The Charge:
Enter the hypnotic realm of the UnderGarden…

Opening Statement:
The UnderGarden is an interesting game to categorize. Prioritizing ambiance and mood over high scores or game mechanics, this Xbox Live Arcade title is an exercise in meditative curiosity, an ethereal float through subterranean caverns, spreading pollen and plant life, with some puzzle solving mechanics thrown in for good measure. Although not as hypnotically pointless as games like fl0w or Flower, The UnderGarden borrows much from this ‘anti-game’ genre, emphasising mood and tone over… you know, fun. There’s a decent puzzler buried underneath the ambience, but you have to dig for it.

Facts of the Case:
You are a tiny cherub-faced creature, set loose in a dark series of caverns. As you navigate the creature, tiny plants and spores spring to life, illuminating the caverns in beautiful tones and shades of light.

Welcome to the UnderGarden.

The Evidence:
A short synopsis? You bet. At its core, that’s the game: no plot, no narrative, no explanation as to your purpose or your mission. There is no time limit and no way to die. You are just free to float about and pollenate everything in sight.

As gamers progress, puzzle elements are slowly added. Progress through a tunnel is impeded by a wall, which can be lifted by dragging fruit from a blooming tree onto a pressure plate. A second kind of fruit floats to the celling like a helium balloon, and can trigger pressure plates on the ceiling. Some fruits explode to destroy crumbling rock, while others shoot out neon bubbles that rob the creature of his pollen. When you complete a level, you are given a percentage score of how many flowers you pollinated, as well as how many secret gems and plants you collected on the way. A small meter on the bottom of the screen indicates your pollen count, which can easily be refuelled by stomping on small green pollen sacs.

The controls are languid and elastic, like the game. The analog stick manoeuvres the creature through the air like a hot air balloon. Holding a button charges a short burst of thrust, and another button can grab onto items, like fruits and tiny musicians (obviously) who change the visual and sonic landscape of the plants as you fly by. A crueller man could call the controls frustratingly imprecise, but it’s hard to stress out too much about it. After all, the game practically encourages slow, meditative movement. A co-op mode allows a friend to tag along and float about; a cute if pointless addition.

As puzzlers go, The UnderGarden goes from a laughably easy to reasonably competent in such a subtle gradient that you barely notice. One minute, you’re floating about aimlessly. Suddenly, you’re stuck on a cryptic series of pressure plates with a handful of the wrong fruit. It won’t take you longer than a few hours to blast your way through the content, but there’s no need to rush. The strength of the title—indeed, the very thing that makes it unique in a marketplace crammed full of puzzlers much cleverer than it—is its casual zen attitude. Relax. Soak up the atmosphere. Even at its most complex, The UnderGarden is relatively challenge-free.

No two ways about it: the game looks dazzling. Striking an artistic style straight out of a lost Tim Burton notebook from Alice In Wonderland, The UnderGarden has a simplistic yet visually pleasing asthetic, full of warmth and blooming light and soft colors and shadows. Watching flowers spring to life endlessly sounds boring, but not so. The score is ethereal magic; a calming blend of gentle bells, analog pulses and ambient curiosities. Each level is a new palate of blues, greens and purples.

Ooh... ethereal!

Rebuttal Witness:
The biggest drawback to the title is its repetition. Within a few levels, I started to lose interest in the hypnotic underworld. The UnderGarden is beautiful and relaxing to be sure, but the repititon in gameplay and visual element wore me down. Levels blend together in a haze of pleasing tones. Puzzles become mindless affairs. With no timer or death, there is little incentive to even solve them.

Determining the replay value of a title this esoteric is like trying to assign replay value to a rock garden. Is it relaxing and spiritually refreshing? Sure. Are you going to play it all the time? Probably not.

Closing Comments:
The UnderGarden is a beautifully crafted product, stunningly vibrant in its presentation of audio and visual marvels. And it is a fun to play, right up until the point where it becomes tremendously boring. There just isn’t enough game here to hold one’s interest beyond the first few levels. Puzzle aficionados and completionists will blast through the fourteen levels in a matter of hours.

It is refreshing to see games like this in online marketplaces, to see games that value visual aesthetics and emotional resonance above gameplay, but I fear I appreciate the concept of a game like The UnderGarden far more than than I enjoy playing the actual game.

The Verdict:

Platform: Microsoft XBOX360 (Xbox Live) / PC (XBOX360 Version Reviewed)
Developer: Artech Studios
Publisher: Atari
Release Date: Nov 10, 2010
Rated: E for Everyone

The Charge:
Dark times need a dark hero!

Opening Statement:
Konami’s Castlevania series is no stranger to dabbling in the 3rd dimension, usually with mixed results. Castlevania: Lords of Shadow marks the first entry in the series for the high-def generation, and the latest attempt at bringing the monster-slaying opus into the 3rd dimension. Does Spanish developer Mercury Steam (Clive Barker’s Jericho) triumph where others fell short? Or is this one another whip to the face for classic Castlevania fans?

Call me "Emo" one more time...

Facts of the Case:
The tenuous link between Heaven and Earth has been severed. The souls of the dead linger on the mortal plane while creatures of vile darkness prey on humanity. In these dark times, the faithful huddle fearfully in walled settlements and villages, fighting desperately to survive. Into this gloomy scene steps Gabriel Belmont, Knight of the Brotherhood of Light. Gabriel seeks the means to resurrect his late wife, a recent victim of the evil plaguing the lands, and if he can banish the darkness that curses humanity, then mores the better. He isn’t the only player on the board however, and standing in his way are the demonic Lords of Shadow.

The Evidence:
I’ll get this out of the way immediately: What links there are in Castlevania: Lords of Shadow to previous games in the long running series are tenuous at best. Outside of some offhanded references to 2003’s Castlevania: Lament of Innocence, this is very much a completely fresh approach to the series. Forget about Dracula and Death, Alucard and Simon Belmont. They aren’t here, and they aren’t coming.

So now that you know what NOT to expect, I can tell you that Lords of Shadow is primarily an action platformer in the same vein as God of War III or Dante’s Inferno, however there are elements included that elevate it above either of those peers. The combat system delves closer to the Devil May Cry/Ninja Gaiden side of things by leaning on timing rather than the mashing of buttons. Beyond that, after the first section, the combat becomes all about balancing your extremely potent dark magic and your recuperative light magic. These respective powers can be used to inflict a healthy portion of extra damage or heal Gabriel depending on whether you go dark or light. Said magic can be recharged periodically, but to get the full use, you’ll need to gather orbs by killing opponents and then deciding which of the types you want to recharge via a click of the right or left analog sticks. It sounds complex, but it’s effortless in the heat of battle, and one good recharge of your light magic can get a near death Gabriel back into the fight with a dose of whip-powered healing. One good dose of dark magic can quickly decimate an otherwise powerful foe. It’s a great way to mix things up, and really causes you to think about what you’re doing in the heat of combat.

"Nathan Drake is a pansy!"

Thinking is very necessary, as Lords of Shadow can be downright vicious when it wants to be. Even weaker foes are threatening in numbers, and while many of the fights can be lengthy melees, the game thankfully doesn’t throw wave after wave of fodder at you to whittle you down. Enemy designs and attacks feel great, inspired even, and keep you on your toes (mastering the dodge mechanic should be your first priority). There are a ton of earned abilities and sub-weapons, each of which adds new combos or magical abilities to the lengthy list, and a variety of tactical approaches that one can take to make life easier. Sure you can mash and pray for salvation, and you may even succeed, but the experience will be that much more frustrating for it. The experience itself is an epic trek through 10 diverse chapters of game that should run you in the neighbourhood of 20 hours or more to finish. There’s very little in the way of backtracking, the puzzles are pretty well thought out for the most part, and the locales you visit remain unique and interesting throughout. The game, amazingly feels stuffed to near bursting with content, and the presentation never falters.

Right from the game’s lavishly beautiful opening sequence, Castlevania: Lords of Shadow should make one hell of an impression. Gorgeous texture work brings the beautiful art design to life in smashing fashion. Every character in the game looks absolutely gorgeous in motion, with wonderfully unique designs that hearken ever so slightly to Castlevania’s past, and yet remain wholly fresh. Some of the creatures look as though they could have been ripped from Pan’s Labyrinth director Guillermo Del Toro’s warped imagination, and the lush lighting sets a wonderful mood in each and every corner of the vast world. The game remains smooth throughout, with no noticeable drop in framerate or screen tearing, even when bosses get huge (and they get HUGE) or multiple enemies come out to play. The sound is equally fantastic, filling the room with booms and bone crunch. The voice acting features several notables, including Robert Carlyle, Patrick Stewart, and Jason Isaacs, and all of them do a phenomenal job (Stewart does a particularly fantastic job as the game’s chief narrator). There’s a ton of dialog in here, and all of it sounds perfect.

"Must... resist... urge to yell like Tarzan!"

The music is suitably gothic and epic, and continues the trend by being top notch stuff. Longtime fans may lament the lack of their favourite symphonies or harmonies (see what I did there?), but honestly, the music included just sounds so damn good that I didn’t miss a thing.

Konami doesn’t often grace us with a package this well presented, but this is easily the best thing they’ve put to market for sheer production value and presentation since Metal Gear Solid 4: Guns of the Patriots.

Rebuttal Witness:
I wish I could say that Castlevania: Lords of Shadow is a perfect game, but alas, there are a few chinks in the armor. The level design isn’t always logically sound, and hidden passages that should be clearly visible are hidden off screen or behind obstructions, while other clearly visible paths are barred by invisible walls and actually exist solely as backdrop. This slightly bipolar design also extends to some tricky jump situations where in one level, a certain approach works fine, only to grant you a quick return to a checkpoint when attempted in another area. It’s a little sloppy to be certain, and I did hit one or two roadblocks along the way. The fixed camera sometimes exacerbates the issue, but it’s usually something you needn’t fret over. The game works far more often than it doesn’t and what flaws that do exist are pretty common in the genre as a whole.

"This might take a while..."

Closing Comments:
Castlevania: Lords of Shadow is the real deal; A true triple-A production and a glorious new beginning for those who can get past the legacy of the past games. The technical polish and top drawer presentation are held aloft by rock solid mechanics, an intelligent plot, and some surprisingly deep features. Forget what you think you know about Castlevania, and step into the shoes of one of the best games of 2010.

The Verdict:

Platform: Sony Playstation 3/Microsoft XBOX360 (PS3 Version Reviewed)
Developer: Mercury Steam
Publisher: Konami
Release Date: Oct 15th, 2010
Rated: M (17+) for Mature

The Charge:
There is a new enemy. There is a new war. There is a new warrior. He is Tier 1.

Opening Statement:
Electronic Arts’ long running Medal of Honor series returns to active duty after a few years on the sidelines. With World War II so passé, and Modern Combat all the rage, EA has thrown you off the bird and into the warzone of post 9/11 Afghanistan. Does EA answer the Call of Duty? Or is this one Black Op you’ll be denying?

"We've got Rangers on the ground!"

Facts of the Case:
In early 2002, following the disastrous terror attacks of September 11th, 2001, the US Armed forces alongside a coalition of willing Countries launched an offensive campaign into Afghanistan, proclaimed to be the World’s first “war on terror.” Medal of Honor puts us into the boots of two very different branches of the Armed forces; the scalpel, elite Tier One special forces operators, and the Sledge hammer, the US Army Rangers, as they battle their way through the Shahikot Valley during Operation: Anaconda.

The Evidence:
Much has been made of EA’s return to the Medal of Honor series and the approach to realism that the developers at Danger Close (Formerly EA Los Angeles) were taking. The marketing tells us the game was constructed with the aid of real Tier One SpecOps bad-asses, with creative energy focused on making a game that thrives through its authenticity rather than being shackled by it. In this regard, they have definitely succeeded. While the “Modern Combat” of Call of Duty has been content to build Hollywood blockbusters out of laughable fictitious bad guys, replete with scenarios out of the latest Bay/Bruckheimer joint. Nukes, invasions of DC, renewed Communist aggression and a sweeping Hans Zimmer score have been the order of the day. Medal of Honor travels a more somber path, paying respect to the fighting man of the modern battlefield, and acknowledging real conflict with real gravitas. The action has an air of desperation , something it has done for World War II since its inception. Somewhere along the line, the messages of both series were lost in a muddle of multiplayer mayhem, carnage, and spectacle, but MOH brings things back into sharp relief. If Call of Duty: Modern Warfare is a summer blockbuster, than Medal of Honor is a gritty indie film.

"Hooh-AH!"

From the opening moments, the single player game ratchets the intensity while placing the player squarely into believable situations. The game is linear, and relies on scripted moments to guide the player through, but the level design never feels anything but natural, and there’s never a moment where the game settles into a groove or becomes routine. What’s most amazing is how the developers have managed to keep things fresh through the entirety of the (admittedly brief) single player game. Level transitions aren’t seamless, but they make logical sense, shifting you from the boots of one character to the controls of an Apache attack helicopter and on to another Ranger or Tier One Operator as each mission ends. There’s overlap in the cutscenes and each playable character’s storyline overlaps with the others. It really gives you a great feeling of being a part of a larger canvas. Events continue to backbuild and lead into one another until the final batch of missions hits, and they are doozies. There was at least one mission in there (the first Ranger mission) that left my hands sweaty and shaking by the end, things get THAT intense. I don’t recall that ever happening with a first person shooter before.

The controls also differentiate themselves from the competition with added choices that compensate for the more tactical approach to gameplay. When crouched behind cover you can peek and lean to take shots from behind cover by holding a left shoulder button. You don’t stick to cover a la Killzone, but the mechanic allows you to make quick shots and return to cover by releasing the analog stick. You can hold both of your left shoulder buttons to use the feature while aiming through ironsights, which may take some dexterity, but again, works to your favor if you can master it. Then there’s the pistol quickdraw, which allows you to pull a pistol and fire a rapid shot in a split second while aimed at a target with a simple click of the analog stick. It’s much faster than reloading or switching weapons when those damn bastards just won’t go down.

"Tier One's get Beards... AWESOME beards..."

In a rather unprecedented move on EA’s part, the multiplayer portion of Medal of Honor was farmed out to the architects of Battlefield: Bad Company 2, DICE, who in turn built a fully featured multiplayer game out of their Frostbite technology (the single player game utilizes the Unreal 3 engine). The end results take elements of Bad Company 2 and combine them with Call of Duty stalwarts like experience points and unlocks for killstreaks. There’s a healthy selection of game modes that mix things up and play to the strengths of both series. If you’re a CoD fan, and Bad Company was a little too team oriented for you, than this just might make for a satisfying alternative. On the flip side, if you’re a Bad Company 2 player, Medal of Honor offers up a slightly less sprawling experience with many of the same features at a faster pace. You won’t rank up in a weekend, and there’ll be no shortage of punters in the online arena. Thankfully it isn’t overrun with cheating bastards or 7 year olds, or cheating bastard 7 year olds… at least, not yet. Worth noting, the “Peek and Lean” and “quick draw” mechanics from the single player game are missing in multi-player, which is kind of a drag.

Medal of Honor’s Unreal 3 powered single player campaign provides one hell of a stunning looking experience. The framerate is rock solid, the lighting is top drawer stuff, and smoke and mist looks terrific. Everything from the searing desert to the cold peaks of the harsh Afghanistan terrain is rendered with clarity and attention to detail that rivals the very best looking first person shooters on a console (yes, even Killzone 2). There are some jaw-dropping visuals here, from the opening sequence in a darkened village to the final conflict on a moonlit frozen mountain. Some screen tearing does pop up from time to time, and there were a few instances of typically Unreal 3 texture pop-in, but they certainly don’t diminish from what is one hell of an amazing looking game. The multiplayer pushes DICE’s proprietary “Frostbite” tech to a level just beyond what was seen in Battlefield: Bad Company 2’s multiplayer earlier this year. The slightly more confined levels and the lack of a significant amount of vehicles probably helps.

The sound design again puts realism up front, with a script that stays pretty close to reality without diving into Hollywood action clichés. One or two one-liners pop up from time to time, but overall the lingo, which the developers claim was actually written by the Armed Forces consultants, sounds genuine and is actually quite engaging. It’s also virtually constant. There’s a TON of dialogue in here. The score, by Iron Man composer Ramin Djawadi, is pure Black Hawk Down, all strings and harsh guitar, but it’s used in subtle fashion rather than overpowering the game with bombast. It isn’t constant, but when it does fade in, it underscores the action and heightens the emotions perfectly. Last, and certainly not least, are the booming gunfire and the ear-rattling explosions, which are suitablyeffective and fill the room. The sound package definitely measures up to the awesome visual package.

"Is that Ride of the Valkyries I hear?"

Rebuttal Witness:
Medal of Honor does borrow at least one annoyance from its chief competitor; the painfully short single-player campaign. My first run through (which was on the “Hard” difficulty) took me a little over 6 hours to run through. Bad Company 2 and Modern Warfare 2 were roughly the same length, and had considerably more downtime or aggravation per hour, yet Medal of Honor left me considerably more wanting. The ending itself was a more than adequate, entirely satisfying conclusion that put a cap on what was a universally fantastic experience, but I just wish there was more of it. That’s perhaps the best testament to the quality of the single player game.

I did have a few issues with staying online, but I’ll chalk that up to the pre-launch timeframe in which I was playing.

"Nothing like a tear through the woods on an ATV!"

Closing Comments:
EA’s diligence in design, ambition, and chutzpah has payed off in a huge way. Medal of Honor is nothing less than a triumphant return to the glorious highs of the franchise’s early years. Elements of the gameplay are unique, innovative and flawlessly executed, and the presentation is absolutely stunning. Top it off with some kick ass multiplayer, and you have the perfect all encompassing package! It may not penetrate the social bubble that is today’s Call of Duty fanbase, and the single player campaign will leave you yearning for more, but it’s not only one of the best games I’ve played this year, but one of the best shooters of this console generation.

The Verdict:

Platform: Sony Playstation 3/Microsoft Xbox360/Windows PC
Developer: Danger Close/DICE
Publisher: EA
Release Date: October 12th, 2010
Rated: M (17+) for Mature

The Charge

In case you wanted yet another gem-breaking puzzle game.

The Case

Puzzle Chronicles is an RPG/puzzle hybrid game that combines some light skill progression and even lighter character customization with fairly engaging gem-breaking puzzle gameplay.

Players begin by creating a character, naming him or her and jumping into a boilerplate fantasy world that is seemingly built around the concept of finding randomly strewn-about artifacts and keys to open up new stages that contain even more randomly strewn-about artifacts and keys.

In short, it’s like any role-playing game! (RIMSHOT) Actually, there’s not much of a story going here, just your standard-issue Save the Kingdom scenario. It won’t win any writing awards, but the narrative is suitable enough to tie the puzzling and item-hunting together.

Not that the storyline is the big selling point for Puzzle Chronicles, of course. Nope, this is more about the Puzzle and less about the Chronicles and the good news is that the focal gameplay component is worthwhile enough to keep the game afloat. In the interest of full disclosure I’ll say that I’m not a big puzzle guy, having played my fill of Meteos on the DS and that goofy Mortal Kombat puzzler from Armageddon way back when. Noob that I am, I still found Puzzle Chronicles mechanics amusing.

Like most puzzle games, it’s all about strategically stacking jewels and clearing them out. There are basic colored jewels, detonator jewels, and special “attack” jewels, which, when broken, push the game board divider closer to the opponent, giving him less space to work with. Each enoucnter has your character on one side and the bad guy on the other. First one to run out of space and get stacked up, loses. Presuming you come out the victor, that means gold and XP, which you can use to advance stats and purchase special abilities that can be used in game (e.g., modifiers on the jewels).

The puzzle department is certainly crowded on XBLA/PSN/PSP/DS and hard core players may find themselves swamped as it is with the offerings, but I enjoyed Puzzle Chronicles. It has a nice feel, attractive graphics, a deep puzzle mechanic and enough stats to keep players juking.
The Verdict

Not Guilty

The Charge
Go to Hell.

Opening Statement
Hey, you might have heard that this game is a lot like God of War. And, well, it is. But is there more to Dante than timed button-presses and orb collection?

Facts of the Case
Yes, this is based on Dante’s Inferno the epic poem, but, let’s be serious: it serves merely as a narrative framework to get you, Dante, running around Hell beating the sulfur out of any underworld denizen you can find.

The motivation for this bloodletting is the recovery of the fair Beatrice, who got a bum rap and was tossed into the flames. Now, fresh off of a traumatic time in the Crusades, Dante pursues Beatrice—and Lucifer—into the bowels of the Inferno.
 

The Evidence
Let me just get this out of the way first: I hate the fanboy drivel of accusing games of being rip-offs or knock-offs or copyright-infringers or whatever. It ticked me off when people were talking about Saint’s Row and Crackdown that way and it is just as grating to endure all the God of War bitching with this game. Is the gameplay similar? Sure. But if we are to believe games like GTA and God of War are essentially genre creators (which I do), then of course you’re going to have similar subsequent offerings.

That being said, Dante’s Inferno is not as good as either God of War game and I predict God of War 3 will also eat its lunch, but that doesn’t mean it can’t be fun action diversion.

And that’s exactly what it is: fun.

At his disposal, Dante has a scythe and a cross, the first the up-close-and-deadly melee weapon, the second a primarily ranged attack that also sports some cool close-up moves. Both of these methods of death-dealing are fun to use, though not all the moves are winners. As a result, you probably won’t know which additional moves are worth upgrading until it’s too late, but that’s what a second playthrough or the new game+ mode is for.

In addition, Dante has a variety of magic (the best of which by far is the Holy Armor spell, which protects you and regenerates life when fully upgraded) and special relics that offer bonuses and special abilities. That’s a lot of upgradeable stuff, and the game is better for it; I, for one, can’t get enough ability unlocking. It’s a sickness I think.

Combat is fast, visceral, bloody and fun, but once you settle on the handful of solid movies, you’ll likely ignore the other stuff you just spent souls to unlock. For the larger foes you have the option to Punish or Absolve for a finishers, both of which are brutal, but yield experience for your Unholy (Scythe) or Holy (Cross) levels. Enemies can prove challenging (especially on the Hellish difficulty level, which I started on), but variation ebbs away towards the end of the game.

Which is the prevailing criticism and it’s valid: Dante’s Inferno runs out of steam in the home stretch. The combat, mythology and nifty design of Hell carry the day at first, but once you get into the bottom circles, the freshness is gone, replaced with repetitive characters and less-than-transfixing level design. The fact that the final circle of Hell is a series of challenge rooms doesn’t help things either.

Still, I enjoyed this game quite a bit. (Full disclosure: I also enjoyed X-Men Origins: Wolverine and Conan quite a bit, too.) A pro-tip, to end on: I consider myself adept at action games, but starting fresh on the Hellish level kicked me in the groin more than a few times, especially the final bout with Lucifer, a monstrously difficult showdown that took me the better part of two hours to finally get through.

Closing Statement
It’s a good time and I’m already playing through it again. Incoming DLC, a survival/arena mode (which every brawler should have as far as I’m concerned) and the resurrection/replay mode extend the life of the Inferno. At least rent it, action enthusiasts.

The Verdict
Absolved.

Platform: Xbox 360/PS3 (360 version reviewed)
Developer: Visceral Games
Publisher: EA
Release Date: February 9, 2010
Rated: M (17+) for Mature.

The Charge
Assemble your team.

Opening Statement
The first Mass Effect blasted onto the Xbox scene and revolutionized many elements of the action/RPG experience, from its brilliantly-realized new IP, the revolutionary dialogue wheel and the pants-drenchingly fantastic graphics. Bioware’s anticipated follow-up is here and it is so, so much better.

Facts of the Case
Mass Effect 2 brings back Commander John Shepard: Space Bad-Ass, whose recent misadventures with the diabolical, genocidal Reapers led to big explosions and traumatic bodily harm. Cerberus, the radical pro-human group, led by the enigmatic Illusive Man (voiced splendidly by Martin Sheen), brought Shepard in to face off with the newest foes: the Collectors, a bug-like species that’s been wiping out colonies across the galaxy and kidnapping humans for Lord knows what malevolent purpose.

But before he leaps in the jaws of surefire pain and horror, Shepard must put together his squad, an eclectic group of aliens and humans from all corners of space who will offer him much-needed skills and talents or, at the very least, give the bad guys another target to shoot at.

The Evidence
There are games. And then there is Mass Effect 2.

Bioware’s sequel is stunning on every level, and represents both a significant improvement over its predecessor and a new standard for what kind of interaction and storytelling is capable in a video game. Yes, I know this sounds like your typical message board fanboy hype/drivel, but I have to say, this game absolutely put me in the fetal position with its awesomeness.

I had almost completed the first Mass Effect, but drifted away in part because of the touchy combat mechanics and the godforsaken driving sequences. Both of these annoyances have been cleared up. The combat is much sharper and is actually fun as a full-fledged, cover-based third person shooter. When the firefights came, I welcomed them, especially the culminating battles, which were aided by an increase in difficulty, some great music and added emotional weight to the outcomes.

Shepard as multiple weapons at his disposal, from a handgun to a mini-nuke (and other assorted heavy weapons). These are upgradable and the selection is expandable and ammo is never an issue. So blast away, and if you get bored with shredding Blue Sun mercs with inferno ammo (note: you won’t), you can always slap them around with your biotic, Force-like powers. In typical RPG fashion you can improve powers and skills (both passive and active) with gains in experience and mission completion. The refreshing aspect to this character progression is you won’t feel like you’re grinding to upgrade.

Missions are fun and interesting. It’s rare that a RPG holds my attention enough to see me gallivanting around the game world doing side quests, but I was fully into it here. I knew there was going to be some bodacious shooting action to be had, a slice of cool dialogue to partake in and perhaps a tech or weapon upgrade lurking in a wall safe somewhere.

The main story is the bread and butter of Mass Effect 2 and, thankfully, it delivers. The Collectors are imposing villains, the mysterious Harbinger—who’s connected to the Reapers—turns up during firefights with the Collectors and talks enough trash to get you amped about killing him and his minions, and the shiftiness of Cerberus and the Illusive Man are pervasive question marks.

But what really grabbed me was the building of my team. On the surface, it might seem that planet-hopping to recruit characters could become a tiresome experience, but it was the exact opposite. Each squad member had a cool, action-packed story to fight through, as well as an equally interesting “loyalty” mission. As I was plowing through these missions I actually began to care about these fake polygons. Legion the Geth synthetic, Thane the assassin, Grunt the tank, Jack the insane biotic—I was genuinely concerned about these guys, and Bioware knew that I would, so that when the shiznit hit the fan and my teammates were put in danger as a direct result of my decision-making, bother, that stung!

I don’t recall another game that got me as emotionally invested in its story and characters as this one, and, for me, that is Mass Effect 2’s greatest achievement. Set aside its graphics (stunning, by the way), voice-acting (perfect), sound (is the soundtrack for sale somewhere?) and gameplay, all of which are top-shelf, just the fact that I legitimately cared about what happened to the characters represents a profound evolutionary step in the landscape of video games.

Closing Statement
Here’s all I have to say: I spent hours strip-mining planets so I could gain enough space minerals to upgrade the medical bay in my ship so I can have surgery on my aface that would eliminate the scarring that comes along with making “Renegade” decisions.   Is it too early to decree a Game of the Year?

The Verdict

Platform: Xbox 360/PC (360 version reviewed)
Developer: Bioware
Publisher: EA
Release Date: January 26, 2010
Rated: M (17+) for Mature.

The Charge:
Lock, Load, and face the madness!

Opening Statement:
How many games come along and promise to provide a mish-mash of “Genre A” and “Genre B” and wind up with a watrered down version of both that dissapoints and frustrates. Gearbox Software, those guys behind Ubisoft’s Brothers in Arms series have unleashed their new baby onto an unsuspecting Fall market. Promising a fresh combination of first person shooter and action role playing, does Borderlands cross the gameplay border into awesometown? Or is it better off being detained at customs.

Facts of the Case:
Pandora, a harsh alien wasteland, is home to a dirty, wild west-ish breed of frontiersmen. Settlers and treasure hunters attempt to make a life for themselves in shanty towns and ruins while contending with the local wildlife and the Mad-Max style bandits that roam the wastes in death driven hell-machines. As one of four characters you step into the ruthless world of Borderlands, your goal is the discovery of an ancient vault, rumored to be filled with alien artifacts that will bring wealth, power, fame, and women. Along the way you’ll meet some colorful characters, and even more colorful bad guys. It’s not going to be an easy trek, thankfully you can bring three friends along for the ride, and there’s a huge arsenal of lead throwers at your disposal.

"Best screenshot ever!"

The Evidence:

Borderlands had me right from “press start”. The cheeky intro monologue spoken in a thick Russian accent the opening montage set to the strains of avant rockers Cage The elephant’s “Ain’t No Rest For the Wicked” and the unique visuals and sense of style that screams “Heavy Metal!” (the magazine, not the music.) Once you’re off the bus and into the starting area, a charming little dump right out of Fallout 3 called “Fyrestone”, the blinders come off, and the massive world of Borderlands is yours to explore. You see, unlike most first person shooters, Borderlands gives you an entirely open environment to roam freely in, with only a scattered roadblock here and there to keep you from wandering into regions beyond your means. The world is huge, and you’ll be given several forms of conveyance to make your travels a little quicker.

Upon first glance, Borderlands definitely looks the part of first-person shooter. One trigger fires, the other lets you aim down your weapon’s iron sights or take advantage of a scope, and you will shoot a lot of bullets in classic shooter fashion. Then you get into the meat of the game, barely 10 minutes in, and you realize that there is actually far more role-playing game than you might think. Borderlands borrows liberally from the massively multiplayer model, included is your typical level grinding, fetch quests, boss-fights, and unique weapons with special properties. You level up abilities and each of the four characters represents a ‘class’ of sorts complete with a Diablo II/World of Warcraft style skill tree, and a unique ability to give you an edge through the lengthy game time. Try to do too much shooter-ing without paying heed to role-playing fundamentals, and you may wind up with gear that cripples your ability to kick ass to the point of being completely helpless.

"...Ok, so you did WHAT to Rover when he humped your leg?"

Much of the brilliance of Borderlands’ design lies in how the two halves form a whole. The shooter side is fast paced and fun, with fast response times that almost recalls elements of Timesplitters, it’s fun and easy to pick up and play. The role-playing side is a little more in depth, and is absolutely essential to success. You will find an unholy amount of firepower, and you’ll be swapping regularly for weapons with varying status effects like poison, electric, or flame shells, and comparing damage and rate of fire stats as though you were looking at the DPS on that unholy Bastard Sword +1 that you just nabbed off of a slain orc. It’s an immediately gratifying crossover for fans of in your face visceral shooters and role-playing gamers alike.

US department of Immigration, circa 2075...

The remainder of the awesomeness comes from Borderlands’ open ended multiplayer. You can hook up with three others online and play through the entirety of the game as a co-operative experience, and this is truly the best way to experience it. With a solid mix of classes, each character has their own role in multiplayer, and a solid team with a diverse pool of talents and weapons can really make for an awesome experience where everyone pulls their weight. There are some balances in place to prevent power leveling, if you’re character is too far afield, one way or the other, from the game’s host, than you won’t be able to turn in quests for valuable XP. Sure, Borderlands works as a single player game, and does so pretty well, but the multiplayer experience is where it’s at. If you’ve ever spent an evening playing 4-player LAN with Diablo, or the idea of chasing elusive loot drops and grinding just one more level with your guild appeals to you, than Borderlands will be right up your alley.

In terms of presentation, I’d be hard pressed to believe that this was actually powered by the Unreal 3 engine, save for the texture pop in that plagues 98.5% of U3 powered console offerings. The character models and environs are pretty rudimentary, but the cel shaded (strike that, more graphic novel) art style actually looks incredibly impressive. Framerate remains consistent, weapons look great, explosions are good, and enemy designs are pretty interesting. Overall the visual package makes a great first impression that actually lasts. Both consoles perform admirably, with nary a shade of difference between the two (some say the PS3 has sharper textures, but I didn’t notice a thing on my display).

Machine Gun +1 with Flame bullets!

The audio is solid, but rudimentary, though the use of rock n roll tuneage suits the game’s vibe perfectly, and the ambiant music sets a pretty good mood. The voice actors are good all around, and the writing is clever, and at times laugh out loud funny. I did find that music got a little “skippy” on the PS3 version at times, but it wasn’t a major issue.

Rebuttal Witness:
While Borderlands is a riot with a group, some may find that playing solo can get a little dull. The game is built around a rigid quest structure, so it may feel like you’re just checking objectives off as you go about your business. That said, there’s more than enough content to keep you focused, and those of you who err on the side of grinding shouldn’t have any issues.

Closing Statement:
Borderlands is just one hell of a sweet surprise. It’s got just the right mix of technical cool, addictive RPG elements, tongue in cheek charm, and visceral shooter action to appeal to a wider range of players than either the FPS or RPG on it’s own ever could. From the looks of things it’s something of a sleeper hit, and it deserves to be. It’s easily one of the best offerings of 2009.

The Verdict:

Platform: Microsoft Xbox360, Sony Playstation 3, Games for Windows PC
Developer: Gearbox Software
Publisher: 2K Games
Release Date: October 20th, 2009
Rated: M(17+) for Mature.

And THIS happy little fellow is "The Gouger"...

The Charge:

One Saw that is overdue for sharpening.

Opening Statement:

The films all pretty much start the same way.  A person who has been taking their life for granted wakes up, their bodies usually wired into some sort of hell-born death machine.  There’s a maniac out there who wonders if these people even deserve the breath they draw without a single moment of joy.  And if they want to keep drawing breath, they’ll have to prove it to him.  This is the very core of the Saw franchise, a series of low-budget horror films that took the genre by the throat in 2004 and have produced a steady supply of screams for 5 years straight.  After bringing in more than a half a billion dollars worldwide, the grisly series has finally scored itself a videogame adaptation.  But does this Saw cut deep, or will gamers find themselves wondering if this is one of Jigsaw’s cruel tests?

Facts of the Case:

Gamers step into the shoes of Detective David Tapp, the closest thing the first film had to a protagonist (sadly lacking in Danny Glover this time out) as he wakes to find himself caught still in the voyeuristic Jigsaw’s malevolent lesson plan.  The object of the game is simple, do what it takes to stay alive and try to survive a madman’s machiavellian scheme.

The Evidence:

Taking place between the first two entries in the ever increasing ‘Saw’ series, the game adaptation is at times a trippy experience that feels more akin to an evil take on Professor Layton, or perhaps a less psychosexual version of the critical darling Indigo Prophecy than it does with its own film legacy, so those of us who are expecting an even gorier Condemned, turn back now.  I found myself enjoying the puzzle segments of Saw, that is until the first two hours of game time had elapsed and it started recycling its traps to pad out the game’s length.  Too many times did I walk into a room that was either packed full of plastic explosives or rapidly filling with nerve gas.  FAAAARR too many times I found myself rolling my eyes as Tapp reached into a toilet bowl or barrel filled with dirty hypodermic needles and other such assorted nastiness for a key.  It also doesn’t help that the game is an ugly duckling.  A sadly abused ugly duckling with a really bad case of acne.  Yes, the graphics are bad.  No, sorry.  Terrible.  Don’t be foold by creenshots.  In action this game is about as appealing as Bryan Adams’ face.

Cuts like a knife, but it feels so right.

Thankfully, some of the monotony of Saw is broken up by a series of fiendish ‘boss puzzles’ scattered throughout the game that take the form of Jigsaw’s ingenious mechanisms that the films have become synonymous with.  Multi-tiered challenges that force the player to use every skill they’ve picked up in the areas previous (i.e.: lock picking, powering up electronics, Bioshock-like gear hacking) to try and disarm the trap before it claims a life.  Gamers will likely fail purposely a few times just to see the gooey results.  Unfortunately these Zelda-esque moments of brilliance are spread to thin across a game that often feels as if the only reason to play is to listen to Jigsaw’s menacingly dry monologues as he guides you further into his labyrinthine hell.  And that’s approximately when the entire game goes to hell.

Rebuttal Witness:

The combat.  Oh, the combat.  Oh, the gloriously bad, terribly programmed combat.  A little ways into Saw, the game up and decides that to break up the stiff puzzle-solving structure, it will introduce beat ‘em up action into the mix.  The problem here, if I can be metaphorical for a moment, is that while people like peanut butter, and people like fried eggs, most people would have the good sense to not eat the pair together.  The attack controls in Saw are so slow and unresponsive that much of the game becomes a battle with a sense of timing.  Manage to get off one strong attack perfectly and the loony-bin customer who just tried to hack out a key that is supposedly surgically implanted into Tapp’s body goes down for the count.  Misjudge that attack however, even by a split second and prepare to fall flailing and screaming into a multi-second long death loop where it is impossible to react or get off a second attack before ending up at the infuriating game over screen.  It doesn’t help any later in the game when Tapp is fitted with the fearsome shotgun collar from the third film, a shotgun collar that explodes if he gets too close in proximity to any of his attackers for too long a time.  Yes its fun that the makers of Saw saw fit (ouch) to stuff as many hilarious weapons as they could into the game.  But Dead Rising this is not.  Beating a psycho with a mannequin leg isn’t nearly as fun as a zombie, especially not when the game keeps throwing cheap punches at you while you play.

Closing Statement:

Saw is guilty of being a quick movie cash-in, a glorified budget title that offers gamers nothing more than lacklustre presentation (which is at times so poor that I didn’t even want to get into it), shoddy game design, and a shiny recognizable logo on the packaging.  The game’s pace is forcibly slowed to a methodical crawl by the overabundance of recycled traps (seriously, any gamer who doesn’t get frustrated with the rampant use of shotguns rigged over doorways is my new hero).  Horror fans should run screaming away from this title.  Like its eponymous film franchise, Saw gets rustier and duller the longer it trudges on.  It’s scary for all the wrong reasons.

The Verdict:

Everyone be sure to have Mommy, Daddy, or a legal guardian check your candy before you chow down after tonight’s festivities.  Unless your name is Jake Busey.  You probably want to check that stuff yourself Jake.

- J

Platform: PlayStation 3, Xbox 360 (360 version reviewed)

Developer: Zombie

Publisher: Konami

Release Date: October 6^th, 2009

Rated: M for Mature.

The Charge:

“Aw crap.”

Opening Statement:

Back in the early days of my PS3 ownership, Uncharted: Drake’s Fortune was the first game I played.  It immediately shot to the top 3 of my favorite-for-this-gen list of games.  I had never before seen such a masterful approach to cinematic gaming; the folks at Naughty Dog has crafted the finest game/movie hybrid effort ever, mixing quality gameplay with an engrossing story and memorable characters.

Needless to say, since the announcement of Uncharted 2: Among Thieves, I have been gripped in a churning excitement, restless with the anticipation of what delights Naughty Dog has cooked up this go-round. Click the jump for the review.

Facts of the Case

Intrepid treasure hunter Nathan Drake has cast his lot in with some shifty comrades in search of a legendary sapphire and the mythical Shangri-La.  Along the way he shoots a lot of bad guys in the head and stuff happens that blows my mind.

The Evidence

This game is great.  It’s a must-buy for PS3 owners (just as the first was) and sets new standards in a number of gaming categories.  Here, then, is my itemized list of why Uncharted 2 is a sure-fire contender for game of the year and some of the biggest fun I’ve had this generation.

The Tech

Wow, what an absolutely stunning achievement in code-slinging.  Uncharted 2 is the best-looking game ever created.  The visuals continually out-perform those that preceded them, from the shockingly detailed rendering of war-torn Borneo to the vistas of Nepal to the imaginative creations of the ice fortress and the final stage.

But where I was constantly surprised by Naughty Dog’s prowess was with respect to the little things.  Drake’s clothes get wet when he’s in water or rain.  In the higher altitudes, the snow powder sticks to his clothes, and he leaves boot-prints wherever he walks.  And all of the marvelous graphics and environments slow seamlessly with very few load screens once you get rolling.  So awesome.

The Gameplay

As much as I liked the first game, the gameplay felt like a collection of other elements from games that had done them better.  Here, it all coalesces into something that’s galactically fun.  The cover and shooting mechanics are smooth, the enemy AI is smart, but not invincible, the platforming intuitive and not overused and the rail-shooting segments brief, but memorable (convoy–hell yeah!).  Add in a sweeter combat system and some fun stealth elements, and the substance more than matches the style.

The Cinematic Quality

This has always been the big selling point for the series for me and with the sequel, Naughty Dog proves no one makes an interactive summer blockbuster better.  The cut scenes are frequent, but the production and voice acting is so top-shelf you’ll actually look forward to them.

The story is an effective globe-trotting, treasure-hunting romp that is perfectly set up to show off the amazing action set-pieces sprinkled throughout: the train chase, the truck shoot-out, two helicopter showdowns, a frantic firefight in a collapsing building, a desperate dash over a crumbling bridge and the centerpiece, Drake’s escape from a train car dangling over a cliff.

Rebuttal Witness:

Closing Statement:

Whatever.  Go buy this game.  It is the bee’s knees all the way down to the ankles.

The Verdict:

Platform: PlayStation3
Developer: Naughty Dog
Publisher: Sony
Release Date: October 13th
Rated: T for Teen

The Charge:
A slice of gaming heaven that is louder than hell!

Opening Statement:
My hands quaked as I tore away the plastic cocoon as I had done countless times before.  Visions of a teenager tracing his fingertips along the stack of heavy metal vinyl’s he had been given ownership of for an entire summer flashed before my eyes.  I could feel a deep pulse building in the pit of my very being, like the marching hooves of an iron clad war machine.  Just holding the disc, I could feel its electricity dance between my digits, threatening to suddenly spark, sending a jolt straight to my brain.  As searing tears of joy carved trails down my face, and my bear trap grin spread wide and vicious, I looked up to the clouds and held aloft the horns in praise of the metal gods.  Brütal Legend, Double Fine overseer Tim Schafer’s latest baby has arrived on crimson wings, its fiery mane blazing with the undulating power of heavy metal.  But is Schafer’s latest labor of love a face-melting, soul thrashing, black magic epic, or another sad stroll down Hollywood Boulevard?

Your a vision, make me shout out loud! Made my decision, it's goodbye to the old crowd!

Facts of the Case:
Eddie Riggs, a figure whispered about in the haunted annals of metal is described as the greatest roadie who ever lived.  He was born and raised on tour, and like Conan the Barbarian, has been forged into man of destiny.  Unfortunately he is currently on tour with the worst metal band in the universe (a hilarious pastiche of AFI, Limp Bizkit, and everything else that’s wrong with nu-metal)  Armed with the ability to fix, build, and tune anything, and embodied of a sacrosanct devotion to rock, Eddie has been rescued from a fatal accident at a concert by Ormagödden; Cremator of the Skies and Destroyer of the Ancient World, and transported through time and space to a mythological Age of Metal.  A savage world filled with Chrome Spiders that spin webs of bass strings, Boars that have Motorcycles for lower torsos, and a place known only as Bladehenge that must be seen to be believed.  It is here that he will find a cause, build an army, and free an entire world from under the crushing, cloven hooves of an oppressive, demonic overlord.  If this in any way sounds awesome to you, you’re in for a treat.  If not, hell, there’s always Nintendogs.

Racing down the road! In a street machine of steel! Gears are jammed in full! I'm the madman at the wheel!

The Evidence:
Brütal Legend is one of the greatest games I have ever played in my close to 25 year career as a gamer.  There, I’ve said it.  It is done.  Now for the why.  Unlike any game that has ever graced he systems I have played, Brütal Legend is a collection of extremely well-developed aspects that have all been woven together brilliantly into a tapestry of grace and fury.  There are so many ways a mismatched style of play like the one presented here could’ve gone horribly wrong, but by the grace of the metal gods, Schafer and his crew at Double Fine have managed to hold it all together.  I received my review copy just last week as my previous article went to print.  Over the course of a single weekend I played the game in its entirety.  This is something that simply never happens with me anymore.  I haven’t marathoned through a title since school.  But Brütal Legend simply grabbed a hold of me with powerful talons and would not let go.

Lovers of the dark, step into the light! We know you're brave, you’ve come to see us dream! Many times before, now we open up a door!

Best described as an open world, real-time strategic beat ‘em up with strong adventure elements, Brütal Legend is quite simply a wonderful chimera, a magical beast to behold.  The combat feels tight, the special attacks and magic abilities (which come in the form of scorching guitar solos) are amazing additions that never cheapen or unbalance the game play, and the much dreaded RTS scale battle segments when approached with a degree of intelligence are nothing short of merry indulgence.  Armed with a basic battle axe combo, a chargeable power attack, and three special attacks made with Eddie’s prized Flying V, Clementine.  Between these five modes of attack, the game never fails to bore, as there are close to a dozen advanced combos that can be purchased (alongside a ton of other vital enhancing items) in the Metal Forge, a series of hidden shops presided over by an immortal Guardian of Metal.

Backs turned to madness! Backs to misery! And I put the brush to the canvas! An' paint a world! Paint my world of...Hurt!

The demon bludgeoning that makes up the first 30 minutes or so of game time however is only the slightest tip of the immense iceberg that is Brütal Legend.  There is a massive world to explore, full of hilariously epic landmarks which pay tribute to the metal music genre (keep an eye out for the V-8 Big Block on the beach), as well as a prodigiously well written story mode that serves to introduce a cast of great characters, which in turn work to slowly get players ready for the shocking stage battles.  Though gamers like myself will take great joy in driving across every inch of the age of metal, sending the Druid Plow screaming across jumps and careening into demonic elk.

Feel the earth move under my wheels! There, the chills you get from the turns and squeals!

I had been waiting with icy fingers of trepidation around my heart for the stage battles (which often serve as big boss fights to close off chapters of the game).  Looking back now after having cracked the game wide, I can only shake my head at my foolish fears.  These titan-scaled wars made up some of my favorite moments of Brütal Legend.   Playing out like a glorious mash-up of WarCraft and Dynasty Warriors, the stage battles are based entirely around seizing command of various fan geysers scattered across the battlefield (souls of the ancients who return to mosh), and using their fearsome power to develop and deploy battlefield units.  Fights can be surveyed from the sky for easy maneuverability, and any time a player’s side begins to falter, Eddie can descend with axe in hand to lay down a world of hurt and even the odds (honestly, one of the climactic battles with the emo-inspired Drowning Doom faction was won thanks to a quick status effect solo I used as opposed to out and out brute force tactics).  Forces can be directed to objectives with a simple click of a shoulder button and a direction on the d-pad and every unit has its own individual team up attack with their respective general, ranging from sniper attacks with range units to an orbiting shield of head bangers that can waste most units in a few hits.

Revolution in their minds - the children start to march! Against the world in which they have to live and all the hate thats in their hearts!

Each faction bring their own unique quirks, with the heroic forces of Ironheade preferring straight out assault, and the creepy Drowning Doom using combinations of buffs and debuffs to confound enemies.  Each faction’s general as well comes with an assortment of guitar solos that can be used to deal devastation across the field, like Eddie’s “Bring It On Home”, which summons a fiery lead zeppelin, which plunges into the earth, resulting in an apocalyptic explosion.  Some even have effects such as turning off an enemy status effects, or temporarily disabling their ability to produce new units.  There is a cool down time for each solo, so they never feel cheap…even if they do melt your soldier’s faces off.  Since these battles are what make up Brütal Legend’s rather robust multiplayer mode, it’s relieving that the single player serves as an essential tutorial before leading an army of metal heads across broadband in search of conquest.  Outside of combat there are tons of side missions that will take players to task, and while some will complain that they are the same variety over and over again (much like InFamous), they’re all a hoot and a half, and are really there to get gamers prepped and ready, as well as swimming in enough Fire Tributes to upgrade enough for what I will warn are a couple of truly nasty fights in the game’s final third.

Come join our army of the dead and obscene! I'll give you nothing 'cause that's all that you need!

The world of Brütal Legend is jaw dropping in its visuals.  While not as awe-inspiring as something like uncharted, the art developers at Double Fine have crafted a look that strikes with as much power as its sound.  The character models are striking, and with some assistance from an ex-Pixar staffer, they explode with character.  Eddie himself looks like Double Fine stapled Jack Black’s face (complete with hilarious eyebrow gestures) and stapled it onto Glenn Danzig’s body (complete with Evil Elvis sideburns).  It all works in unison to create a sumptuous visual feast.  The lighting effects are stellar, the characters all animate fluidly, and everyone has their own unique quirks that will make you simply fall in love with the cast.

Come on! Keep it on the side! With a ride! On a record on the top! If you're gonna be a bad boy!

Of course how good could a purported Heavy Metal epic be without the appropriate soundtrack?  Brütal Legend features one of the best, and I don’t say that simply as a lifelong metal head.  Song placements within the story are ingenious, truly invoke an emotional response (at least they did inside this geek).  Examples?  A creepy drive into Drowning Doom territory spent protecting my army’s tour bus was set brilliantly to Diary of a Madman by Ozzy Osbourne.  A cinema scene were we are introduced to the twisted leader of the Doom has made me a lifelong fan of Betrayal by Lita Ford, and I’ll always treasure the hilarious opening with the scientific application of Black Sabbath’s Children of the Grave.  There are over 100 examples of thundering, blistering heavy metal classics that motor alongside “Brütal Legend”, making the aural experience one to be remembered fondly.  Rounding out the great soundtrack is an amazing featuring Jack Black as Eddie Riggs, Lemmy Kilmister (of Motorhead fame) as a motorcycle riding medicine man who’s bass playing is so powerful it can heal the wounded, Lita Ford as the queen of a race of beast-riding warrior women, Rob Halford is  a hilarious double role, Ozzy Osbourne steps in as well in a double role, the first being the mysterious Guardian of Metal, the second being a suprise sure to bring a smile to your face.  Veteran voice actress Jennifer Hale steps in as Eddie’s love interest Ophelia, and finally we have Tim Curry; who injects so much British maliciousness into his role as the demonic Lord Doviculous that it bright back nightmares about a similar Curry role in the 1985 movie Legend.

They said hold your head up high! Raise your fist up in the air! Play metal! Louder than hell!

Rebuttal Witness:
There are gamers among us who will overlook Brütal Legend because they’re not fans of Heavy Metal, or Jack Black, or they’re revolted by the inclusion of the RTS battles.  There are those who will whine about the storyline taking a decidedly dark turn in the second act.  I still found it funny, while at the same time understanding that the stakes had been raised significantly by the final act.  There are those who will dismiss Brütal Legend because they feel Tim Schafer is undeserving of his cult credentials.  I’m sure there are even die-hard Schafer followers who will swear off “Brütal Legend”  just out of spite because an indie darling is making a stab at the big time.  Honestly, these gamers can put their headphones back around their ears, crank their Shakira mp3s or whatever they’re listening to and be on their merry way.  Anyone who was been looking at Brütal Legend with any interest whatsoever will not come away disappointed.

Bow down to the axeman! Hooded figure of mortal fear! Bow down to the axeman! Son his rising time is near!

Closing Statement:
It was never easy growing up a closeted metal head, especially for a foolish young boy who felt he had to hide such interests from his friends and family.  Brütal Legend takes everything we’ve ever loved about Heavy Metal, wraps it up in a convincing mythos, tosses in some belly-shaking humor alongside a well-written story with more than a handful of great plot twists, and shakes that s*** up with a finger scorching, bass-trembling guitar solo that delivers a game that will blow your mind to kingdom come and rock you to the very foundations of your soul.

The Verdict:

I’ve never actually thanked the childhood friend who first introduced me to Metallica and Megadeth in Elementary school, and probably saved me from a lifetime of listening to Prince and Meat Loaf.  So if you’re reading this Adam, thank you.

- J

Platform: PlayStation3 and Xbox 360 (PS3 version reviewed)
Developer: Double Fine Productions
Publisher: Electronic Arts
Release Date: Rocktober 13th
Rated: M for Mature.