cheating in order to achieve that crushing victory, all whilst thrusting their dubious viewpoints into your ear via high pitched wails. It’s a tough choice. Greg Latham

DISCUSSION

MULTIPLICITY Despite being host to great single player experiences, a lot of games are still better known for their multiplayer counterparts. Here are just a few:

Despite being added late in the development process, GoldenEye arguably kick started the console multiplayer phenomenon when it launched in 1997.

Gears of War was Microsoft’s first real online hit for Xbox 360, which included online co-op and gripping adversarial modes.

Halo 3 continues to be the most played game online, notching up over a million matches every day.

THE RED CORNER - MULTIPLAYER Before I begin, there’s something I need to make clear. At no point in this particular diatribe will I say (or seemingly imply as such) that “multiplayer is better than single-player.” To even suggest such a notion as crude and blunt as that is folly, of which I’m sure that a large percentage of gamers would agree with. There are adventures to immerse yourself in and stories to tell through your interaction with characters in single player ‘experiences’, that any multiplayer offerings simply cannot match. However, the opposite is also completely viable – that wanderings through the online universe or sitting shoulder to shoulder with a friend can offer an ‘experience’ that is just as intense and equally as rewarding as a single player game. The environment, the characters and the narrative all change, yet at the same time are the same. You’re still in the game world, but the key difference is that suddenly it doesn’t feel as though it’s ‘property of’ the game anymore…it belongs to you. It becomes your story, your own personal experiences, and not some single player romp leading you by the hand through a sequence of pre-scripted events. Right about now you might be thinking something like ‘well, that wasn’t the most convincing opening paragraph of a

pro-multiplayer argument I’ve read’, and you’re probably right. And again, to recap – in my opinion, neither mode is better than the other. But to avoid further damage to my coccyx after sitting on the fence for so long, I’ll also say this – multiplayer gaming is changing. It’s evolving; it’s morphing into a beast that wasn’t conceivable even in the last generation. Putting it simply from a consumer’s perspective, a significant multiplayer facet of a game is becoming increasingly entrenched in the hearts, minds and wallets of gamers than ever before. So, you’ll want my opinion then? I was thinking of just implementing the arbitrary by-the-numbers ‘my multiplayer experiences and convincing case studies’ approach you might have read a few dozen times before. I’d rather not hold a metaphorical spit bucket for anybody, thanks. My dabbles with multiplayer gaming through the years were sporadic, yet profound and certainly educational. Whether it was collecting bits of spaceship and hi-fiving for health in Toejam and Earl or getting served at Sensible Soccer, these and many other games introduced to me the concept of the two C’s – co-operation and competition. The latter especially - awakening the primal instinctive urge to win, to better your rivals. No matter how many HD sheens

our future generations of console receive, this subconscious desire to compete will never waver. This generation however, has seen another C enter the fray – one which isn’t akin to the other two (due to their seeming inevitability) and requires certain conditions for it to work. I am, of course, referring to community. Now, this generation of gaming isn’t the first to bring online interactive battlefields and fantasy worlds to our own homes, but what we are witnessing is a revolution. Gone is the misconception of the gamer sitting in the dark, hunched over a joypad playing some crude looking ‘game’ – now it’s friends lists teeming with compatriots, combatants and clan mates from all corners of the globe. Now it’s strategy using voice communications – the teamwork, the execution of a carefully planned strategy and the banter. Now it’s the ultimate in AI – the sternest tests, pitting your wits against other players, meeting new people and making new friends. It’s safe to say your game collection won’t look the same again, with some titles serving up experiences that you never thought they had in them. I can’t say for sure that everybody has this feeling of all these doors suddenly unlocking for them, but it’s something you have to work at. I mean, you could go online for the first time and get

owned by some pre-pubescent screeching in your ear, which I can’t imagine being very pleasant. It’s not easy meeting new people inside interactive spaces like lobbies either, but social networking tools such as MySpace and Facebook (or more aptly, Sony’s new PlayStation Home project) are a good place to start making some new LIVE mates and PSN friends. After all, networks in all walks of life are intrinsically linked – stick around, have a roam, and who knows who you might come across. I was going to pull a couple of games out of the hat to prove how awesome and necessary multiplayer gaming is. But to be honest, if you’re with me you’ll already know what games I’m going to mention. And if you’re not sure, now is the best time ever to find out what the fuss is all about. Reach out and touch someone, whether it be making new friends, or reaching out to virtually strangle that squeaky voiced adolescent that insists on shooting you in the back. Graham Naunton

DISCUSSION

What the rest of us think... While I do enjoy a battle of wits in multiplayer - online or off - they're not the reason I play videogames. I pick up a pad to escape from the real world for a few hours, immerse myself in a story and just let go. It's a little harder to do that with some dimwitted reprobate screaming down your ear.

I really don't think you can say one is better than the other. This generation has been flooded with online games, and I've missed the steady stream of single player goodness the last gen had. On the other hand, I look back on previous generations and wonder how I coped without online gaming.

You've got to be insane to declare a clear-cut winner, but single player modes have provided me with so many captivating moments, deep storylines and innovative gameplay treats that I simply couldn't vote for multiplayer. It rarely has the scope to provide any of the foundations that make gaming so great in the first place.

Tom Hoggins

John McCormick

Stefan Goerke-Hewitt

I find a great single player experience much more enthralling than even the best multiplayer games. I’m not going to deny that playing online with friends can be great fun - I’ve had many memorable multiplayer moments across the years - but if I’m going to be sociable, I’d much rather do it through other means.

While single player is the bread and butter of any video game experience, multiplayer gets my vote simply because of its unpredictability. The way a multiplayer game can use the same parameters every time, but always feel completely different makes it a very attractive prospect.

While I do enjoy the occasional game of Team Fortress 2 with a couple of friends, I don't think any multiplayer game will ever surpass the experiences I've had in some single player games. Story driven experiences are much more important to me than who gets the highest score.

James Bowden

Ian Freeman

David Scammell

The official D+PAD poll... Single player

Multiplayer

And the winner is...

THE BLUE CORNER! It was a close-run thing, but in the end we feel that an engrossing and fulfilling single player experience is more important than any multiplayer component. With online action becoming increasingly popular it could all change in the future, but for now we’re happiest going it alone.

Were we right in deciding that a good single player experience is most important to gaming, or do you disagree? We’re not the only one’s with an opinion and we’d like to hear yours! Let us know what you think by sending an email to: dbate@dpad-magazine.com

READER REACTIONS

Which game will be at the top of your list this Christmas? Super Mario Galaxy looks like the perfect game to wake up to Christmas morning. Cheery, lighthearted fun, and perfect for everyone in the family. Cannot wait! little_lego_man

It's not easy to single out one game, but I've got a gut feeling that Mass Effect will blow me away. I adored KOTOR, so I don't understand how ME will be anything short of astounding. Niall Gosker

Uncharted Drakes Fortune is a must. A chance to run around a stunning tropical island this Christmas, who could resist? E-ROLE

? I’m going to pick up the new Ratchet & Clank for the kids. After years of spending Christmas day watching animated films with them, this year we might get the chance to play one! lamp

This month we’re asking: What game are you most looking forward to playing in 2008? Send your opinions to reactions@dpad-magazine.com and we’ll print the best in next month’s issue.

There are far too many! I'm sure FPS aficionados will be in headshot heaven with Unreal Tournament 3, whilst the graphic whores will enjoy the eye candy of Crysis, and with the circulation of Half Life 2 gifts for prior owners of Half Life 2 with a purchase of the Orange Box, I'm sure there will be plenty of people walking a mile in Gordon Freeman's suit. Amran

I want FIFA cos I am a brainless moron. I should buy Assassin's Creed but the fear of the unknown keeps drawing me back to those piss poor yearly updates...Oh wait, no I want Need for Speed. And a duck. Today is mongoose

grumpy jo’s

COLUMN

I picked a helluva day to quit drinkin'

Before we begin, allow me a small introduction. Grumpy Jo can’t be here this month as he is still stuck in Brent Cross car park (it’s been over a week now), so I am gallantly stepping in to fill the frankly massive void left in his wake. Last time you saw me I was lying on a derelict bridge. My name is Captain Price and I have a moustache. Unfortunately the world has been conspiring against me this month, culminating in the unfortunate demise of my iMac and the wondrous fill in column contained therein. I maintain it’s not my fault, I mean who would have thought a Mac would break? Damn Steve Jobs and his smarmy adverts. So as it stands I am in the process of having a logic board replaced and having to slum it on my pikey MacBook. Still I can’t just sit here complaining about unreliable computers, I’ve got a column to cobble together! So it’s nearly Christmas. Woo, and indeed, hoo. That wonderful time of year that we are treated to loads of new and original games. /End Sarcasm. I could go on for hours about how much I hate the endless parade of sequels we get at this time of year, but frankly, I can’t be arsed. What I want to do instead is moan about Mass Effect. I have never been so bored by a computer game in my entire life. Honest to God, I hate this piece of crap. The early reviews (and indeed our own review) proclaim it as one of the games of the year, but I warn you now, everyone that reviewed the game and liked it must have been on some very powerful drugs. Maybe it’s not my cup of tea and that’s why I hate it (I can’t, for example, stand Zelda games either – far too dull and uninteresting) but I really think it’s broken. Maybe when I make it through the rest of the avalanche of games I’m playing I’ll give it another go but I wouldn’t count on it. I’ll be too busy murdering up the beggars that wander the streets of Jerusalem (in Assassin’s Creed, of course.) Jo: “Captain Price I’m back! Thanks for filling in for me I got those scented candles you wanted”

And I’m back. In other news, Nintendo have admitted (surprisingly enough) that the Wii will be all sorts of impossible to get hold of this Christmas. Now I’m not any sort of market analyst, but why haven’t they spent the past year investing in new manufacturing plants to actually make some Wiis instead of spending money on advertising a product you can’t buy? Anyone would think that they don’t want to make money. And while I’m on the subject, why exactly do people keep buying those things anyway? Is there actually one worthwhile exclusive title available yet? I know you’ll all throw Mario Galaxy back in my face but, just like Marse Effect, it is rubbish as well. In fact the only thing I can think of that’ll make me want a Wii is Phoenix Wright. Get one of those out and we’ll talk. Actually we won’t because I won’t be able to find a console anywhere anyway… Speaking of which, why is Guitar Hero 3 so difficult to find as a standalone game? After a thorough search, I only managed to find it in one measly shop on the high street, and to sweeten the deal it was priced up at £45! What the money grabbing hell? £45 for what’s essentially an add-on pack? Sorry Activision, I know you need the money with the recent merger and all (World of Guitar Hero anyone?) but that takes the biscuit. Most people already have at least one guitar and making them buy another is totally underhand. And then when you consider that you’ll have to buy ANOTHER guitar in March for Rock Band, most people’s houses will end up like Nigel Tufnel’s music room. Activision, you truly are a bunch of Christmassy piss wizards. So there you have it; the end of the year. Let’s hope next year’s a bit better eh? And on that note I’m off for a glass of eggnog with Captain Price. Have a good Christmas and I’ll see you all in 2008. Captain Price away!

Captain Price: “Lovely, I shall use them when I have a bath later. Captain Price away!!!”

GALLERY

richard kwok

ordeals www.ghostyurei.deviantart.com

GALLERY

nicolien beerens

cloudâ&#x20AC;&#x2122;s phonecall www.cataclysm-x.deviantart.com - n.beerens@gmail.com

GALLERY

sergio quijada

shadow of the colossus http://www.sergioquijada.cl

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