Dirt Showdown

The Good

• Varied deformation models make for satisfying destruction
• Sharp presentation and smooth visuals
• Wide range of event types
• Online racing is masses of fun
• Easy-to-master arcade handling.

The Bad

• Single-player campaign lacks a proper career to nurture or narrative to follow
• Cheesy commentary wears thin quickly.

UK REVIEW: There's a spectacle to Dirt Showdown that flies in the face of racing tradition: the jumps, the drifts, the squealing doughnuts, and the blinding flash of fireworks. With each crumpled bumper and shattered windscreen, a vast arena crowd roars, eager to be wowed not with the shaving of valuable seconds from a lap time, but with pyrotechnic-laden displays of driving that are as much about showmanship and destruction as they are about skilful precision. It's an intoxicating mix that forgoes the difficulty of simulation for a thrilling and beautifully presented arcade ride.

There's fireworks aplenty in Dirt Showdown.

The biggest difference between Showdown and its predecessors is that the handling is surprisingly forgiving. You can whip your car around the tightest of corners without ever easing off the accelerator, while even the most dramatic twirls of the steering wheel don't send you hurtling headfirst towards a barrier like they used to. But there's still a balance to be found. The skill lies in the timing of your turns and the judicious tapping of your hand brake and boost to perform impressive drifts and show-stopping doughnut rings. It's a dramatically different feel, but one that lends itself beautifully to the events at hand.
Some, like the Hoonigan events, are all about precision and showmanship in licensed cars. The destructible blocks of Smash Hunter are intricately arranged to reward delicate turns and tight drifts, while a timer for high scores keeps the pressure on, and your speed up. There's more challenge to be had in Trick Rush events, where drifts, doughnuts, and jumps are scattered throughout cleverly designed environments. With each trick your multiplier climbs ever higher, resulting in a mad dash to rack up points before the timer runs down.
Most challenging are the head to head Gymkhana events, where you take on the mighty Ken Block in a trick-filled arena course. The turns are tighter, the jumps larger, and the pyrotechnics even wilder. But while the bright, neon fireworks and explosive confetti cannons certainly add excitement to the proceedings, it's the process of improving bit by bit, drawing ever closer to success and perfection that makes such events so entertaining and incredibly addictive.
But there's another side to Dirt Showdown, one that sheds the skill for mindless and supremely satisfying displays of destruction: Demolition events. The licensed cars are ditched in favour of made-up machines that are turned into crumpled heaps of scrap as you're launched into the centre of an arena to ram, slam, and boost your way into opponents, doing everything you can to whittle down their health bars and to score points. Enclosed arenas give you barriers to ram them against, while open arenas mean mistimed boosts send you spiralling out of control onto the surrounding sandy ground.

T-Bone: apparently not just a delicious steak.

It's all very dramatic, and heaps of fun, despite the incredibly cheesy and quickly grating quips from the commentator. There's a sick satisfaction to be had from tearing into cars and ripping off bumpers, but of course, your competitors can do the same to you. And when a whole gang of them are chasing after you at once in Hard Target events, it becomes a tense battle for survival. There are more conventional events on offer, such as Lap Attack, Eliminator, and Domination races. But while cleverly designed figure-of-eight circuits and ramp-filled tracks keep the racing firmly in the arcade, these events are unremarkable when compared to the bombast of Gymkhana or the all-out carnage of Demolition.
A mix of all events makes up the Showdown Tour career.There are four stages to play through, each consisting of 15 events that take you on a tour of the world. There are the colourful lights and sharp corners of Tokyo; the dusty roads and sweeping drifts of the Baja California circuits; the slippery snow-covered slopes of Colorado; and the wide-open industrial spaces of Battersea. All are beautifully presented, showcasing the typically great circuit design that Codemasters is famed for. The ability to purchase new cars or upgrade their basic stats such as power and handling using money you earn is a nice incentive to progress, but without a narrative or character to develop, it can get a little tiresome.

The events really come into their own when you take them online or compete via two-player split-screen. Smashing AI opponents is one thing, but when it's your friend's car you've turned into scrap, that's a whole other level of satisfaction. Even the race events are more enjoyable, thanks to the inevitable smashing of opponents' cars as you drive around a circuit. There's also the option to split into teams, thrusting you and seven other players into epic battles for destruction domination. It all comes together brilliantly, giving you the feeling that perhaps Showdown always was intended to be an online experience, even if the single-player is hardly a rush job.

Block-smashing is even more fun in a Mini.

 Showdown has one more single-player trick up its sleeve in the form of Joyride. Its large, free-roaming levels offer up a range of fun quick-fire missions for you to complete. Some are in the form of tricks like performing death-defying leaps or tight drifts. Others are speed challenges where you race through tight circuits as quickly as possible. There are hidden Showdown icons to collect too. With all there is to do, you can spend lots of time simply enjoying a drive around a Joyride level and picking off missions. Plus, your scores and times can be sent over to friends as challenges for them to complete, which is a nice touch.

Competing with friends really is the best Sure, the single-player campaign is pleasant enough, but it's nothing compared to the joy of online destruction and the satisfaction of nailing those most impressive of skilful driving tricks in front of an audience. And when it's delivered via some of the smoothest and most stunning visuals in the racing genre, it's easy to see how you can get lost for hours in Showdown's bombastic world. If you're looking for the next great rally simulator, you won't find it here. But to ignore Dirt Showdown because of its arcade styling would be to deny yourself one of the most satisfying of pleasures: that of mindless, over-the-top, and--above all--deliciously addictive destruction.by markwalton

Donkey Kong Record Destroyed

Hank Chien is the best  Donkey Kong player in the history of the planet Earth. The New York plastic surgeon recently scored 1,110,100 points on the archaic arcade machine, and thus became the envy of old school game fans the world over. Chien didn't even reach the final "kill screen" of the game in his historic performance

"This was not a killscreen game," Chien told the Examiner. "I died two screens shy of the killscreen so my score would have been a little higher, perhaps 1.12 million points. I had a spare man going into Level 21 and was mentally preparing to sacrifice it on the last barrel board and my game was over a few minutes later. That's how Donkey Kong rolls sometimes."
Chien beat his own record, so there's not even any hurt feelings from another lover of extreme DK scoring.
 Chien is a humble champion, attributing his win partially to the rarity of original Donkey Kong game machines. "I know currently there are several players who are capable of beating that score," he said. "If there was still a Donkey Kong in every pizza parlor I'm sure I wouldn't have the record."bystephenjohnson

Metro Last Light Hands On

Clean air is hard to come by in Metro: Last Light. Fighting through the destroyed streets of post-apocalyptic Moscow,encountering flying monsters, mutant spiders and falling trees, but it’s the air that will get you. With every step you take, a timer on your watch counts down the few seconds of breathable air left in a filter on your mask, reminding you to do what you need and to do it fast. Your life depends on it.
The world that THQ and developer 4A Games have created in Last Light isn’t the post-apocalyptic future you’re used to. The Moscow seen here is bleak and surrounded by collapsed buildings, but it’s not the type of setting you might find in Fallout 3 or Rage. Metro’s world is one of horror, where psychic visions drive the few people still alive completely insane. And air isn’t the only thing that’s scarce. In addition to looking for new air filters, you’ll always be searching for light, bullets, battery chargers and even other people as you explore what’s left of Moscow.

Exploration is Metro's greatest strength. Moving through the tunnels of Moscow’s underground subway system, you’ll use a lighter to see where you’re going.There’s a real sense of terror moving through the dark, never knowing what you’ll find around each corner. If you’re lucky, you’ll come across some supplies, maybe a shotgun. If you’re not, you’ll find mutant spiders bursting out of a corpse.
You won’t spend the entire game underground, though. When you emerge above ground, you’ll shield your eyes from the light of the sun, blinding after the darkness of the tunnels. Moving above ground brings alternate hazards, like flying mutants that will pick you up and drop you without a moment’s notice. Encounters with these enemies feel real, especially as you control subtle moments in response to each, like wiping debris from the visor on your mask.
Instead of non-stop shooting and action, Metro: Last Light aims for immersion, putting you back in the shoes of Artyom, the protagonist of Metro 2033. Once again, Artyom is fighting off the Dark Ones, former humans who have been mutated into monsters by Moscow’s radiation. But Artyom has a secret weapon: he isn’t affected by the Dark Ones’ psychic visions. He can experience them, but isn’t driven mad like the people around him. Considering the nature of those visions, this is no small feat.

In one portion of the demo we saw, Artyom and his partner come across wreckage from a place crash, using it as an opportunity to look for supplies. As they step into the cockpit, a brutally vivid flashback shows exactly how the plane went down, cracked windows, screaming and all. Frequent visions like that would drive anyone insane.
Scripted events aren’t uncommon in Last Light, and 4A sees them as an opportunity to further immerse the player. While the game contains quick time events throughout, there won’t be any button prompts. The developers are confident that players will know what they need to do, relying on what they’ve been taught from exploring Moscow to know how to react. 4A knows gamers are smart, and it's treating them like it.
THQ isn’t ready to talk about the rest of the game’s features, but we do know that 2033’s hardcore Ranger Mode is set to return and will be “more substantial” this time around. Metro 2033 created a harsh new take on the post-apocalyptic future, and Last Light seems poised to improve upon it in a big way. Moscow still has plenty of secrets, but hopefully some of them will be revealed at E3 next week.

Minecraft Passes 6 Million Sales

“Minecraft has now sold six million copies” said Notch on Twitter earlier today. Another milestone smashed. According to the Minecraft site at the precise moment of writing, 6,001,992 copies have been sold, and 29,894,214 people have registered to the site. A version was released on Xbox recently, which seems to have boosted total Minecraft sales quite a bit. Mojang’s Daniel Kaplan estimates that a grand total of 9.2 million copies have been shifted. In short: there are a lot of bros breaking blocks right now.

The game is still growing. Lead developer Jeb recently released an update snapshot to give players an early look at NPC trading and the magical Ender safe. In March, the Financial Times took a look at Mojang’s finances and deduced that the company had made a  $13.5 million in profits during its first fifteen months. It looks like Mojang’s success is set to continue. Minecraft is still selling well and, from what we’ve played Cobalt is shaping up very nicely. Grats to Mojang.by tomsenior

Ghost Recon: Future Soldier Review

The Good

• Pleasing sync shot mechanic
• Lengthy campaign is great in both solo play and co-op
• Enjoyable competitive multiplayer modes.

The Bad

• Numerous AI oddities
• Unremarkable firefights.

The decades to come may be full of unknown potential for wondrous inventions, but in the gaming realm, the future is old hat. Invisibility, X-ray vision, and miniature floating cameras are modern marvels that have long since become familiar. Though these tools are potent in Tom Clancy's Ghost Recon: Future Soldier, there's precious little novelty in your futuristic arsenal, and this can make you feel like you're undertaking missions you've run many times before. So is Future Soldier just another by-the-book third-person shooter?

 Though there's plenty of familiarity to be found here, Future Soldier's brand of stealthy action and streamlined teamwork gives it a distinct appeal. The lengthy campaign lets you wield your AI allies like autonomous weapons; their guns are yours to command, but they handle their own maneuvers, pushing the action along at a slick pace. Replacing them with your  humans brings its own challenges and rewards, as does facing off against said humans in the lively competitive multiplayer modes. Though it's more of a product of the past than a vision of the future, Ghost Recon: Future Soldier is a robust package that provides plenty of satisfying ways to exercise your itchy trigger finger.
In the campaign, you play as the ghosts, a four-man team of elite soldiers. Cutscenes and mid-mission dialogue combine to create a nice sense of camaraderie among the crew, and hackneyed archetypes are downplayed in favor of more understated characterization. Personalities are colored in during small moments, like a song streaming out of earbuds, a fleeting facial expression, and a conversation about used trucks. Interactions with other military personnel reveal how isolated the ghosts are from the soldiers they break bread with and how oblivious those soldiers are to this fact. This creates a connection among the ghosts that is a refreshing change from the familiar "bonds forged on the crucible of combat" trope.

Line 'em up and knock 'em down.

On the field of battle, the ghosts try to emulate their namesakes, moving silently with the aid of slick optical camouflage that dissolves if you jog, sprint, or fire your weapon. Staying stealthy is often a mission requirement, and even when it isn't, avoiding detection gives you a distinct advantage. It's easy to maneuver unseen, and you spend a lot of time silently eliminating foes. Stealth melee kills and suppressed weapons are your basic tools, but the key mechanic is the sync shot. Spotting enemies through your scope or tagging them from aloft with your aerial drone, you can designate up to four targets for you and your squad to eliminate in one fell swoop. To execute, simply open fire on your own target, or issue the command with a press of the right bumper.

It's a neat trick, and the seconds of slo-mo that follow are  welcome flourish that allow you to silently mop up more than the few targeted foes. Using sync shots to eliminate enemies is pleasing and relatively easy, thanks to the array of detection methods at your disposal. Drones, sensor grenades, and a few flavors of optical gadgetry give you plenty of ways to detect nearby foes. As long as no one sees the dead bodies, no one gets suspicious, and many situations lay out foes in discrete, easily sync-shot-able groups.

Only in later levels do you encounter larger groups that put your coordination skills to the test. You must now take into account multiple lines of sight and interlocking movement patterns, as well as calibrate the exact speed at which you can tag and take down a new set of targets. Methodically carving your way through scenarios is very satisfying, and you might even find yourself choosing to reload checkpoints when you are discovered, even if you aren't forced to. Though an alert doesn't always bring your mission to a close, challenging yourself to maintain stealth is usually more engaging and fun than blasting your way through.

It's important to remember that you are camouflaged, not invisible.

Aside from sync shot orders, your AI allies are mostly autonomous. They follow your lead but move, take cover, and engage alerted targets on their own. They are very reliable, but they are prone to a number of unrealistic behaviors that can hamper your immersion. Shooting effectively through multiple thick walls, sprinting past enemies while maintaining camouflage, or failing to acquire a marked target in line of sight are all intermittent AI oddities.

Fortunately, these AI issues rarely have an adverse effect on your progress. Yet regardless of how careful you are, things are going to get loud. Open firefights provide good opportunities to use non-suppressed weapons like light machine guns and shotguns, as well as deadly ordnance like frag and incendiary grenades. The AI is aggressive, but not reckless and they throw grenades, flank, and suppress your position with vigor. The latter action can trigger a disorienting camera movement that temporarily prevents you from returning fire, a nice change from the clouded field of view seen in other shooters.

As long as you stay behind cover, dodge grenades, and shoot sharply, you can progress through these encounters without too much hassle. The suggested weapon loadout is always up to the task, though Future Soldier does offer an extensive weapon customization mode before each campaign mission. Almost every part of the gun can be analyzed and swapped out for another that favors different attributes, though it takes some time to unlock the more intriguing hardware. Each component is rendered in loving detail, and it's fun to watch the gun spring apart into fragments and then reassemble. You do all this tinkering with the controller or with the Kinect, though the latter is strictly a novelty and almost no help at all when it comes to testing your weapon on the firing range.
Out in the field, your guns fire with realistic reports and bullets impact targets with a squishy thud. Yet while the gunplay is competently put together, the cover-to-cover firefights rarely coalesce into something truly exciting. There's a workmanlike quality to the action that makes you yearn for the thrill of a sync shot, though some set-piece moments help liven things up. Slow-motion breaching maneuvers and on-rails hostage extractions add some dramatic flair, and the mission with a donkey-sized robot (the Warhound) provides some explosive kicks.

Your other arm is currently devoted to hostage extraction.

Each campaign mission presents four challenges to overcome in order to unlock extra weaponry, and striving to achieve them is a good way to keep things more interesting. You have to tweak your arsenal to pull some of them off, or just bring a few friends along to help your cause. In fact, some seem to all but require additional human players, and you can have one local or up to three online teammates. Coordinating sync shots and advancing on enemies is more enjoyable with a human crew, and there's also a horde mode in which you (and up to three friends) must defend an outpost from waves of enemies. Escalating weapon loadouts, wave perks, and a variety of gear help you make your stand as things get tougher, and the higher waves pose a stiff challenge to even the sharpest ghosts.
There's also a lively challenge to be found in competitive multiplayer, in which two teams of up to six players can compete in a variety of modes. As in the campaign, you can die quickly if caught out, so cover is a powerful ally. But with the exception of the one-life-per-round Siege mode, respawns happen frequently enough that the penalty for death is not very severe, which allows for more brazen tactics. This gives things a more hectic feel, especially in Conflict mode when the objectives regularly shift the focal point of the battle.

Not on my watch.

Your firearm skills serve you well, but so does reconnaissance. Stunning an enemy instead of killing him and then hacking his data feed may be risky and time-consuming, but the resulting reveal of enemy positions is a very potent reward, especially in the bomb-transporting Saboteur mode. Using your tech to gain an advantage is gratifying, and success in multiplayer earns you levels and new gear for whichever of the three classes you are playing as at the time.
The competitive action evolves as more players bring more gadgetry and guns into the fray, adding some nice diversity, and even the lengthy campaign provides some good reasons to return to it after you've seen it through. Though the standard gunplay isn't very exciting, stealthly skill shots and diverse combat scenarios provide a lot of entertaining and satisfying moments. The action rarely transcends present-day standards, but Ghost Recon: Future Soldier proves that there is still a lot of fun to be found on the battlefields of the future.by chriswatters

Madden 13 Swears It’s Not the Same Old Song

No sports video game, I'd argueis as harangued as Madden NFL. Read any forum, read the comments to any story, including this one, and the list of gamer demands for the upcoming release is quite long and quite detailed. "New music" doesn't appear in any of it.

Why, then, is Madden NFL 13 getting a new broadcast theme this year?
"Sure, it's a good question," Matt Bialosuknia acknowledges, before preparing an answer. "We have really pushed the Xbox 360 and PlayStation 3 to the highest visual fidelity that we can. Especially this year. I feel like our audio has come up short, or was sort of underinvested.
"For me," says Bialosuknia, the game's chief audio producer, "it adds the additional layer of 'wow' and overall immersion into Madden that hasn't really been there."

 

What he really means is that Madden's new theme, which you can hear at left, isn't necessarily a feature unto itself. I'd be shocked if a new music suite drove a single purchase decision for a title that sells in the millions at launch. It's simply a component—but a very key one—of an upgrade to the

broadcast-style presentation of a game that needed it, desperately, after what was produced last year.
Following Madden NFL 12, the series required a comprehensive retrenchment in commentary and presentation. What the game had done right in 2010 was washed out by the failure to fully integrate a new commentary engine. Those pre-game runout animations touted last year were, in hindsight, a means of partially masking the dead air and repetition you then heard from Gus Johnson and Cris Collinsworth from the coin toss onward. Bialosuknia, in his second year of running the game's audio, admitted that Madden needed a broadcast overhaul, and it got it—notably in bringing CBS' real-life A-team of Jim Nantz and Phil Simms.
And if Madden is bringing them in so it may be taken more seriously, it couldn't put them on the screen with the old package of graphics and themes. I'm not sure exactly how long the current opening—which is very brief—has been around, but its opening horns are very obligatory, and hardly distinctive. It feels like the opening to a video game, not to a football game, and in simulation sports, broadcast immersion is extremely important—it's a huge component of NBA 2K's wide acceptance.
I'm not sure how I feel about the main Madden theme just yet. It is distinct, but it doesn't stick to the beat in the middle, and that requires you to actively listen to it. When you do follow, the song's melody does open up. I'm more a fan of the between-quarters transition EA Sports has shown us. But in both cases, the music strives to meet the demands of America's most telegenic sport, which carries event-quality expectations, not just something you flip on to see who's playing.
The difficulty is that four major American networks have an NFL broadcast, and therefore its own theme, all of which are recognizable if not iconic to longtime football fans. Though EA Sports has a relationship with ESPN to use its broadcast package and branding, ESPN gets one game a week, on Monday. And really, picking any single network, even Nantz and Simms' native CBS, would break immersion. Football fans know the American Football Conference is on CBS, and the National is on Fox. ESPN and NBC get spotlight games. Madden has to act as a fifth network, evocative of all of them. Music plays a big role in that.
Bialosuknia tapped Colin O'Malley, a composer with experience both in video game soundtracks and in scoring a PBS documentary. He also composed the latest suite of original music in NCAA Football, made at the same studio as Madden, so he had familiarity with what video game audio producers wanted from him. Bialosuknia's team forwarded O'Malley samples of songs they wanted to inspire this fictitious broadcast. With the exception of Monday Night Football, an update of a melody used for more than 30 years, everything sounds like an action film, which is why Madden's theme does, too.
"I think we went for energy, excitement, and speed and drama," Bialosuknia said. "There's a sense of strugle. The really strong rhythmic melody really brings that across. For all of us, listening to it over and over again, it still never fails to psych people up. To me, that's what the song really needed to do."

 

 

O'Malley's first take was, substantially, what you hear in that final cut above. O'Malley was also asked to score several pieces of transitory music—going into a timeout or halftime or between quarters and the suite of menu music that will replace the EA Trax selection of popular songs, which cost a lot of money to license and became aggravatingly repetitive.
There were revisions and re-revisions and adjustments to O'Malley's first stab at the Madden anthem. But, Bialosuknia said, Madden had an ambition of opening to a theme that would become recognizable if hummed, like all the U.S. networks' are. O'Malley hit the target very early, he said.
"We looked at it in the context of the Madden that we're building, but we always had an eye toward the horizon," Bialosuknia said. "W didn't want to have a theme and have it change every year. Our idea was to create this theme and hope that it stuck, and is embraced, and that it carries forward. I think from what we've read so far, it has.
"The comments on it," he adds, "seem quite pleased."

"Vessel" Game Review

Every once in a while we catch glimpses of the pure magic puzzle gaming can bring us. Titles that succeed not with light-speed car chases or dismemberment or wartime imagery or trend-setting graphics, but by transporting and immersing us in an intriguing, spellbinding world. Where the dedication and the inspiration of thedesign team is palpable, and where adults and adolescents alike are held captive by a concept that seems so simplistic from the outset yet blooms so beautifully into something far deeper. Soon enough, we are totally and without reservation, hooked.
This is the land of great ancients such as Lemmings and Day of the Tentacle and more recent standouts like LittleBigPlanet and Braid. There are others, of course, and now there's a new candidate that almost makes the grade. Its name is Vessel, and in many ways it delivers that same brand of magic. Indeed, if concept and presentation were the only factors taken into account, it would likely take its place alongside some of the great indie efforts of recent years. Ultimately, its few flaws are enough to hold it back from such a plateau. Does that mean it isn't deserving of your attention? Hardly.

Vessel plunks us into the industrialized, mechanized, yet oddly primitive life of scientist/inventor M. Arkwright. Arkwright lives in a 2D world that we as his overseers scroll up and down and from side to side. It is, initially, underground, and much of it could quite easily double as a meandering mineshaft, with "rooms" sprinkled liberally about in which your puzzle-solving takes place. Later levels take us above ground and also into a real mine.
Arkwright's most infamous invention to date – an aquatic mutation if you will – is a liquid-based lifeform he's dubbed a Fluro. Fluros are cute little critters – one eye in the middle of an amorphous and generally translucent blob that boasts leg-like appendages and the apparent consistency of Jell-O. Fluros are not only cute, they're global too. You see, corporations worldwide were quick to pick up on a worker that does not fatigue, does not make errors, does not complain, and is instantly replaceable. Thusly, Fluros veritably litter the planet.
Sadly, it turns out the little buggers are not perfect. Indeed, some have gone a bit wacko in Arkwright's own sprawling lair – generally being naughty and doing things they're not asked to do – and at the outset of the game Arkwright has taken it upon himself to solve the problem. As good fortune would have it, that's precisely when you enter the picture.

Into this Steampunkish environment you wade, with little grasp on the story and what's to befall you other than a quick glance at several still photos and a scant few words from Arkwright's journal. This is one of the joys – or pitfalls, depending on your perspective – of this game named Vessel. There are no instructions. There are no hints. In fact, apart from a list of commands, you are for all intents and purposes on your own. Even the gameplay interface is blissfully free of control overlays and operational icons.
Vessel is distinctive in that the ubiquitous antagonists – the Fluros – aren't always antagonistic. In fact, they're more mischievous than hateful even when they're behaving badly, and they’re always useful.
In Vessel, you solve puzzles in one location in order to unveil the opening that takes you to the next location. You do so by operating machinery,which in turn involves jumping on raised platforms (that behave like big on/off buttons), leaping into the air to grab levers, swinging back and forth on pulleys and chains a la Tarzan, and much more. Why anyone would build such elaborate craziness simply to activate machines is another question altogether.
The central focus throughout is…liquid. Developer Strange Loop games has apparently taken great pains to at least semi-accurately model the physics of liquid as it moves about, and that's a good thing because it is essential to just about everything within the game. And in Vessel, liquid acts as liquid should.
Liquid is, of course, the substance from which Fluros are made. And it is you who most often creates them, usually by aiming various liquid-propelling nozzles/guns at various spots and watching as little Fluros take shape. This is something you'll want to do quite often, as most Fluros can and will help you achieve your goals, sloshing about hither and thither to obediently operate stuff you either can't reach or don't have the time to reach. To paraphrase the old adage, you can't live with Fluros, but you definitely won't live without 'em.
But you'll use liquid for other things too, spraying it into tight spots to make something happen remotely or using it in conjunction with Fluro "seeds" to hatch little helpers in what otherwise are inaccessible locations. And when you're not using it, you're experiencing it. You'll wade through liquid, you'll be soaked by it as it cascades down from above, and you will undoubtedly be harmed by it as you move forward into the meat of the game. Here, Fluros show their versatility and could well be comprised of molten lava rather than water, with disastrous repercussions if you don't handle the situation correctly. Indeed, once you've acquired your portable nozzle and backpack – likely after several hours of gameplay – the danger level is ramped up considerably. Sure, you can create Fluros wherever you want, but you're now, quite literally, playing with fire. This is precisely when the do-overs begin in earnest.

If there is one unshakeable fact about Vessel, it's that seemingly everything of importance is intended to interact, one way or another, with numerous other objects/items of importance. With such vague instructions at your disposal, it's up to you to decide which parts go where – and when. It is a very clever concept that Strange Loop hath wrought, and even cleverer (some might say diabolical) puzzle design, and it often takes all your brain power, gobs of experimentation, and sometimes every last ounce of your patience to find your way through.
This cannot be overstated – Vessel is definitely not an easy game. It's casual insomuch that there's no official timer, but it will otherwise demand your full attention. And it will on occasion confound so much that edgy types will want to crack their keyboard in half and stomp their mouse into its base elements. If your attention span is so short you have trouble making it to the end of this review, this is not the game for you.
But even for those who actually enjoy finishing Rubik's Cubes, Vessel can be frustrating. And not in a good way. You see, the game's mechanics are loose - real loose - as is object interaction and even the boundaries that make up those objects. Many times Arkwright will fail to hurdle a given object repeatedly until suddenly and without reason he's successful. Many times Arkwright appears to be suspended in space, clearly levitating above the object he's supposed to be standing upon. And many the time he tries to aim a nozzle or throw a Fluro seed or even move in a given direction, only to be rejected because what you see doesn’t quite line up with what the game thinks you should be seeing.
Thank goodness for the game's musical score. The last thing you need when stressing – either happily or unhappily – is to be walloped over the head with mondo tuneage, and thankfully Vessel is all about the subtle and the atmospheric. Piano diddling, a little synth – good thinking man's stuff. Audio effects range from subdued to rough and mechanical to just plain cute, and all seem nicely suited to the subject matter.

Closing Comments

There aren’t gobs of money behind Vessel. It's independent, and the journey isn't always smooth. But cookie-cutter it is not, nor is it garish or sexist or silly or mindless. If you are a patient person who appreciates grey matter workouts and "Eureka" moments, and if you are willing to forgive imperfections, check it out. Gaming needs titles and developers like this.bygordgoble

IGN Ratings for Vessel (PC)

Rating

Description

out of 10

Click here for ratings guide

7

Presentation

This is not a brassy high-dollar title with brassy high-dollar accoutrements. It does, however, run trouble-free and it capably puts you in the mood.

8

Graphics

The physics of liquid matter is the obvious star here, but so to is the Industrial Revolution atmosphere and of course the wobbly Fluros. Stellar lighting adds to the drama.

8

Sound

You won't hear any voices, but the music is suitably minimalist/subtle, and the game's varied sound effects admirably reverberate across Arkwright's strange world.

8

Gameplay

There are flaws along the way and Vessel is definitely not for the impatient, but thoughtful puzzle-solvers will eat up Strange Loop's many devilish deceptions.

6

Lasting Appeal

Vessel is by no means a quick game, even for veterans of the puzzle genre. However, it is linear and there is little reason to return after you've waded through the first time.

8

Overall

Great

(out of 10, not an average)

Prototype 2 Gameplay review

Game type: Action/adventure.
Maker: Activision.
Platforms: Reviewed on Xbox 360. Also available for PS3, PC.
Hits: Prototype 2's is mostly fun in its free roaming ability. Mutations give Heller unmatched speed and agility which you will use often as you bound from rooftop to rooftop in the chaotic New York area. I also found myself spending the majority of my time doing side quests where Heller hunts down people of interest and "consumes" them, a cornerstone of the series. Consuming targets allows you to see the target's memories and use them as clues for your next hunt. The game's stream of side quests and rewarding upgrades you receive along the way make for a very addictive gameplay that draws on the player's lust for power, just as the virus did for Mercer.

Misses: As much as I enjoy the mobility and  openness of the game, the all too frequent occasions when you must do battle indoors throws the flow off completely. Your talents and abilities, as well as the camera, are made for  open environments. When you are stuck in a room, even the simplest task of jumping turns you into and erratic beach ball bouncing between wall, floor and ceiling as you try to regain your focus on the enemy.
By the same token, the controls and their response both have the potential of great wonder and great disappointment. If you aren't careful how you aim yourself while running or jumping, you will most likely end up going wildly off course, which was very similar to the problem I had with the Assassin's Creed games.
The final issue I had was not really with the game but the execution of the story. It was not hard for me to find awe in Mercer's almost godlike power and feel sympathy for Heller's tragic past, but the story and its pacing seem to distance you from them. As funny as it is to say, I found this to be a rare case where the characters and the concept were bigger than the entire game. by matthew crowson

Content Rating: Mature.
Recommendation: I remember putting Prototype down and never wanting to play it again, but now with this release I feel the urge to go and make another attempt at it. Despite its downfalls, Prototype 2 has surprised me. I was expecting little from it, but after these last few days of consuming and destruction, the Mercer virus has infected me as well.

Grade: A

‘Xbox 720′ slated for November 2013 release claims

Microsoft plans to launch its next-generation Xbox video game and home entertainment console ahead of the holidays next year, according to a recent report. The Los Angeles Times on Monday published a developer contract between Acitivision Blizzard and famed Halo developers Bungie. The firms are currently working on a new Massively Multiplayer Online franchise called Destiny, which will be a first-person shooter with a science fiction theme. While the fact that the companies currently have four titles planned for the series is exciting for gamers in itself, another tidbit may be even more titillating; the contract suggests that the first Destiny title will launch ahead of the holidays next year as an exclusive for Microsoft’s Xbox 360 and its next-generation console, which the document refers to as the “Xbox 720.” An earlier report from an industry industry insider suggested that Microsoft will launch an ARM-based “Xbox lite” in late 2013 followed by a true Xbox 360 successor some time later, however this new information suggests that timeline may not be accurate.by zach epstein

Max Payne 3 Awesome Soundtrack !

Hot damn, am I enjoying Max Payne 3. Though… well, "enjoying" might be the wrong word for it, you know? It has me in a vice-grip, and every time I play I find myself locked in a tense, curse-shouting battle with the deadly enemies inside of my Xbox 360.

The game is relentless, always pushing forward, throwing me into deadly, sharp situation after deadly, sharp situation. And underscoring every blood-drenched shootout and explosive setpiece is HEALTH's undulating, astonishing soundtrack.
It's an uncomfortable experience, this game, from the blurred alcohol haze that covers everything to the way my enemies keep shouting in Portuguese to the sheer disorienting lethality of it all. Even on "normal" difficulty, every nook and cranny holds another ignoble death. In every gunfight, I almost forget to breathe. Here I am, I've got a hair of health left, and yet I know there are more enemies ahead. Around this corner lies the unknown, and almost certainly death… time to reload my weapons and plunge in.

A Los Angeles-based four-piece, provided all of the music that pulses beneath each of Max Payne 3's many action scenes. Their music is never overly cinematic or dramatic; rather, it's dark and driving, with few peaks or valleys to break up the dirge. It's the music of drug-addled hangovers, of splitting headaches and metallic stink. It is, in many ways, the music of death.by kirk hamilton

Diablo III Shatters PC Sales Records

Would-be demon slays ran into a big problem during Diablo III's opening week; nasty errors and server issues forced many first-day buyers into involuntarily sheathing their swords. The congestion highlighted concerns about the game's always-on DRM, but it turns out there was a good reason for the bad server woes: Blizzard claims Diablo III is the fastest selling game in PC history.

Over 3.5 million PC gamers bought Diablo III within 24 hours of the game's launch, Blizzard said in a press release. Another 1.2 million World of Warcraft joined the party, too, bringing the total number of day one gamers -- many of whom were mere attempted gamers -- to a whopping 4.7 million.
That number jumped to 6.3 million players by the end of the first week of sales, though Blizzard is quick to point out that those figures "do not include players in Korean Internet game rooms, where Diablo III has become the top-played game, achieving a record share of more than 39% as of May 22."
Amazon.com's John Love says Diablo III shattered records for the online retailer, too. "Not only did Diablo III break the record for most preordered PC game of all-time on Amazon.com, but it also shattered the record for best day-one sales for any PC game ever on Amazon.com."
Speaking of Diablo III, if you're one of the aforementioned millions of players, you might want to swing over to the Diablo 3 forums, where the game devs just outlined past hotfixes, impending patches and account security concerns. Buried deep in the wall o' words in a brief announcement about the contentious real-money auction house; given the server issues, Blizzard isn't sure when the auction house will launch, but they know for a fact it won't be in May.

You know what we think about Diablo III. What're your impressions so far?by brad chacos

Mario Tennis Open

The Good

• Fun with a few friends.

The Bad

• The tennis never hits its stride
• Far too easy until an 11th-hour difficulty spike
• Convoluted control schemes.

The Mario Sports games are known for being larger than life and filled with color, bombast, and hyper-unrealistic movesets. Mario Tennis Open eschews much of this, following in the footsteps of some of Nintendo's earlier tennis games in an attempt to become a purer, more focused tennis experience. It doesn't quite hit the mark, falling somewhere between the two styles. Despite being largely stripped back, it manages to be convoluted thanks to a variety of jarring control schemes. Above all, while it's competent, it's also mundane, with little incentive for you to stick at it beyond the occasional bout of multiplayer with friends.

The setup is simple. Mario and friends are playing tennis. There's no usual Mushroom Kingdom plot and no backstory--it's simply all about 13 characters competing in tennis tournaments. Progressing through the three-match tournaments is a matter of playing them one after another. When you win the fourth tournament, you're given the option to promote your character to "star" status, meaning he or she can compete in the second set.
During matches, there are six shot types on offer: simple, topspin, flat, slice, lob, and drop shot. These shots can be performed with the face buttons, or by tapping the relevant icon on the touch screen. On the touch screen, the layout makes sense. The first four shots are laid out in a diamond, with topspin at the top, slice at the bottom, and simple and flat on either side. For some reason, however, the button layout doesn't mirror this, with topspin mapped to A on the right-hand side. Why the button layout doesn't match the touch screen layout is a mystery. It's especially odd given that the touch screen controls are largely hopeless, requiring you to look down at the bottom screen first, thus having to take your eye off the ball.
Then there's the option to use either gyro controls or circle pad controls. The latter sees you directing your player from a bird's-eye perspective, whereas the gyro controls angle the camera over your shoulder and have you directing your shots by tilting the 3DS around. This is another convoluted aspect of Mario Tennis. If you opt to turn gyro controls on, the game takes control of your player, directing him or her to where the ball is going to land. You can move around with the pad too, but with your player moving independently, it often feels like you're wrestling against the game. You also have to keep the 3DS vertical, as tilting it downwards will snap you out of that control method. Occasionally this happens mid-match, disorienting you.

Playing with gyro controls also disables the 3D, and this takes effect automatically, saving you the disorienting moment when you realize how incompatible gyro and 3D are. The 3D effects themselves aren't very impressive, with barely any depth even on the highest setting. Turning the gyro controls off gives you full control of your character via the circle pad and is the preferable option, not least because with gyro controls on, it's almost impossible to concede more than a couple of points within an entire tournament. Controlling your player with the circle pad also offers a bit more of a challenge, albeit only towards the end of the eight tournaments, thanks to a large difficulty spike in an otherwise incredibly easy game.
Spicing up the tennis somewhat is the "chance shot" mechanic. During rallies, glowing circles appear on the court, corresponding to one of five shot types. Performing a shot on the colored circle causes you to perform a smash shot that can stagger your opponents, curve around them, or lob over their heads. It's not too over the top--the focus is on largely sensible tennis mechanics after all--but it's enough to give you an edge in rallies. During earlier tournaments, these chance shots basically function as win buttons, and you almost always score a point if you hit one. This is particularly exaggerated if using the gyro controls, as the game will direct your character right into the chance shot spot. As if that weren't easy enough, while you can press the correct shot button (yellow for lob, red for topspin, and so on), chance shots can also be activated by performing a simple shot, which leads the game to perform the correctly colored shot without your having to worry about complicated things like pressing the right button.by gamespot

1986 Sega Master System Unboxing

Who gives a whoot about unboxing modern games hardware. We all do it when we buy the thing, they come with basically nothing, and the documentation is woeful.
Let's enjoy, then, this unboxing of a 1986 Sega Master System bundle. Marvel at the included accessories. Gape in awe at the pack-in games.

I actually never got to experience this, because my Master System experience was a strange one. Slightly strapped for cash as young-uns, my parents could never afford a games console, so the only time we got to play with a Master System was when we rented one from a video game store. Meaning my unboxings came in the form of taking a filthy Master System out of a weird plastic briefcase once every few months for a weekend then saying goodbye.

Metro 2033: Last Light

 Kotaku reports from today's THQ investor call that the upcoming Metro 2033 sequel will in fact be titled Metro 2033: Last Light. The sequel is being prepped for a release later this year. Stay tuned for more information as soon as we have it.  A Metro 2033 sequel has already been confirmed under the title Metro Last Light, but some new evidence suggests that THQ might be changing the name to stick with the Metro 2033 moniker.Popular Internet video game sleuth supererogatory uncovered the new title on his Twitter account. THQ has registered several websites for a product seemingly titled "Metro 2033: Last Light." The registered domains include metro2033lastlight.com, lastlightgame.com, and metrolastlight.com.

We've reached out to THQ to find out if this is in fact the new name for Metro 2033's sequel or just a spin-off product of some sort, but we have yet to hear back. Whatever it ends up being, I thought Metro 2033 was fantastic, so I'm looking forward to whatever is next for the franchise

Gamestop Starts Selling Steam Vouchers

A GameStop source has told Kotaku that, given the relative failure of the company's push into online PC sales via its purchase of Impulse, it's now trying something a little more practical. Namely, selling Steam vouchers in its bricks-and-mortar stores.
After all, if you can't beat 'em, skim a little of their money off the top instead.
The vouchers will apparently go on sale on May 15, and are reportedly a "kind of a sensitive issue" between GameStop and Valve owing to the fact it's an awkward way for either party to be making money.

We've contacted Valve to confirm, and will update if we hear back.luke plunkett

China's Home Video Game Console CT510

China's first foray into creating a mainstream video game system is a solid try in the right direction, except the system isn't a game system, it's an Online Multimedia Motion-sensing Device. The eedoo CT-510 already exceeded my expectations when I first saw it, it did exactly what it set out to do, entertain while providing a work out. Now that I've had some time with the device we'll take a deeper look into China's first non-gaming game console.
Hardware Aesthetics
From an aesthetic point of view, the eedoo CT510 is a very simple machine. Dressed in white aluminum housing, the device almost looks exactly like a DVD player, so much so that just looking at the main system and the accompanying remote control makes it scream DVD player.
The back of the CT510 has various ports expected to come with a gaming system. You've got two USB 2.0 ports on the front and two on the back, a LAN port, the power port, a 3.5mm microphone jack, analog audio jacks, a 3D Sensor port for the 3D camera, and both VGA and HDMI support. Oddly enough the system does not come with a jack for composite video (my review unit came only with HDMI).
Looking at the 3D Sensor unit, the thoughts "Kinect rip-off" immediately comes to mind. The CT510 camera unit is a touch smaller than the Kinect and it doesn't sport its own microphone.
The jet black camera unit clashes with the all white system, so much so that it looks very odd to put them together. Luckily the system and the camera were meant to be apart.
Unfortunately eedoo has been keeping mum about the specs of the system, what we do know is that the CT510 has a built in dual-core CPU, a 250GB HDD and a 3D GPU. Playing the games on the system however tell another story.
User Interface
Unlike traditional home consoles, the CT510 only came with a regular remote control. The reason why it comes only with a remote and not a game console is because of two reasons. The first reason is because video game consoles are banned in China and having a controller will make it feel like a game console. The second is because motion sensing gets very tiring after a while.
When using the CT510, you can switch between both remote style and motion sensing; however you can not do both. To use to the motion sensing, the camera must pick up your movement, which sounds easier than it actually is. Before the camera can start tracking and interpreting motions as commands the player must first hold their right hand to the side and wave in a slow but exaggerated fashion. Once the player is "tracked" a little hand shows up on the screen acting as the pointer. After the initial process of tracking the rest is simple.
The bladed fan UI of the CT510 screams Xbox but it's simple. Moving left or right and stopping on a blade will change the screen to the next. There are a total of 6 screens available: game, apps, settings, store, photos and videos. Using either the remote or your hand, you can quickly access each page. In a similar fashion to connect, holding your hand still on an option will create a circle timer to show up, once the timer is filled the option will be selected.
All in all the system UI is very plain and simple.
Games
Despite the fact that it isn't marketed as a video game console or marketed towards core gamers or gamers in general, the CT510 comes with 8 pre-installed games. The games are all very simple mini games designed to make the player move, and by move I really mean move.
The first game is a game called the Fun Park Adventure. Don't let its name fool you, it has nothing to do with fun parks, and it isn't very fun. As the only game in that comes in English, Fun Park Adventure was terrible. It was basically an on rails third person beat-em up. The player takes controls of one of 3 choose able characters all called "Dragons". The goal of the game is essentially beating up monsters and reaching the end to stop a demon infestation. Unfortunately the game is tedious and boring, and very graphically unpleasing.
A crowd favorite and a definite head turner is the the kung fu game aptly named Kung Fu. Kung Fu a 2D side-scrolling fighter super imposes the players image onto the game world. Despite the cheesy music and the PSP style graphics this was one of my favorite games on the CT510. The game is an extreme work out, the camera picks up nearly all the bodies movements and translating them into moves and attacks on screen. I was even able to use my butt to attack an enemy (of course this may just be a fluke as it only worked once).
* Update * user Pullus Pardus has bought to my attention that the Kung Fu game is actually Kung Fu Live . No wonder this game works. Good catch good sir, good catch.
Maya Fit, eedoo's answer to Wii Fit took up the most physical space and the longest time to set up. I was pretty much pooped by the time I actually launched the game. The game takes into account the players body measurements and creates a work out to help the player lose weight. With the addition of a Yoga mode that actually reads moves such as upward facing cat and downward facing dog, this is one of the better and more developed apps on the whole system. Unfortunately launching the game requires going through at least 7 pages of menus, by the time I was done filling out my information my right arm was sore.
Flyer's Story was just a waste of time. Nuff said.
Another favorite of mine was Hole in the Wall this game was great fun and a great work out. Exactly as its name implies, the player must shape their body into different poses that fit into an oncoming wall. I was very surprised at how well the CT510 worked and how accurately it was able to capture my movements. In fact there some holes where I got the pose, but because I am fat, I couldn't get through the wall. This game was also a total blast with other people, it supports up to two players.
Unfortunately, it seems that for every fun game the CT510 has, there is a crap gaming waiting in the corner, case in point, Bumper Cars. Right next to Hole in the Wall on the main menu Bumper Cars is a very slow game with uninspired graphics and characters. The player holds their hands out like they are driving an imaginary car. Pushing your hands forward causes the car to accelerate and that is pretty much the only other thing that you can do. This game was another terrible creation that nearly made me stab myself in the eye balls.
The flagship title of the CT510, Green Exercise, is buried on the bottom half of the games menu. I personally believe the reason is because it looks too much like a Kinect game, so much so that the character color schemes are reminiscent of Kinect. Pretty much just like Wii Sports and Kinect Sports , Green Exercise is comprised of different smaller games. The game modes found in Green Exercise are boxing, soccer, rollerskating, parachuting and a brick break style ball game. The boxing game and the soccer games are both very fun and active but the other three are just okay. The rollerskating game and parachuting are very bland, kind of like cycling in "Wii Sports: Resort, but the brick break ball game was just plain old broken. The CT510 wasn't able to pick up which direction I was sending the ball, thus making the game a complete waste of time.
Finally the last game on the CT510 is the Dancing game Dance. This game is by far the biggest work out of the bunch. I believe If I purchased a CT510 and played the dancing game for a month, I would have abs like the female avatars in the game. One odd thing about the game is the fact that the on screen avatar isn't exactly mirroring your moves but instead meant to show you how to do the moves. Currently the game only has about 8 songs but according to eedoo more songs will be available for download.

Apps
According to eedoo, the biggest selling point of the CT510 are its apps. Currently only available through eedoo's on online store, the apps that the CT510 offers feel like glorified mobile apps. Of the notable apps there is a Sina Weibo mirco-blogging application, an online video application that links to China's Youpeng video service and a Disney education app. Unfortunately our review unit did not come with the finalized versions of many of the apps, I was unable to test out the video app and the Disney Online app. As of this posting the weibo app is only able to read and re-post, there is no original posting or commenting yet.

Wrap Up
Exceeding all of my wildest expectations by just working, the CT510 is a very impressive first for a no name Chinese company trying to make a name for themselves. Unfortunately for eedoo its 3,799 RMB (600 USD) price tag really kills it.
Eedoo's Victor Wang argues that the CT510 isn't vying for gamers at all, and that its value for its money is that it offers many more services such as online video streaming, an app store that is blooming, and an exercise machine, but still I don't see how they can justify a $600 US price tag especially when the Kinect and 360 combo is readily available at the gray market .

As a gaming console the CT510 is terrible, but taking into account that it is China's first console of its type and that it "isn't" a game console and the fact that the motion sensing actually works, it is acceptable. Should you spend $600 on it? I don't think so. then I might reconsider. For now the CT510 is just an uber-expensive set-top all in one box that does everything but doesn't do anything great.

Men In Black: Alien Crisis May 22nd 2012

A standalone adventure designed as a companion to the global theatrical release of MiB III, Men In Black: Alien Crisis stays true to the spirit of the franchise, with action-packed yet light-hearted gameplay mixed with edge-of-your-seat shooting excitement from the universe's most elite peacekeeping force.

Join the Men in Black as Peter Delacoeur, a MIB Agent in training assigned to unearth enemy aliens who are planning to destroy planet Earth. With hidden surveillance and stealthy guards on the prowl, players must ambush confidential alien intelligence and stop all alien attacks. Men In Black: Alien Crisis brings exciting, realistic MIB Agent movements as players shoot, and dodge their way through action-packed levels to escape fierce alien assaults. Play through the game in two-player split-screen action or test your MIB skills against your friends in four-person "hot-seat" competitive action.

Sonic The Hedgehog 4: Episode II

General complaints about Sonic are commonplace, but it's still rare to see such focused, targeted negativity as Sonic the Hedgehog 4: Episode I drew from the franchise's fans two years ago. "Broken physics!" was the outcry then, as longtime followers of SEGA's needlemouse mascot took issue with the fact that the game's controls weren't a perfect match for those used in the old Genesis titles. It totally ruined an otherwise likable retro revival for a significant segment of the fandom.
So, first things first for this follow-up. The physics are fixed. If you had trouble enjoying Episode I because of Sonic's odd motions and loss of momentum, you'll be pleased to know that this sequel restores his handling to the 16-bit standard.
But even with that issue addressed, it still seems like there's something missing here.
Sonic the Hedgehog 4: Episode II picks up the story a few months after the conclusion of Episode I's events. Story is never a major selling point of Sonic games, of course, but this one tries its best to tap into the most cherished of all old Sonics – Sonic CD – by bringing back its looming Little Planet and resident robo-rodent, Metal Sonic. Dr. Eggman's cyborg anti-Sonic teams up with the mad scientist once again, giving our hero two villains to deal with at once.

Luckily the odds are evened up by the simultaneous return of Sonic's steadfast sidekick, Tails. Sonic the Hedgehog 4: Episode I emphasized a streamlined simplicity in its character cast, using only Sonic and Eggman in a straightforward update of the original Sonic 1. With Tails restored to Sonic's side, though, what you're now getting is a modern take on Sonic the Hedgehog 2.
It's a more robust homage, and it works. Sonic by himself was perhaps a bit too pure and uncomplicated, but bringing Tails back allows the designers some room to play around and innovate with new actions here in Episode II. There are three of these new maneuvers worth mentioning – the Tag Actions, they're called in the game – and each one helps give Episode II a bit of fresh personality.
First up is Sonic & Tails' classic helicopter combination, as Sonic grabs onto his pal's hands while Tails whips his twin fox tails like a propeller to send them both skyward. It's not a wholly original configuration for the heroes, but the way it's activated is – you can summon Tails to quickly grab Sonic's hands at any point in mid-air, meaning the classic copter combo is now a wonderful way to quickly save Sonic from plummeting into bottomless pits.

Next is the pals' submarine combo, which is basically the same thing as the helicopter except underwater – Sonic and Tails holds hands again while Tails spins his tails to speed through the water. (You just need to remember to still touch air bubbles every once in a while to breathe.)
Then, third and last, the duo's new rolling combo. This is the move that feels the most fresh, as Sonic and Tails – who usually spin into ball shapes by themselves – combine into one double-sized spinning sphere of destruction and go hurdling across the landscape. The power of the two heroes being pushed into one bouncing ball together is enough to bust through barriers that are otherwise impassable, and it's the necessitated use of this technique that most defines Episode II's level designs.
But that's where the innovation ends. Aside from those tag-team moments, this is all just standard Sonic stuff.
I found myself getting a little bored with it all, honestly. There are some great set pieces to see and a few standout moments – like barreling through a regenerating snowbank with Sonic and Tails' double-sized rolling ball – but, for the bulk of my playing time, I mostly held right on the stick, pressed jump every once in a while and thought something like, "Yep. I sure am playing a Sonic game right now."

That being the case, only the most dedicated Sonic aficionados are likely to really derive much enjoyment from Episode II – which, even with its fixed physics and new gameplay mechanics, ultimately feels just like the expansion pack of extra levels it was originally intended to be.
If more Sonic levels to play is what you're after, though, Episode II does have a significant amount of bonus content for fans who've also purchased Episode I. Called "Sonic the Hedgehog 4: Episode Metal," it's a whole other set of stages to play – where you play as Metal Sonic, spinning and running through the zones of Episode I. They aren't much more fun than the other levels, but it is more welcome quantity for your investment (since you've got to invest a total of $30 to access them.)
Rounding out Episode II's offering are expected staples like boss battles against Eggman robots and Special Stages for hunting down Chaos Emeralds – modeled after Sonic the Hedgehog 2's half-pipes – alongside more modern amenities like online leaderboards and Achievements. There's even a co-op mode included. And it's all very well and good throughout, but that old Sonic magic is just never really recaptured. Sonic fans will play through it, absorb its mostly inoffensive experience, and then move on to waiting for SEGA's next attempt to catch their old Genesis-era lightning in a bottle once again.

Closing Comments

When it was first announced to be in development back in 2009, the promise of SEGA's "Project Needlemouse" seemed incredible – it's no wonder fans of the Sonic franchise got their hopes up so high. Episode I then came along and, for many, failed to deliver on that potential. Episode II is a better game than that one was when it comes to the fans' key criticisms, but yet this second – and final – installment of Sonic the Hedgehog 4 still seems bland. Buy it and enjoy it as much as you can if you're a longtime Sonic follower. Just don't get your hopes up too high again. Sonic the Hedgehog 4, once more, has not been the true second coming of your hero. by lucas m. thomas

IGN Ratings for Sonic the Hedgehog 4: Episode II (PS3)

Rating

Description

out of 10

 

7

Presentation

The standard Sonic storyline. Eggman, emeralds. Metal Sonic's return would have been more effective if the character hadn't already been revived in other spin-off games.

8

Graphics

Sonic has lost the shiny effect from Episode I, and looks better for it. Environments are also improved and packed full of detail. This is a great looking Sonic game.

6

Sound

The soundtrack can't keep up with the visuals, though, as some of the background music here is laughable in the crazily short amount of time it takes for it to loop back over itself.

7.5

Gameplay

With the physics problem fixed and the addition of new Tag Action maneuvers with Tails, Episode II feels like a solid Sonic installment. Still missing some bit of magic, though.

6

Lasting Value

As a standalone download, Episode II offers only a few hours' worth of enjoyment. If you already own Episode I, though, the extra Metal Sonic stages that are unlocked add to the value considerably.

6.5

Overall

Okay

(out of 10)

Bobby Kotick authorized Infinity Ward email hackings?

 Two years after Infinity Ward founders Jason West and Vince Zampella first sued Activision, their case is finally set to head to trial on May 29. But before the case can be heard, documents have been released which shed light on some unsavory moves Activision made prior to firing West and Zampella in March 2010.Prior to the start of the case, there have been some developments of note. Electronic Arts, the publisher of the game being produced by West and Zampella's new studio, Respawn Entertainment, was added in late 2010 as a defendant in Activision's counter-suit; Activision alleged EA conspired with the former IW heads to derail the Call of Duty franchise, among other things. Bloomberg reported yesterday the two publishers have reached a settlement, details of which were not made available.
In addition to West and Zampella's lawsuit against Activision, a group of Infinity Ward employees -- many of whom left the Modern Warfare developer and were hired by Respawn -- sued the publisher over unpaid royalties, with the Infinity Ward Employee Group's lawyer estimating these royalties to be in the neighborhood of $75 to $125 million Polygon reported earlier this week that Activision paid the former developers $42 million, the amount it determined was owed during the discovery phase. This was not as part of a settlement; the group's attorney, Bruce Isaacs, confirmed the payment was made on Monday but described it as a "cynical attempt to look good before the jury trial," noting it is only a fraction of the amount being sought.
Where this all becomes particularly juicy is in a recent court filing in the case between West/Zampella and Activision. Public relations reps for the duo's attorneys sent the filing to Giant Bomb, no doubt hoping the information would be distributed and make Activision look bad. This is only one part of the court filings that have been made, so they fail to paint a complete picture, although they certainly do Activision no favors.
Project Icebreaker, despite the seemingly silly name, was the name used for an investigation launched by Activision management in order to discover something -- anything -- which could be used as grounds to fire West and Zampella. Former Activision director of information technology, Thomas Fenady, testified he was told to "dig up dirt on Jason and Vince" because "we're sick of dealing with these guys, their ego ... we just want to get rid of them." This directive came from George Rose, who then served as Activision's Chief Legal Officer and assured Fenady, "[Activision CEO] Bobby [Kotick] will take care of you. This comes from Bobby directly ... Don't worry about repercussions."

Fenady found himself unable to access the desired information himself, at one point turning to third parties like Microsoft and InGuardians, a security consultancy company, for help. Both refused to assist, leading to Fenady requesting Activision's Facilities Department help in "gaining covert physical access to Infinity Ward." As if that doesn't sound incredible enough, Rose is said to have approved of discussions where ideas such as "staging a fake 'fumigation' and a 'mock fire drill'" were conceived in order "to get Jason and Vince away from their computers long enough to image their contents." To Fenady's knowledge, none of these plans were ever actually carried out.
The purpose of this filing is to show both why Fenady's deposition should not be treated as privileged information (because he was speaking with a lawyer in Rose, Activision wants the evidence excluded) and that Activision had plans to fire West and Zampella well in advance of Modern Warfare 2 (pictured above)'s release, and months prior to them ever having contact with Electronic Arts.
Aside from making for some fascinating reading material and potentially hurting its court case, the Project Icebreaker business could have a negative impact on Activision going forward. As I mentioned, there is undoubtedly more to come from both sides as the case goes to trial, and it may be shown that the duo's firing was justified and they are not owed a thing. But as far as Activision's reputation among developers, the damage may have already been done.
Even prior to this filing being made public, there were a number of things which did not make Activision look good. The heads of a studio responsible for creating the biggest franchise in the industry today were fired, and dozens of their former employees left in the wake of this move in addition to filing a lawsuit. Double Fine head Tim Schafer once famously called Bobby Kotick "a total prick", this coming two years after Kotick and Activision had decided to pass on publishing Double Fine's Brutal Legend following the Activision and Vivendi merger. There would have been nothing wrong with Activision passing on the game save for the later-cited reasoning of the games lacking the potential to be "exploited" on an annual basis across all platforms, except it then chose to sue over the game's rights when EA decided to publish it.
Activision did sign Bungie to a ten-year exclusive deal to publish the new franchise it has in the works, but that was announced just as the Infinity Ward business began to take place -- it was before we heard allegations of unpaid bonuses and a "police state-like atmosphere."
None of this makes Activision come across as particularly endearing, and that could prove to be costly if and when developers in the future look back at all of this and decide they'd rather do business with another publisher. There will undoubtedly be those who decide to look past all of it and focus on Activision's ability to support massively successful franchises, of which two of the past decade's biggest came from Activision. The company's focus on a smaller number of titles, each with the potential to be much larger than your average title, may help to spare it from suffering as a result of the reputation it has garnered. However, one has to wonder if failing to settle this West/Zampella lawsuit, and thereby preventing Project Icebreaker from ever becoming public knowledge, could have been the right long-term move.     by chris pereira

Unreal Engine 4 Mind Blowing!!

hardware, displaying an impressive array of effects, like realistic clothing, lifelike lighting, and highly detailed facial expressions. It took three high-end graphics cards to handle the demand, but it grabbed people's attention. "We used it as an opportunity to make a point to the developers," Sweeney says. "‘We want 10 times more power;
And that was merely for a souped-up version of Unreal 3. For Unreal 4, yet another quantum leap in hardware has to happen. Creating a game that operates on a level of fidelity comparable to human vision, Sweeney says, will require hardware at least 2,000 times as powerful as today's highest-end graphics processors. That kind of super-hi-def experience may be only two or three console generations away, but it hinges on manufacturers moving toward the power levels Sweeney is looking for today. He needs the next generation of consoles to be good.

The article goes on to say that some of what was shown in Epic's Samaritan demo last year--made with a modified Unreal 3 foundation—will be baked into Unreal 4. That includes next-level particle effects that, according to Cliff Bleszinski, "are going to be whored by developers." Nice mouth, Cliff. by evan narcisse

Tired of Hearing About COD?

Do you remember that song that was everywhere on the radio a few years ago? The one that you absolutely hated? I’ll bet you that if I asked you what it was called, you wouldn’t remember, instead answering with “that one with the auto-tune” or “the one about the girl who missed the memo?” Now, if I were to ask you why you can’t tell me, you would probably say “I dunno, just stopped talking about it once it was off the airwaves.” Exactly, and that leads me to my point. For as many gamers that are out there crying about about and how much they hate it, I see very few ignoring it.
A new CoD has become procedural in the year-to-year goings-ons in the gaming industry, and it’s massive. If you frequent the gaming news aggregate N4G more than once a week, you will likely see at least one article about either the upcoming CoD, something about the current CoD, or an article about the developers of CoD. But this large showing is deceptive, as it does not indicate popularity among the gaming popularity among the gaming community, but vitriol. Showing the comments on any of these articles reveals posts along the lines of “CoD sucks,” “I’m tired of CoD,” or “why can’t we hear about anything other than CoD?” See the conflict here?
Why, in all of their hatred for the CoD franchise, can’t gamers stop talking about it? Thought-provoking articles on gaming and previews or reviews of under-the-radar games are ignored in favor of the most controversial or recent news on all that is CoD. All kinds of different gamers come to bash CoD in some capacity: Battlefield fans, RPG fans, indie fans, racing game fans, platformer fans…you get the picture. The question I have is, why are you not going out to support the games you like and helping them get more shine?
The more attention gamers pay to CoD, the more the gaming media is going to write about it. When you’re articles on Activision’s cash cow are getting hits by the thousands and your developer interview with that programmer trying to promote a new Kickstarter project gets read about as much by your audience as Mein Kampf does by the Jewish community, you’re going to write about CoD. Big sites need the hits to help pull in more potential advertisers and smaller sites need the hits to get any advertisers at all. Whether or not you like to admit it, money talks much, much louder than words can.

So where does that leave us? In a discussion about personal responsibility and being a goddamn adult. No matter how much the media pushes something on people, if they ignore it, it will eventually go away or, at the very least, slide into the periphery. Now, CoD is a special case because it has such a large following in the mainstream, but how often do you think people who just buy the newest CoD game every year are visiting you favorite gaming site? Not even for previews I would wager, as long as Call of Duty is in the title and their friends are buying it, they honestly aren’t concerned about it pre-launch: they’ll buy it regardless or visit a dedicated CoD fan site to get their news.
It’s up to gamers who don’t want to hear about the damn game to stop clicking on articles about the damn game. Your hate means nothing and honestly makes you look like an idiot. You know that guy in the movie who is pleading with all of the villagers to believe him when he says an army of werewolves is coming to maul them all to death? The guy who just gets laughed at? You’re that guy, right or wrong, the people who buy it. You see an article, you let your eyes wander to something you actually like and go comment on that. Trust me, whatever it is, it needs your attention more than anything on CoD does.
As for being an adult, knowing when to let events unfold on their own is part of growing up. When something is too big for you, you have to realize when it is, and be at peace with the fact that you have a mind of your own and can decide what is right and wrong for yourself. Don’t read the articles, don’t go out and buy it because all of your friends are (there are plenty of other online gaming communities you can be a part of) and, most importantly, if you are honestly infuriated about CoD‘ yearly success,
I can see just as well as you the irony in me writing this article, one about CoD telling gamer’s to stop talking about CoD or reading articles about CoD if they don’t like it. But that is not the issue here, the issue is that we as a gaming community need to come together for something higher than the whining and bitching that is so often the only reason the community comes together for anything. Let’s do something positive for a change.geek revolt source