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:
A new world will rise from the ashes of the old.

Opening Statement:
Square Enix once again attempts to bring their long running giant robot series to North American shores, this time with an American developer at the controls, and a pretty huge shakeup in the gameplay department. Does their gamble pay off?

"AMBUSH! pyew! pyew! pyew!

Facts of the Case:
In the year 2171 AD, a cold war rages between the two dominant world powers, The OCU, and the UCS (essentially huge amalgamations of the old school East and West). When an unprovoked attack on the New York City orbital tower of Percival sparks an all out war, Dylan Ramsey, a civilian test pilot, finds himself pulled into the conflict. The weapon of choice in this future war? Giant robot fighting machines called “Wanzers”.

The Evidence:
I was never much of a proponent of the Front Mission series, though my love of giant bipedal robot killing machines knows no bounds, it was tempered by my relative distaste for turn based strategy. With Front Mission Evolved, Square-Enix, through North American developer Double Helix (Silent Hill: Homecoming) has taken quite a chance. Fans of the long running series, barely represented on North American shores, have been bitching and moaning about the transition to 3rd person action game since the first mention of this particular title. They feel as though Square-Enix has betrayed the small but reverently loyal fan base that the series has amassed over the years, and in some way, perhaps they have. For me, personally, the shift was a more than welcome change.

"Sorry, you're weapon only has a range of four hexes! I'm six hexes away! Nyeah nyeah!"

The guys at Double Helix have no doubt spent a ton of time with From Software’s long running Armored Core series. The venerable Mecha series immediately comes to mind the moment you kick in your jets and start skating around. The controls have that same smooth feel, the giant war machines move in virtually identical fashion, and even the button layout is very similar, having you using the shoulder buttons on your controller to fire shoulder and arm mounted weaponry on your left and right sides respectively. If you’re one of those hardcore giant robot guys who’s played a ton of AC, Front Mission Evolved will be an easy fit.

Anyone who enjoys a good giant robot shooter also loves to customize their 100 ton implement of robotic genocide, and again, Front Mission Evolved delivers. There’s some robust customization tools that allow for the swapping out and replacing of virtually every piece of your walking tank, complete with a healthy assortment of projectile weaponry and melee tools. It’s not quite as robust as what you see in Armored Core 4 or Chromehouds, as your machines do maintain a similar feel in terms of speed and agility, but there’s enough of a change to make it worth your while.

Where Front Mission Evolved really changes things up is in the storyline, and the level design. Other Mech shooters love throwing you up against fodder, and are often structured in a non-linear “choose your mission” structure, with meta-narratives that are spread through ancillary things like e-mail messages (I’m looking at you, Armored Core). FME’s storyline hits the ground running with some awesome cutscenes and a tale of violence and war. It’s not pioneering storytelling in video games or anything, and it certainly borrows some elements from “Giant Robot Anime 101”, but there are distinct characters, some endearing, some repulsive as hell, and there’s a narrative flow to the action that really helps to immerse you into the ongoing war.

"Who needs machine guns when I got this big ass club!"

Rather than chucking gigantic bullets and rockets at foot soldiers and tanks repeatedly, the game almost immediately introduces enemy robots, and combat becomes a hectic game of boost, shoot, dodge, and scramble for health and ammo replenishes. It doesn’t take most weaponry long to chisel through your mech’s metal, and while the proper reflexes may make things easier, combat is no walk in the park. There are some boss fights in here that require mad skills, close timing, and incredible patience. Thankfully the checkpoint system is pretty forgiving.

The level layouts are pretty linear, but varied and interesting as well. The game doesn’t often degenerate into an all out shooting gallery, and the combat is mixed up quite a bit. The levels are also pretty lengthy for this type of game, but mix things up perfectly without overstaying their welcome.

Every so often a mission pops up that requires you to hop out of your towering collection of steel and guns and go human-sized against other human opponents. The experience here is functional, but entirely rudimentary. You crouch behind solid cover and shoot at anything your crosshairs lands on. Shooter fans may find these segments rather blasé when you compare them to something like Gears of War, but I enjoyed them for the altered perspective from the remainder of the game’s combat, and they come in at the perfect times to break up the robot sections and keep things interesting. I’ll also readily admit that I mght have pooped my pants just a little bit the first time I had to fight an enemy “wanzer” on foot. It turned out to be disappointingly easy, but it was still impressive.

"Maximum Firepower, bitches!"

Rebuttal Witness:
While the “core” gameplay in Front Mission Evolved delivers, the presentation is a bit more of a mixed bag. The visuals, while diverse, are pretty simple, with rudimentary textures that get the job done, but run the gamut from average to ugly. Some of the lighting gets pretty garish, particularly on the opening levels set in the streets of New York City. Many of the levels, including the New York level, feel sparse and empty, with simple geometry and little in the way of depth or detail. The levels get a little more colorful as you go, and there are some simple tricks like light bloom that elevate things to the point that things almost look appealing. The Mech designs capture that classic Battletech chunkiness and generally look awesome in motion, but it’s kind of a shame that the backdrop in which these cool looking robots play is so vanilla.

The ‘on foot’ levels suffer from similar blandness, and the human characters look rather plain. The general lack of tricky lighting effects combined with the rather lackluster facial animations and the wretched in cockpit camera view during cutscenes gives the presentation a very dated, borderline “last generation” feel.

The sound is a little more passable, with a decent enough, if slightly generic soundtrack, and passable voice acting that manages to deliver the anime-lite script decently enough. It never quite thunders like you feel it should, and the rattle and hum of giant machine guns doesn’t shake the foundations like you want it to. It isn’t bad at all; it sure gets the point across, but it doesn’t stand out either.

There is a solid multiplayer component included as well, complete with Call of Duty style ranking mechanics and unlockable weaponry. The problem is that the unlockable weaponry completely throws off the game balance, with noobs being utterly useless. It breaks the game completely. There’s also a significant dearth of maps and gameplay types, which will definitely limit the longevity. If you can find a dedicated community of mech modders to hang with (maybe some refugees from the long terminated Chromehouds servers) and get some action happening, this COULD be the kind of game you stick with, as long as Square-Enix can pump out some new maps as DLC.

Lastly, there’s the question of the Front Mission legacy. As soon as “Evolved” was announced, the small but vicious cult of fans of all things Front Mission immediately lost their minds. The series has traditionally been a turn based rpg strategy title, complete with slow and arduous turns where each opposing force moved their mecha like chess pieces on grid based terrain. The knee-jerk hate reaction is not at all surprising, given the series pedigree as a strategy title. There’s nothing worse to the braniacs than the “dumbing down” of their complex game of war into just another shooter. So, if you’re a fan of the series, know that the story is a decidedly western imitation of what has been a very complex and multi-game spanning, nigh impenetrable story, and there’s not a lick of strategy to be found. If you can accept “Evolved” as a continuation or a side story, or a look at the setting from a different perspective, you may very well find yourself satisfied. However if the idea of playing a shooter set in your beloved tactical world makes you wretch, give up now and walk away. Let those of us who enjoy this sort of thing have our good time.

Closing Comments:
At its heart, Front Mission Evolved is a competent mech shooter with fun mechanics and a solid story that will no doubt appeal to fans of the genre. The narrative drive kicks it a notch above Armored Core 4(or Armored core: For Answer as well), even if the gameplay is ever is ever so slightly more shallow. Stick around for the smooth controls, the lengthy (by today’s standards) campaign, and the Anime storyline, but don’t count on getting much longevity from the multiplayer, unless you really devote yourself. If you like giant robots, there’s currently no better option on a console.

The Verdict:

Platform: Sony Playstation 3/Microsoft Xbox360/Windows PC (PS3 version reviewed)
Developer: Double Helix
Publisher: Square – Enix
Release Date: September 28th, 2010
Rated: T (13+) for Teen

For racing game fans, getting a digital fix comes in three flavours.  Hardcore simulation; along the lines of Gran Turismo or Forza Motorsport , Arcade racers such as Burnout; with faster paces and much looser physics, and Kart racers; which deal out Mascot characters, and crazy course layouts. While at heart Split/Second, the newest racer from Black Rock Studios; the developers of last year’s phenomenal Pure, is very much of the arcade variety, it possesses qualities which blur the lines that separate it from the other two.

Last place is nothing a well-timed cargo container drop can't fix

Split/Second is a title seeming designed to elicit as many hoots and hollers out of an average gamer as humanly possible.  It is lovingly engineered with the ability to make us lean forward, out of our seats, our bodies synchronized with the controller, leaning and swaying like we’re in the midst of a fever dream.  The entire game is accoutered with the type of mad-cap explosive pandemonium that would seem more fitting a car chase in a Jerry Bruckheimer production.  It features all the accoutrements of a successful arcade racer; ludicrous speed, heavy emphasis on drifting, and all-around aggressive driving.  However, the game-changing arsenal of power-plays, and slightly more realistic physics than one would assume for a title this filled with pyrotechnics set Split/Second apart from the competition.

"I wonder if the diner has cherry pie?"

Drifting around turns, riding an opponent’s draft, and taking jumps fills a three-level power bar on an ingeniously designed in-game HUD .  This time however, the power isn’t used for a nitrous speed boost, rather to detonate one of the multitudes of explosive set pieces which populate the track.  One segment of the bar can be sacrificed for a low-level effect such as a parked vehicle exploding, or a section of overpass dropping onto the track.  Or, if players are feeling especially destructive, the full bar can be flung upon the altar for a much more potent effect.  These category 3 power-plays offer up spectacular visuals with vastly course-altering results.  It’s never anything short of cataclysmic, and it always leavers racers scrambling at the wheel, struggling to swerve around the likes of a collapsing building, capsizing aircraft carrier, or even an incoming plane.  Detours will become available, taking racers across rooftops, through the exposed guts of a toppled office building or blasting underneath a series of dropping freight containers.  Learning how to time these attacks, as well as how to survive being on the receiving end (and unlike the majority of Kart racers, there is always a way out in Split/Second, all it takes is skill) is a big part of the game play.  And while the cars don’t feel quite as slippery as those from the Burnout franchise, drifting is as easy as tapping the brake and releasing the gas for a hair; allowing gamers of any skill level enjoy the buttery smooth racing action.  The point I’m trying to make here, is that Split/Second is literally a thrill for every second of playtime.

Five cars! That's like Tyrannosaurus Wrecks!!

The play modes available are pretty much standard fare ranging from straight up 8-car races to an elimination race that explodes the last-place car at regular intervals to a ferocious, vengeful attack helicopter that dogs racers in two separate modes, bombarding the track with volleys of lethal rocket fire that increase in size and frequency as the race wears on.  Besides all this, there are a couple of real standouts that are expeditiously proving to be as much fun as the crash mode in 2003’s ‘Burnout 3’ that claimed countless hours of mine and my wife’s lives.  First up is the manic Detonator event, which challenges a single racer to beat a time trial, all while every threat on the track automatically goes off as soon as the car enters its proximity.  Next at bat is the endlessly entertaining Survival mode.  Imagine racing down an aqua duct, dodging a pack of wild “hunting dog” cars all while a malicious big rig fishtails about in front of you, raining explosive barrels onto the road in a murderous attempt to derail you.  Points are awarded for each truck that is overtaken.  This is a galvanizing moment in a game that bucks trend and is much more fun than it has any right to be.  What’s even better is the fact that all these modes are available to play online.  Though competitive gamers may want to burn through the single player campaign, as the only cars available are whatever has been unlocked through game completion.  Keen (or pathetic) action junkies will note the three major car manufacturers in Split/Second (Ryback, Cobretti, and Hanzo) take their names from action movie protagonists.

It also doesn't hurt that the game is retina bleeding gorgeous

The cake topper for Split/Second is the absolutely drool-worthy presentation.  The drop-dead gorgeous environment and explosions fill the screen with life.  What the cars themselves lack in crazy detail is offset by its simply stunning sense of scale and massive appetite for destruction.  Since purchasing my big screen TV back in March, I’ve searched for a game to blow my mind with this level of kinetic beauty.  Sunsets rain down awesome lighting effects without ever blinding the gamer’s vision; building collapse and fall apart in blizzards of particle effects and brilliant fireballs.  Mud and rubble is kicked toward the screen everytime a car makes a narrow escape.

The soundtrack was meant to be roared through a nice surround sound set-up and never fails to impress, as it features the best music to not make it into the car chase scenes in the last two James Bond movies.   Be it the Action film score, or the lively sound effects.  Split/Second wows in just about every aspect.

Rebuttal Witness:

Despite being an absolute must-play for racing fans, regretfully Split/Second is over far too quickly.  There are a total of 20 different vehicles, and 11 tracks to race them all, making the game feel a little stunted once the initial “Ohmygodthisisawesome!” effect has worn off.   The final couple episodes in particular feel less thrilling than the rest of the game, as everything has already been unveiled, and the only change is a ramp in difficulty.  It’s a little deflating when Split?Second explodes out the front gate at a break-neck pace, and stumbles in the final lap.

The game’s concept, that of an impossibly budgeted reality TV show in which case an entire city has been emptied for the sole purpose of blowing up during these races is jocular, but with it only being mentioned in the game’s menus, the brief mention at the start and end of each episode and optional instant replays of crashes, it’s not examined in near enough depth to really make a difference.  Perhaps some commentary would help with the immersion a little.

Imagine Mike Goldberg doing play-by-play on a building collapsing

Closing Statement:

Split/Second is an amazingly gratifying video game escapade, albeit one that starts to lose its lustre once the tracks and cars have all been uncovered.  Hopefully this instalment will prove entertaining enough that another season of Split/Second will bring the goods and ambition to match the games potential to be an exciting new franchise.  If the films of Michael Bay had a tryst with a copy of Burnout 3, this would be the awesome that they spawned.

The Verdict:

Platform: PlayStation 3, Xbox 360, PC (PS3 version reviewed)

Developer: Black Rock Studios

Publisher: Disney Interactive Studios

Release Date: May 18th, 2010

Rated: E 10+ for Everyone 10 and Up.

The Charge:
In darkness, fight with light.

Opening Statement:
It’s been near a full 7 years since Max Payne last graced us with his presence in 2003. Remedy have finally returned, bringing with them a new protagonist in Alan Wake. Trading rain soaked New York streets for fog enshrouded pines, and two-fisting colt 45’s for heavy duty Maglites and road flares, does Wake live up to Payne’s pedigree?

Facts of the Case:
Alan Wake is a writer. He’s had several hit novels, and is generally a well regarded Stephen King-like figure. Unfortunately Alan is suffering from some severe writer’s block, and his public image is less than perfect. Alice, Alan’s wife, takes him to the sleepy little Midwestern town of Bright Falls, her plan is to get Alan’s creative synapses firing again. Unfortunately for Alan, Alice has disappeared, he’s missing a week, there’s an FBI agent in hot pursuit, and he’s awakened behind the wheel of their crashed vehicle with one hell of a nasty bump on his noggin. On top of that, he’s finding pages from a manuscript he supposedly wrote, and the weirdness on the page has a way of bleeding into reality. It only gets stranger from there.

"I wonder if the diner has Cherry Pie?"

The Evidence:
Hype is, without a doubt, the most double edged of swords in the video game industry. All too often, games with years of pent up fanboy hype explode onto the scene and vanish in a whirlwind of nerdrage and biting negative critiques. When something is trumpeted as the next big thing, and arrives as anything but, hype can kill an otherwise solid (or even excellent) game and turn it into a social and critical pariah. Alan Wake arrives at the tail end of a hype train that has long since left the station, perhaps a little too long after to completely capitalize financially, and perhaps it’s for the better. Y’see, Alan Wake is not the mainstream blockbuster that Microsoft’s E3 press conferences from the last few years would have you believe.

First and foremost, unlike many of its peers, Alan Wake endeavours to tell a good story, and for the most part it succeeds. The twisted tale is one part Stephen King, and one part Twin Peaks. Wake narrates our tale, and his dialogue is superbly written stuff. You can tell that the guys at Remedy put a lot of focus on telling their tale, and outside of one or two side roads that serve more as distraction or padding (damn kidnapper subplot), everything remains pretty effective throughout. Sure, some of the notes the plot hits are predictable to those who’re familiar with the game’s inspirations, but everything is handled with finesse.

Alan Wake pours on the style with its TV series style presentation. Each level is treated as an episode, complete with series recaps and title and closing sequences. Each episode ends on a great sort of reveal or cliffhanger that drives you forward into the next chapter, and there are some great music choices capping each episode. The menus are simple but elegant, and the games HUD doesn’t eat much screen real estate, and works well.

"Welcome... to... Silent Hill? Who put that sign there?"

With all the talk of narrative, you might be forgiven for thinking Alan Wake is a slow moving title, geared around exploration and fear, but in truth, at its core, it really is built on an action game framework, and the action is every bit as tight as the storytelling, save for a handful of driving sequences that aren’t completely terrible, but don’t serve much purpose. The majority of the game finds you alone in moody forests, with a flashlight in one hand and a weapon, be it a revolver, shotgun, or a hunting rifle in the other. The game’s enemies are impervious to harm until you use whatever light sources are at your disposal to burn the dark murky shadows away from their shifting forms. Action will usually consist of flashlight torching using the left trigger, followed by frantic trigger pulls with the right. It’s really a pretty brilliant mechanic, made all that much more brilliant with the use of road flares (which you can carry around with you to repel the baddies, or drop on the ground at your feet to create a temporary safe zone), and flare guns (which are about as effective as any rocket launcher). When more than two or three of the possessed locals comes out of the treeline, things will get quite intense. Ammo, while fairly common, is also not something you want to waste, as I’ve found myself running for my damn life on more than one occasion with not a bullet to be had and crazy axe wielding maniacs on my arse. Speaking of these axe-wielding maniacs, they are a potent crew, capable of making short work of you, and oftentimes they have a knack for popping up right behind you. To say that the action is intense is an understatement. It is white-knuckle, chest-pain inducing suspense that will leave you sweaty and swearing. The fact that there’s a lot of it also means you may want to keep some pills, or a defibrillator handy.

The mechanics of using light as a weapon is at the very core of Alan Wake, and the lighting effects in this game are easily it’s biggest star. I’ve never seen lighting this good, from the beam cast by your flashlight (which also cleverly serves as your crosshairs) to the eerie porch lights of nearby buildings shining ominously through fog enshrouded trees. The shadow effects match up perfectly, with deep pools of black that respond amazingly realistically to the light sources. Combining the amazing light and shadows with some incredible environmental animation, and Wake definitely makes for a damn beautiful first impression. It is a gorgeous looking game (with some issues – see below) that creates a wonderful feeling of dread. The first time the wind comes up, and you see shadows cast by clouds moving rapidly over the forest floor, while pines sway and swing in amazingly realistic fashion, lets just say you may want to stay out of the woods after dark for a while. Sound is up to the challenge as well, with some great voice acting, ominous noises, and excellent music. I tend to find myself cranking the volume a bit when I’m playing this one.

"This tweed jacket sure does fit the country aesthetic!"

One final note about the Collector’s Edition: More often than not, Collector’s Editions are full of superfluous fluff and knick-knacks that serve no real purpose other than taking up space. Alan Wake, on the other hand, is a gorgeous package that fits the game enclosed very well. The outer packaging is a faux hardcover novel that contains the customary soundtrack CD and making of DVD, both of which are welcome and well made extras, but the real gem is a hardcover book called “The Alan Wake Files”, which is a collection of evidence gathered by FBI Agent Nightingale regarding the Alan Wake case. There are some interviews with the residents of Bright Falls, some background info on Wake, and even some samples of his fiction (including the first short story he ever had published). It’s a great, sharp looking collection of goodies that’s both well thought out and well executed. If you have the extra cash, i strongly recommend ignoring the bare bones version of the game and splurging for the Limited collector’s edition, even if it’s something you wouldn’t normally do.

A look at the (awesome) collector's edition

Rebuttal Witness:
There are some issues, albeit minor ones lurking beneath the hood of Alan Wake. While the lighting and environments are incredible things to behold, character animation, both in game and in cut scene, is definitely substandard. Facial features are cold and robot-like, and lip synch is pretty much terrible throughout. If the game had been released in 2006, this probably wouldn’t be an issue, but after amazingly life-like characters have made appearances on both consoles in the last few years, it does leave the game’s cast as looking a little Alone in the Dark-like. Stiff hand gestures and floaty movement definitely take one out of the game, but the game’s strong atmosphere and excellent writing often compensates.

"Forget Maine... next year i'm going to Oregon!"

Beyond that, once you hit the later episodes, a certain sense of “haven’t we been here before” starts to set in. The action scenes begin to all run together, and while the story continues to ramp up, and definitely works a narrative propellant for the player. You’ll essentially be looking at the same collection of spooky lighting, clouds, and wind blown pines. It seems like nit-picky stuff for sure, but maybe a 9-10 hour experience with a little less trudging in the first half might have played out a little better than a 12-15 hour trudge through the same mossy forest trails.

In truth, while these may sound like serious flaws on paper, they are hiccups at worst, tiny little potholes on an otherwise scenic road trip through heebie-jeebie town, USA.

Closing Comments:
It’s been far too long since a game really and truly gripped me with fear. Alan Wake does so, and does it effortlessly. It’s not often that a half a decade of hype results in a satisfying conclusion for gamers, but thanks to some fantastic technical merits and wonderful writing, Alan Wake shatters expectations. It not only soundly thumps all previous efforts (Max who?) from Remedy, but it carves a large chunk out of the ‘horror niche’ for itself, earning a seat of honour above peers that have long since fallen into mediocrity or obscurity. I’ll remember this one come December, when everyone starts kicking around top 10 lists.

The Verdict:

Platform: Microsoft Xbox360
Developer: Remedy
Publisher: Microsoft
Release Date: May 18th, 2010
Rated: T (13+) for Teen

Opening Statement:

Playing Cave Story (Dōkutsu Monogatari for you hopeless purists out there) on the Wii will most likely conjure up strong feelings of nostalgia within gamers who were around in the 8-bit era.  It’s like discovering a great NES title for the first time, or stumbling across a slice of fried gold long since missed.  The only difference being that Cave Story is no retro throwback title, it’s not a series relaunch, or a cheap cash-in on the success of Mega Man 9 or Dark Void Zero.  Cave Story, if you must know, was doing the old school thing before old school was even in vogue.  This game is a labour of love, crafted by a single gamer back in 2004.  It enjoyed cult success as a freeware PC title, but does that mean it’s not worth forking over 12 bucks to play it as an actual console title?  That’s a question for Will Smith.

Awww Helllllll NAW!

Facts of the Case:

Cave Story is the tale of a long forgotten robot, a race of rabbit-like creatures, a mad scientist and evil witch seeking to enslave the world, and a loveable toaster named Balrog who has a penchant for making Kool-Aid Man styled entrances.  If you’re not already sold on the toaster, it’s also only twelve bucks.

If this screenshot doesn't charm the pants off of you, you're probably not wearing any pants.

The Evidence:

Why would any gamer in a lucid state of mind pay even a miniscule amount of money for a game that has been available free for six years?  It’s not as if developer Pixel (the charming pseudonym of Daisuke Amaya) and the port team at Nicalis have completely rebuilt the game from the ground up, fine-tuning the presentation with slightly updated visuals and a completely reworked soundtrack.  It’s not like they’ve thrown in new difficulty levels, or a challenging boss rush mode, or a brain-tickling time-attack that pits gamers not only against the clock, but also against a maze of truly insidious design.  Hell, at the very least they could’ve given gamers the ability to play through the game as the protagonist’s spunky love interest.  Not to mention the complete failing at not only offering up all this new goodness alongside a pixel-perfect translation of the original title, with its three different endings and hours of fun game play completely untouched.  Gamers who have played through it before also share the knowledge of a great side-quest that ramps up the difficulty if they should choose to resist picking up a powerful weapon, only to face a devious stage underpowered for the promise of a greater reward.  The sort of whispered game secret we used to gleefully talk about at recess.

This is oddly what my dreams look like.

Cave Story feels and plays like an ode to older titles like the Metroid franchise, or the long-forgotten NES gem, Blaster Master.  The entire game is spent spelunking around treacherous subterranean caves, participating in a metric ton of precarious platforming.  It plays exactly as it should, feeling like a delightful romp through an era long since past.  Weapons are upgraded through a scaling experience system that dances a fine line between awesome and cruel, ramping up in power as glittering gold triangles are picked up from fallen foes, but losing its bite if the player takes too much damage.  The weapons are all a blast (props for the Macross-nod on the cluster missiles and the use of the heavy machine gun’s recoil for boosts), and the jet-pack is the most fun I’ve had platforming since King Arthur first learned to double jump on his SNES debut.

He fights and he smites with repulsor rays!

Rebuttal Witness:

If there is a single complaint to be had with Cave Story, it would be the fact that gamers have been able to enjoy it for free since 2004.  Sad fact is, most of the hardcore gaming set (the target audience of titles such as this) aren’t stricken with much disposable income, and therefore plan long and hard about what games they are willing to spend their hard-earned cash on.  Regrettably, that sometimes means developers like Pixel go long unrewarded for crafting labours of love like Cave Story.  Pickier players may very well find Cave Story a little too linear for an adventure title.  The level design lacks the complexity of a Metroid game, with the exploration coming in bite-sized chunks.  And the control at times takes a little getting used to, as the player character, Quote, possesses a very floaty jump mechanic, and follows the same momentum rules as Super Mario.   The controls are very tight, but unlike anything most modern gamers will be used to.  Oh, and there have been some reported instances of missing percussion tracks from the remixed soundtrack, but this is promised to be corrected in an upcoming patch.

Looks hectic? Just break out a little of that Mexican Judo.

Closing Statement:

Cave Story is a shining collection of kick-ass gaming memories that most of us have never experienced before.  The thrill of using the monstrous recoil of a fully-powered machine gun as a make-shift double jump is the type of moment that can bring a smile to even the most jaded gamer.  It’s as if the unsung best game of the early 90s was re-released two decades later, only not.   Pixel’s little indie game that could is a whimsical tale filled with endearing characters, some heart-wrenching twists, and the same sort of high octane, giggle with glee game play that is all too infrequent these days. It deserves a measure of success.  Tight controls, a fun retro vibe, and a level of polish that defies its meagre origins, this is one cave that begs to be explored.

Toasty!!

The Verdict:

Platform: WiiWare

Developer: Studio Pixel

Publisher: Nicalis

Release Date: March 22nd, 2010

Rated: E10+ for Everyone 10 and up.

The Charge:

Opening Statement:
The latest from French Developer Quantic Dream (Indigo Prophecy) has been hyped and heralded as a boon to the PS3’s growing library of top-drawer exclusives since it was first announced way back in 2006. Does this latest experiment in cinematic gameplay deliver an experience worthy of two thumbs up?

Facts of the Case:
In a terrorized city, the hunt for a missing child will lead four disparate people to ask the question: How far would you go to stop a killer? Heavy Rain puts you in the shoes of each of the four characters as they piece together clues and attempt to track down the latest target of The Origami Killer, a ruthless serial killer who abducts young boys and drowns them in rainwater, before he becomes another casualty.

The Evidence:
The first thing you need to know about Heavy Rain is that it is as far removed from your typical triple-A console selling exclusive as it gets. This is not Uncharted 2 or Gears of War. There is no cover mechanic or on rails vehicle segment, and there is no 16 or 24 player online deathmatch. There is no horde mode. What there is, is a totally riveting, near flawlessly executed blend of video game and movie that will appeal to casual players and anyone who enjoys a great single player experience.

The “interactive movie” moniker has been being kicked around since the golden age of the Cd-Rom, where horribly compressed live action video clips passed as vaguely interactive video games with point and click interfaces. The medium was all but dead and buried until Quantic Dream’s ambitious and well received experiment, The Indigo Prophecy (or Fahrenheit for those outside North America) hit the PC and last gen consoles in 2005. Heavy Rain represents the evolution of that concept.

The gameplay is simple enough; you move one of four characters around a 3D environment and interact with your surroundings using a series of on screen prompts, and the story unfolds over 7 or 8 hours. What makes the game so special is the level it immerses you into the action. You’re never passive in Heavy Rain. This isn’t Metal Gear Solid, where the story unfolds over mammoth cutscenes, and there’s not a single moment where the game lets you set the controller down and watch. On screen prompts pop up at a moment’s notice, you may have to hold a button or several buttons. You may repeatedly mash a few buttons or shake the controller (making great use of the seldom implemented sixaxis feature), or push analog sticks in various directions. Pretty much every button, knob or doo-dad on the controller is implemented in ingenious fashion, and while it may sound an awful lot like a game full of the dreaded “quick time event”, it never degenerates into random button slamming. Every prompt feels intuitive and logical, and a lot of thought went into making the actions of the player suit the action on screen. Even better is the complete lack of a ‘Game Over’ screen. You’re not required to hit every prompt or succeed in every scenario, but bad things can happen if you are too inclined to failure. The game never out and out halts or punishes you based on your skills though; the plot seamlessly steams along at full speed. It’s really an amazing thing to behold. The nature of the game’s progression makes it difficult to near impossible to put the controller down once you start in. Like watching a great movie, you just want to progress and see what happens next. It doesn’t help that the game doesn’t feel as though it’s broken into chapters or levels. Be prepared to marathon this sucker.

This sort of experiment would be all for naught if the storyline wasn’t interesting, and it’s here where Heavy Rain really triumphs. Much has been said in the past about games like Halo or Assassin’s Creed or especially Uncharted, and how their storylines could make for awesome cinema. In truth, these games are snippets of narrative stuck together with video game glue. Large chunks would have to be carved out, and narrative would have to be invented. Not so here. Heavy Rain bridges the gap between film and videogame like nothing else before it. The script is an incredibly well written and mature affair with a three-act structure that mirrors film, complete with dialogue and plot turns that don’t pander to a ‘gaming’ audience in any way, it’s one part Zodiac, one part Saw, and one part Seven with just a minor hint of Twin Peaks. Beyond that, the developers have seen fit to include multiple branching paths that allow for some incredible variety and some pretty stark differences depending on how you go about things throughout the game, including a multitude of different endings. The game quickly becomes a discussion piece when you run into others who’ve played it, talking about how drastically different your experiences were, just within my own social circle of five or six people, we all encountered different chains of events, and no two endings were identical.

On a technical level, Heavy Rain is a stunner in motion. The same level of motion and performance capture we’ve seen in games like Uncharted 2 is employed here to great effect. Environments look realistic and well planned out, even if textures occasionally appear a little flat, and the weather effects are fantastic at setting the gloomy mood of the game. Facial textures and facial animation are amazing and wonderfully emotive. The voice acting pales a little by comparison, with a few foreign actors trying desperately to nail that American style movie accent, but the excellence of the writing more than compensates. The music, fully orchestrated and recorded at Abby Road Studios in London is phenomenal, and demands a dedicated soundtrack release.

Rebuttal Witness:
There’s no such thing as a perfect game, and Heavy Rain doesn’t break that particular mold. The biggest issue is undoubtedly the clunky control scheme. The tank-like movment and static camera angles occasionally recalls the classic Resident Evil titles, and on occasion you may find yourself constantly correcting your position in order to properly interact with the environment. In a traditional action-adventure game, this would be a fatal flaw, but Heavy Rain is anything but traditional, and while occasionally frustrating, I doubt the controls will diminish too much from your enjoyment of the title.

More serious are a handful of plot issues that pop up here and there. When there are so many puzzle pieces floating around in the air, you can probably expect a few to go missing, or fall into the wrong place, and as a result, you may encounter one or two plot holes and logic gaps as you go. One thing myself and the three or four others I talked to who finished the game had in common: One VERY LARGE plot hole hits as you careen into the third Act. I won’t get into details; suffice it to say you get a plot revelation and the game shifts characters, with the new character magically knowing the information you just gleaned. It was distracting, and a real stand out sore spot in a game that had otherwise been fantastically plotted up to that point. One or two other lapses in character logic do crop up in the final third, but they aren’t near as distracting.

Closing Comments:
Bottom line, Heavy Rain is not a game in the traditional sense, it is an interactive experience. The narrative is the closest to films that video gaming has ever come, and is riveting throughout. The game is a technical marvel, and in spite of some control misgivings that twitch gamers may take umbrage with, it is an accessible title that will appeal to hardcore and Mature casual gamers alike. Those people who bought their PS3’s to serve principally as Blu-Ray players; let’s just say your first game purchase has arrived. Heavy Rain is a game you NEED to play. It’s one of the very best games on this or any console in this generation, and in years to come it will be one of those games that is fondly remembered whenever the Playstation 3 comes up in conversation. It’s destined to be a classic!

The Verdict:

Platform: Sony Playstation 3
Developer: Quantic Dream
Publisher: Sony Computer Entertainment America
Release Date: February 23, 2010
Rated: M (17+) for Mature

The Charge:
Hunter. Survivor. Prey.

Opening Statement:
Everyone’s favorite extra-terrestrial Cuisinarts are back, and as per usual, mankind is caught in the middle. Can Rebellion, the studio behind the original PC classic, manage to get it right this time around?

Facts of the Case:
The Weyland-Yutani Corporation has found something beneath the surface of BG-386, a discovery so valuable that even Karl Bishop-Weyland (Lance Henriksen, of course!) has taken an active role in the excavation. When the planet side colony goes silent, the USS Marlow is dispatched on a search and rescue mission. The Marlow however isn’t the only ship in the stars above Freya’s Prospect; a group of Predators has made one hell of an explosive entrance. They’ve got some time to kill, and more than enough prey (of the soft meat and hard meat varieties) to keep them occupied.

"Let's ROCK!"

The Evidence:
It has been 10 long years since Rebellion graced PC-owners with the original Alien Versus Predator, 15 for those who remember the superlative 2D Atari Jaguar outing that one-upped the original Doom. In the interim, neither of Fox’s big creature franchises had much of a presence in the video game world worth talking about. Alien fans got a few shooters that ranged from passable to excrement, while Predator fans got a wretched 3D action adventure title, and both races would square off in an ill-conceived Real-Time-Strategy title before descending into crap portable and mobile phone game hell.

Rebellion has suffered a similar fate, their post AVP resume consisting of low rent ports and poorly received shooters and movie tie-ins, with only one or two notable exceptions like Namco’s Sniper Elite or the slightly better than average Rogue Trooper;. Their most recent offering was the abysmal Rogue Warrior, which currently stands with a whopping metacritic score of %27 (though in all fairness, that dud was handled by the recently shuttered ‘Core Design’ team). It’s pretty safe to say that, based on the pedigrees of the developer and franchises in question, that the odds would be pretty stacked against Alien Versus Predator.

The first thing the devs did right was follow their own game. AvP features three disparate campaigns, one each for Human, Predator, and Alien, and each campaign’s narrative interweaves into the other, making for a decent, well-told plot that fits soundly into the Aliens universe. The lion’s share of the exposition comes from the Human side, and I recommend that that one should be your first stop, while the ET campaigns give you alternate perspectives and provide a little fleshing out of events. To be frank, AvP could have included the Human campaign as it is and it still would have been one hell of an exceptional, if brief shooter. Every minute of the action is perforated with a sense of impending doom and tension that feels directly ripped from James Cameron’s Aliens. The derelict colony of Freya’s Prospect feels lived in and logical, and your trip through darkened corridors and dank tunnels eventually leads to a sparse jungle and some varying terrain that feels fresh. While the shooting mechanics do lack some of the core features that have been present for the last decade or so, like aiming down sights and crouching, the gunplay never feels old or stymied as a result. There’s a degree of melee combat included as well, it’s a last ditch effort as a Marine, a brutal alternative as the Predator, and your only option as an Alien, but it always feels solid.

As a human, the gameplay is essentially linear progression with some light backtracking. The model most closely resembles Bioshock, though there’s considerably more focus on intensity. Also borrowed from Bioshock (or maybe even Doom 3) are audio logs that are found scattered throughout the environments that help to further shine a light on the chain of events that occurred before you set foot in the formerly bustling colony.

The Predators are here to protect an ancient artifact that the humans have inadvertently uncovered. You play a rookie on his first hunt, and you’ll have to contend with an army of space marines and aliens alike, all swarming around your sacred grounds with little care or concern. Going toe to toe with the marines is out of the question, but taking the high ground and picking them off one by one is a ton of fun, particularly when you have all of the Predator’s wonderful gadgets reproduced brilliantly. When the dual wrist blades come unsheathed, however, know that the predator’s melee game is the strongest of the trio. Things are going to die horribly.

Then there’s the Alien campaign. Running around as one of these suckers is extremely fast paced, and the lack of any real long range strikes turns the Alien game into an up close stealth kill and retreat scenario that contrasts very sharply with the Marine’s nonstop struggle for survival and the Predator’s mix of stealth and brutality. As an Alien, every surface is your plaything, and when your skitting down narrow corridors at blinding speeds whilst scaling walls and ceilings, everything clicks, and at times, the goings on resemble the first person camera sequences in Alien 3. You play as 6, a captive chestburster with a clever mind, raised to adulthood under the watchful eye of human masters. When the opportunity to escape is given, you take it. The rest becomes a mix of chase and avoid gameplay that is pretty fresh feeling, and almost, dare I say it, evokes memories of the stealth missions in Batman: Arkham Asylum.

As good as AvP’s gameplay is, it’s backed up by some great, though hardly cutting edge visuals. The levels range from grimy and industrial to ancient ruins and, of course, the Alien hives, and all look great. The “lived in” look of the settlement of Freya’s Prospect, with windblown sandy streets and dank, wrecked interiors all feel great, look great and really capture the vibe of the Aliens future. The environments are complemented with awesome lighting effects that really add to mood and the tension of the gameplay. Pools of pitch blackness are everywhere, and oftentimes the marine’s piddly little flashlight is his best friend. The character models and animations, particularly where the Preds and Xenos are concerned, are fantastic stuff, and look great both in still frame and in motion. The marines come off a little chunky around the face, but their weaponry and gear is replicated near perfectly from Cameron’s Aliens. Last but not least, the juicy bits of gore that permeate the Alien and Predator stealth kills are extremely visceral and satisfying.

The sound design is also fantastic, with impeccable use of the 5.1 soundfield (DTS on the PS3). The sound design in these films is ported over flawlessly, from the machine like patter of the marine’s pulse rifle to the Predator’s auditory snikts and swooshes. The Aliens also hiss and roar just as they have on screen for the last 2 decades. Every element of the awesome sound serves to engross you further into the game. Voice acting is solid as well, with Lance Henriksen leading the charge. This is a game you’ll want to play with the lights off, and with the stereo cranked.

For those who crave Multiplayer, Aliens versus Predator definitely has you covered. The multiplayer suite is well stocked, with several modes and a full ranking system to satiate the experience point hunger. Rewards aren’t anything special, usually multiplayer skins, but the game modes are designed to fit the nature of the game, and they do so quite well. I had the most fun with co-op survivor, which pits up to four marine players against swarm after swarm of AI controlled Alien hordes. It’s Gears of War 2’s Horde mode for Aliens fans, and it works almost as well here as it did there. You also get several forms of deathmatch (including interspieces), and interesting game types like Infestation, where whomever bites the dust respawns as a Xenomorph. AvP doesn’t bring about any multiplayer paradigm shift or anything, but it plays well enough to be engaging, and the robust selection of options keeps things interesting.

"There's something out there huntin' us, and it ain't no man..."

Rebuttal Witness:
While AvP’s three campaigns do have a wildly varying feel to them, each is pretty brief. On the hardest diffuclty, the Marine campaign will end in 6 hours or less, with 4 – 4.5 hours being the more likely completion time for seasoned vets (about the same time it takes crazy people to go through Modern Warfare 2). The Predator and Alien campaigns are shorter (considerably so for the Alien). All told you’re probably looking at about 10 hours of single player gameplay if you stretch things. The multiplayer definitely picks up the slack, but for those who’s focus is single player, 10 hours and you’re done. It’s actually pretty generous for a shooter these days, but with that 10 hours split between three separate campaigns, the illusion of super-shortness may leave you feeling cheated.

Aliens versus Predator gets tough, particularly during the Human campaign. We humans are fragile meatsicles, and there were several points during the campaign where any kind of forward momentum ground to a screeching halt amidst a wave of black, acid-blooded death. Going toe to toe with any more than two or three aliens without something like a smart gun or plenty of rifle ammo in your arsenal is an incredibly brutal prospect, even on ‘normal’ difficulty. When you encounter a Predator, be afraid, be very very afraid. For some, the scripted nature of the game’s encounters may feel like a first person throwback, particularly when they have to repeat one section seven or eight or nineteen times because those hissing bastards are relentless. It wasn’t really an issue for me, but it bears mentioning.

Slightly more serious are control issues that pop up in the Alien and Predator campaigns. The Predators have the ability to jump some pretty outlandish heights, but the ability is linked to specific hot spots on a given level. There are times when the first person perspective makes it a chore to notice and navigate to and from these spots. It gets difficult to stalk prey by jumping from tree to tree when you keep missing your jumps. There are also a few instances where logic dictates that you should be able to leap to a specific point, but you just can’t.

Meanwhile, the Aliens, skittish little bastards that they are, can get a little squirrely when you’re zooming around floors and ceilings in cramped quarters. It gets tough to navigate when up is down and down is up. There were also a few times that I had trouble navigating through vents, as you have to line yourself up just right and wait for the button prompt to pass through. There’s an option in the menus to enable “auto transition” for the alien campaign, and that should be your first stop. Without it you have to press a shoulder button to get your critter to skitter to the fullest. With it enabled, movement from one surface to another becomes a smoother affair.

These issues will frustrate some more than others; for the most part, the fun I had with the creature campaigns far outweighed the minor infrequent annoyances I had with the controls. More often than not, everything clicks, and your careening down the roof of a low tunnel at breakneck speed with some human refuse waiting to take a tail to the eyeball, or you’re silently watching a platoon of marines, just waiting for some hapless bugger to separate from his squadmates so you can drop down and separate his spine from his body.

Slightly more serious issues are found in the multiplayer setup, which relies heavily on the now standard console matchmaking scheme. I could hop into 360 games pretty effortlessly, but the PS3 matchmaking was often slow to respond, and on at least one occasion I was waiting over five minutes for a match to begin. I won’t get into the shortage of multiplayer maps, as what’s included works pretty well, and therea re apparently more coming to DLC markets in the very near future (they’d better be free too).

The PS3 version also does “feature” some flicker and aliasing that I didn’t notice on the 360 version. It’s hardly a dealbreaker, and the games are close to identical on both machines, but I felt I should bring it up for those with both consoles.

"Game over man! Game over!"

Closing Comments:
Aliens Versus Predator is a suprisingly great effort. It not only trumps every other game that’s ever featured an Alien or Predator logo, but also proves that Rebellion is still capable of incredibly wonderful things in spite of their recent output. It is an unabashed love letter to fans of either franchise (though especially Cameron’s 1986 film); with three great (if brief) campaigns that bring equal parts terror, adrenaline, and awesomeness, an excellent complement of multiplayer modes, and the technical muscle to impress. I love it!

The Verdict:

Platform: Sony Playstation 3/Microsoft Xbox360/Windows PC
Developer: Rebellion
Publisher: Sega
Release Date: February 16, 2010
Rated: M (17+) for Mature

The Charge:

The Horseman Cometh.

Opening Statement:
At the risk of sounding terribly cliché, I’ve been patiently awaiting Darksiders since it was announced to little fanfare and the earliest concept art found its way onto my internets.  That patience vanished into the ether once it was announced that major video game publisher THQ had picked up Darksiders, and pumped enough cash into wee little developer Vigil Games to allow them to expand beyond a four man operation into a full fledged development team.  Whenever the topic came op on Pixel Verdict asking us what new franchises or games am was I most looking forward to in 2010, my answer was always the same; Darksiders.  It’s been a long few years, and I’ve converted a small cadre of gamers along the way from indifferent onlookers, to genuine followers of its development.  Now finally, the wait is over, and Darksiders has ridden onto the battlefield.  Is this a well deserved victory for the dreamers at Vigil Games?  Or is this an apocalypse for gamers that has long been foretold?

Hey, Mark! You love Gwar! Why don't you join the band?

Facts of the Case:
The seals have been broken; the time has come for the end war between the three kingdoms of man, heaven and hell.  The armies of the light and the legions of the dark one have begun their assault.  But, something is wrong.  The time is not right.  Mankind has not evolved to the point of readiness yet.  The end of days has come too early.  Players step into the pimp armour of War, the first horseman of the apocalypse.  Charged with the extermination of life on earth and creating a schism in the balance of all things, War is stripped of his powers and sentenced to death.  He is sent on a suicide mission back to the kingdom of earth, now a ravaged and blasted wasteland to find those truly responsible for this irredeemable crime.  Looks like more than a few angels and demons bought themselves a one way ticket to the hurt locker.

Stop! Stop! He's already dead!!

The Evidence:
Originality is a rare commodity when it comes to video games.  And if you’ve approached Darksiders expecting something new and fresh, step away from this review and go back to downloading Popcap games on Xbox Live.  Instead, expect to play a title that is descendant of great games already come.  This is not at all a disavowal of how blisteringly awesome Darksiders is; rather a rallying cry.  In the words of our very own Steve T. Power (Great Canadian); fill a pint glass halfway to the top with The Legend of Zelda: Ocarina of Time, then fill a shot glass three quarters to the top with God of War.  The remainder of the shot glass is to be filled with the pants soilingly amazing artwork of Joe Madureira; Vigil’s lead artist and coincidently a former comic book penciller with a run on Uncanny X-Men during the 90s that was both critically acclaimed and commercially successful.  Set the shot glass afire and drop the blazing mixture into the pint glass.  Consume immediately.  BOOM!  There’s the flavour!  Darksiders is nothing gamers haven’t played before, but it’s certainly something we haven’t seen nearly enough of.  An adventure title with satisfying combat and creative visuals that stand tall above the sea of washed out browns and grays that plague the game industry like a rec room from the late 70s.

Loving would be easy if your colours were like my dreams.

For a game that takes place in a post apocalyptic tundra of bones and collapsed buildings, Darksiders has incredibly colourful presentation.  The characters all look like picture perfect 3D renders of what would occur if Pixar ever attempted a movie based on World of Warcraft.  The game’s visuals are uniquely bright, with the ruins of mankind including vibrant and colourful surroundings that still manage to not look like they’re trying to ape the gameboy’s colour palette (sorry Call of Duty fans).

Gameplay-wise, Darksiders is a refreshing breath of old-school air.  Linear treks through throngs of demon foes give way to expansive dungeons that pay such homage to the post N64 Zelda games that I’m sure Nintendo are drafting up a lawsuit as you read this article.  Dungeons feel like a massive puzzle, and each room that is solved provides a new piece, whether it is a map or a key that will lead further into its depths.  Fallen foes provide War a steady currency of souls to barter with the demon merchant Vulgrim for new weapons, stupefying combo attacks, and special items that serve a purpose for every situation Darksiders can throw at a gamer.  Every dungeon conceals a key item that will be used to solve puzzles, combat hostiles, and 100% of the time, overcome that dungeon’s megalithic end level boss.  It’s just as the comparisons have decreed, Zelda meets God of War, and all the better for it.  Though thankfully Vigil saw fit to put aside quicktime events in favour of one button fatalities on sufficiently weakened enemies, allowing us gamers to savour the brutal animations whenever War completely annihilates somebody.  And they are satisfying (War < Sub-Zero).

Mark, man, you play a mean guitar! It's really a shame that you must die!

Darksiders is the best comic book to come out of the mid 90s Image gold rush, only instead of a comic, we get it as a game filled with colourful characters, and a story of a journey across a decimated empire.  Yes it’s cheesy (for god’s sake the name of his sword is Chaoseater, and feeds on exactly that), and so is the voice acting by veterans like Mark Hamill, Liam O’Brian, and the deliciously menacing Vernon Wells (the only voice actor to have gone toe to toe with both Mel Gibson AND Arnold Schwarzenegger in big time action movies), buts it’s harmlessly trite.  Fans of stuff like Dungeons and Dragons or Krull will devour Darksiders, lick the plate and hungrily reheat the game for another playthrough.

The culmination of two hours of dungeoneering.

Rebuttal Witness:
I only have two complaints with Darksiders, and they’re such minor little gripes that it shouldn’t even affect its score.  No I’m not talking about the occasional screen tearing that larger review sits love to harp about (grow up you sissies).  The difficulty level is in flux.  The Easy and Normal modes are far too forgiving, letting gamers basically get through the game with their eyes closed and their hands held.  The aptly named Apocalyptic difficulty on the other hand is a soul crushing dive that nearly approaches the depths of fare like Ghost N’Goblins or Demon’s Souls.  If it featured a little more memorization, and less exculpating save points, Darksiders’ third difficulty level would be the stuff of legend.  The game’s own developers have asked gamers to play on this challenging mode to appreciate the nuances of the combat.  What they fail to mention is that on Apocalyptic, even the lowliest of foes can sap a good chunk of War’s life bar with a single hit.  It’s no real problem, and I relish playing on these difficulty settings anyway (stems from years of NES games), but some gamers may find the difficulty curve a little on the steep side.  As well, I’ve heard gamers put off by Darksiders’ lack of any multiplayer options.  To these gripes I pose a question.  Which would you prefer more?  A single player game that tacks on an underdeveloped, ill-advised multiplayer mode; or a fabulously developed single player game that needs no multiplayer?

Where Stridex fails, the Chaoseater shall not.

Closing Statement:
Darksiders is unadulterated radical.  It’s perfect for you…you should buy it.  Had it been released a couple of week’s earlier it would have made it onto my top five games of 2009; easily.  If this quality level becomes a regular occurrence for Vigil Games, the once tiny developer has a very bright future ahead of them.  Probably as bright as their debut title’s colour palette.

The Verdict:

Platform: PlayStation 3, Xbox 360 (PS3 version reviewed)
Developer: Vigil Games
Publisher: THQ
Release Date: January 5th, 2010
Rated: M (17+) for Mature.

The Charge:
Fight Together! Survive Together!

Opening Statement:
The first Army of Two was an effective 3rd person shooter that borrowed liberally from other, better games and made a decent first impression before quickly fading to bargain bins. The requisite sequel is now upon us, and our titular army of two has some new tricks up their sleeves. Does Army of Two: The 40th Day rise above the machismo and fist-bumping to provide a world-cass shooter?

Facts of the Case:
Elliot Salem and Tyson Rios have long parted ways with former employers at SSC. As the owners and sole operatives of TransWorld Operatives, they answer to no one save their sassy handler, Alice Murray. The dynamic duo has just finished up a routine job in Shanghai when all hell breaks loose. An armed force has launched an all out assault on the city, and carnage is everywhere. Our brothers in arms find themselves racing through Shanghai as it crumbles all around them. Co-op tactics and visceral action are the order of the day as Salem and Rios struggle to find Alice in the chaos, and attempt to discover the truth behind the 40th Day Initiative.

"Rambo... was a pussy!"

The Evidence:

The first Army of Two was well enough received when it hit consoles early in 2008. One of the spearhead titles in EA’s then fresh approach to new IP’s, it would go on to become the best-selling new IP from EA of this console generation. The game was not without its flaws however, and the development team took a hard look at what people liked and disliked when they set about assembling the sequel. The approach definitely shows, as Army of Two: The 40th Day is an improvement in many respects.

First off, what wasn’t broken, wasn’t fixed, and The 40th Day definitely feels a lot like its predecessor. You’re still guiding two armored up commandoes through room after room of bad guys whilst firing lead hoses at full auto as you hide behind cover. Kill.Switch may have given birth to the 3rd person cover-based shooter, but it was Gears of War that popularized it, and like the first game, Army of Two: The 40th Day borrows liberally from the Gears of War playbook. Salem and Rios control something like walking tanks, sure, but the controls never feel unnatural or cumbersome. The shooting mechanics feel immediately familiar, and the cover system is virtually identical to the first game, wherein you “snap” to cover rather than pressing a button to do so. It feels intuitive, and allows for faster cover-to-cover movement than you’d think. Things do feel a little more polished this time around, and the controller configuration is a little more user friendly, but the experience in this regard is much the same as it was the first go-around.

Also returning is the robust weapon customization, though this time you mix and match weapon parts from different models of firearms instead of parts unique to individual weapons. At first glance it doesn’t seem like there’s as much to choose from as there was in the first game, and that’s partially true, but the possible combinations allows for less redundancy in your guns and more unique designs. You’ll also stumble onto additional components in weapon caches strewn about the game. You can always pretend like you’re Eli Wallach in The Good, The Bad, and the Ugly and start combining components from M-16’s, AK’s and whatever else you can manage to fit onto your super weapon.

"I don't care if you do add racial diversity... it's called Army of Two.. one... TWO."

The co-op mechanics are still the driving force, and again, the “aggro” system has been employed, and works as well as it did in the first title. One player essentially draws fire by spraying bullets everywhere while the other player sneaks around to flank the bad guys. Co-op sniping, where both players must hit a target simultaneously, and back to back shooting return also. Thankfully for those flying solo, the computer controlled AI partner has graduated from Kindergarten and has been moved ahead to Elementary school. So no, I wouldn’t depend on the AI per-se, but if you do get taken out, at least he won’t drag you around for 20 minutes before healing you. Army of Two: The 40th Day is really geared around a multiplayer experience, and the game provides for you, the player with a robust set of options. Split screen and online modes are available, and while not quite seamless, it’s not too hard to get a player on your friend’s list to hop on in when the going gets tough, and it does get tough.

Competitive multiplayer has returned as well. The first game’s multiplayer approach was interesting on paper, but fell flat in execution; thankfully everything has been completely redesigned from the ground up, and the multiplayer modes are considerably deeper and more involving than before. Everything is geared around 2-player teams, adding a unique twist to the now traditional gameplay modes. The 40th Day features its own spin on Deathmatch and objective based multiplayer that should keep people busy a lot longer than the first game did.

Army of Two: Go on vacation - coming 2011!

Technically, the game gets a visual boost to character models, with solid animations and some great textures, but the backgrounds lack the sense of realism and atmosphere of the first game. That said, the environments are ripped to shreds as you pass through, towers topple, entire floors of nearby skyscrapers disintegrate in a haze of smoke and fire, and low flying aircraft slam into structures with impunity. It all looks very satisfying. The audio is full of thumps and bangs, and the subwoofer channel does its best to shake your gaming room. Weapon effects sound satisfying and explosions thump like they should. The voice actors have been changed up a little from the first outing. Nolan “Drake” North voices the erstwhile smarmy wise-ass Elliot Salem, who’s become more of a bad ass in the transition, but that doesn’t stop the continuity from title to title from suffering. Aside from that, the audio/visual package is pleasing, and really offers little to complain about, even if it doesn’t quite push the technical envelope.

Rebuttal Witness:
The first Army of Two title took its licks for its approach to plot, which was woven in and out of real world events in a none too subtle fashion. Some people had feathers ruffled with images of that fateful day in September of 2001, and the fact that our commando duo were racking up kills in real world hotspots where good ole American boys were dying in real life. I applauded the approach, it added some much needed gravitas to what was otherwise one step removed from an 80’s action flick. On top of that, those who did pay attention would discover that the game actually wielded a pretty effective story that gave players an excuse to plow through levels beyond cash. The 40th Day is severely lacking in this department. The enemies may as well be an NCAA College Football team, and the plot can be summed up in one or two sentences. The titular “40th Day” doesn’t really have much relevance in the game, and the morality moments, while a nice distraction, ultimately are exactly that, a distraction. I can’t help but be disappointed by the fantastical turn the series has taken, even if the gameplay itself has been tightened up. Sure, things blow up real good, but there’s just no sense of purpose behind it all.

"ROCK! HA!... You go first!"

Beyond that, Army of Two: The 40th Day adheres to the 3rd person shooter playbook pretty closely, which makes for some monotony in later levels. The last firefight feels pretty much identical to the first, just on a larger scale. You know the drill, you move from room to room and shoot at anyone who’s not you or your teammate. It doesn’t change up much in the 6 or so hours it could take you to get through the game.

Closing Comments:
Fans of the first Army of Two will definitely be pleased with Army of Two: The 40th Day, gameplay has been tightened, the visuals are solid, and the multiplayer is surprisingly well implemented and fully featured. The characters have been toned down, which will certainly please some moaners, but I can’t help but feel that EA Montreal has killed some of the appeal in the process. That said, if you’re looking for a decent co-op experience, you’ve found it.

The Verdict:

Platform: Sony Playstation 3/Microsoft Xbox360 (PS3 version reviewed)
Developer: EA Montreal
Publisher: EA Games
Release Date: January 12th, 2010
Rated: M (17+) for Mature

Note:  The following review is based on an imported copy of the Japanese release.  Bayonetta is scheduled for release in North America on January 5th, 2010.

Opening Statement:
I’ll admit, for the last year or so, I haven’t been the most eager to play Sega’s upcoming Bayonetta, a prophesized action epic from Platinum Games (the crazed geniuses behind last year’s Mad World for the Wii) and director Hideki Kamiya (the future legend behind Resident Evil 2, Devil May Cry, Viewtiful Joe and Okami; pay your respects at the altar).  As I just typed the evidence of its pedigree, I realize that my bull headed and blind prejudice has denied me any sense of excitement for what has turned out to be a concentrated burst of gaming dynamite.  With Bayonetta, Kamiya and Platinum Games have served up a witch’s brew of devilish fun.

Krueger seems like Romper Room and Elm Street ain't so bad.

Facts of the Case:
In the beautiful (and fictional) European villa of Vigrid, a biblical cold war has been brewing between the last few remaining Umbra Witches, the followers of the dark; and the tyrannical Lumen Sages, the keeper’s of heaven’s light.  But all is not as it seems in this skirmish between what we believe to be good and evil; and as this metaphysical secret war reaches critical mass, Bayonetta; a forgotten daughter of the long since destroyed Umbra witch clan is caught in the middle.  She looks like the love child of Janis Joplin and a Barbie Doll, accessorizes with high calibre artillery, and possesses enough kung-fu badness to fill a Jean-Claude Van Damme movie.  Plus she’s got thirst for war and an insatiable lust to kill.  Somehow I get the feeling Bayonetta’s going to come out of this one okay.  Though with her antagonists primarily being the seraphic servants of the holy and the divine, I can’t see her growing too popular with the Religious Right.

Every sermon comes with a free bowl of soup!

The Evidence:

During a session of Bayonetta, it is not uncommon to be strolling through a gorgeous hillside garden, having just dispatched a platoon of angelic interlopers, only to have a gargantuan creature emerge from the skies to uproot a building and throw it at you.  The name of the game in Bayonetta is insanity.  Certified, frothy-mouthed craziness that cannot be bargained with, cannot be reasoned with, and will not rest until it has tied gamers across the world’s thumbs in knots.

This is considered run-of-the-mill for Bayonetta.

Kamiya has taken the concepts he developed back in 2001 for Devil May Cry, stripped away the parts that didn’t work, and chipped away at the barnacles that the series had built up in the three sequels that followed.  What remains is a sleeker beast, a diesel-fueled, white-knuckle 200 mph shot of video game awesomeness.  It’s a game where a simple twirl of an analog stick and an attack button sends our heroine into a spinning hand stand, bullets blazing in all directions; where just about every successful combo ends with an enemy being crushed underneath a summoned stiletto heel that is made up from the very fibres of the main character’s costume.  Yes, she loses her clothes the bigger her attacks get.  So nine year old Timmy should probably not get this one for his birthday.

Remember this episode of Sabrina the Teenage Witch?

Make no mistake; Bayonetta is not a methodical title in the least, rather a gluttonous action smorgasbord.  The bulk of the game’s combat is spent intertwining a variety of attacks into boundless combo strings.  Bayonetta has four open weapon slots, two for her hands, and one strapped to each heel.  With a separate move list for each weapon type and the ability to link into impressively long striking combinations; the potential attack list is truly labyrinthine.  I guess that’s why the loading screens afford gamers a few seconds to practice Bayonetta’s bottomless barrel of tricks (which can be lengthened with a simple press of the select button while the level loads).

For some reason, Double Dragon II seems a little boring after this.

While combat makes up the lion’s share of Bayonetta, there are short spurts of level navigation to be found in between the game’s innumerable micro-battles with smaller enemies, and title bouts with the indescribably large bosses.  The long slogs through cavernous empty corridors that plagues games of this nature during the PS2 and original Xbox games have been peeled away.  So many great action games that aged like an open bucket of salt beef simply because their length was padded with marathon runs through sparsely populated levels.  While gamers looking for a little more side dish to go along with the prime-rib fighting will probably be disappointed that these segments pretty much consist entirely of carrying keys from one location to another (keys that can used as weapons nonetheless), or using Bayonetta’s Witch Time abilities to complete reaction-based puzzles.   Personally I’m grateful, because gamers who haven’t mastered witch time by the beginning of the game’s third stage will find themselves staring at the game over screen ad nauseum.  The concept itself is pure simplicity.  Dodge at the last possible second before getting waffled by an attack and time slows to a crawl, allowing Bayonetta to navigate an impassable obstacle at Mach speed, or score a few seconds worth of powerful counterattack time in between the infinite enemy onslaught.  What most action games play up as a gimmick, or a mere window dressing, Bayonetta uses masterfully as its main combat mechanic.  This is the John Belushi of beat’em ups.  Larger than life.  And that’s not even getting into the joygasm inducing Torture Attacks.  Naughty little insta-kills that are powered by successfully hitting an uninterrupted string of attacks without taking a single hit.  Fill the bar, press both kick and punch at the same time and witness the devastation.  You can even try to add bonus points with a little button mashing (hip hip hooray for crazy arcade action!).

You were right Dave, she is hanging him.

Items and weapons can be purchased in between levels at Bayonetta’s favourite demon-owned speakeasy, purchased of course with the shimmering halos that have been purloined from the corpses of the angels she left in her wake.  More halos can be scored in the between-level arcade shooting gallery (awesome!!)  With a selection including hand cannons, shot guns, a cursed katana, and a wicked whip with a demonic cobra head at the tip, and the cavalcade of weapons dropped by vanquished foes; Bayonetta is pretty much a wholesale retail warehouse club of destruction.  This game plays like the CostCo of kicking ass.  The fighting is structured in such a way that the battles never seem to go on too long, and we never get that feeling of programmed boredom, where gamers can pretty much predict which wave of enemies will attack next before they clear the room and get a break.  Besides, name me one other game that lets you literally spank prone foes?  Is it a game where the foes hide their twisted, inhuman forms under layers of Renaissance inspired sculpting and cherubic faces?  Ironically, while it’s visually cool to peel of these layers of Paladinesque armour to see the Clive barker inspired grossness underneath, that very graphical effect ties into Bayonetta’s ironically compelling storyline.  I don’t want to spoil any details, but suffice to say there is much more going on in the background than the Witch-slapping the entire world trailers have shown off.

Remember when we were kids, and a katana instantly made a character cooler?

I’ve been told that the PS3 build of Bayonetta, ported over by an internal Sega development team is of an inferior make to the 360 version, developed by Platinum Games.  I’m unable to make any sort of judgment, as I am unable to compare the two until the North American release.  But judging by the amount of fun I’m having with the PS3 version, unless Buddha materializes out of the Xbox 360 when it is switched on, declaring that he has arrived to miraculously free us all from the cycle of rebirth, I can’t see the games being that much different from one another.  It’s a great title on either console.  The presentation values are top-notch, with sublimely detailed character models that animate beautifully (check out Bayonetta’s hip swing when she walks slowly, or her facial animation when she winks or blows a kiss at the end of a large combo string) and appropriately pretty textures.  Watching the ethereal shimmer of her hair when a Wicked Weave attack is unleashed is almost hypnotic.  Effects such as explosions of flame or bolts of lightning make the screen crackle with life, and the game’s soundtrack is an explosive and eclectic symphony of bone crunches, high calibre gunfire, and some bizarre coupling of trippy jazz and rockin’ techno.  I don’t know what to call the feeling I got the first time I wiped out an army of monstrous angels to the oddly enunciated karaoke version of “Fly Me to the Moon” which serves as the game’s defacto theme song, but I do know that I liked it.  All in all the game’s presentation is a perfect wrapping around its sumptuous gameplay.

"Give a guy a gun, he thinks he's Superman. Give him two and he thinks he's God"

Rebuttal Witness:
There’s nothing I can really say about Bayonetta that I out and out disliked.  The game is HARD. It’s Geneva Convention violatingly difficult, and that may turn some gamers off.  But those who cut their teeth on, or were honed to a fine edge by the Devil May Cry series should be able to tackle its difficulty with little fuss.  Besides, would you expect a two headed angel-dragon that’s the size of sky scraper to be a pushover of a boss fight?  Man up dawg.

Closing Statement:
Bayonetta is one of the finest action outings I’ve played this generation.  An unstoppable bullet binge that undoubtedly gives all of us brawler addicts our fix.  If this is the sign of things to come in 2010, it’s gonna be one hell of a happy new year.  Put aside some holiday money and save it for January 5th.  You’ve all got a date with witch of a game.

The Verdict:

I wonder if there’s an executive at Sega who was so hung up on the idea of arming a witch with a machine gun that even after the unmitigated failure of “Bullet Witch”, he gave the go ahead on “Bayonetta”, in between 5 ¾ coke lines?  If so, I salute him.

- J

Platform: PlayStation 3, Xbox 360 (PS3 version reviewed)
Developer: Platinum Games (Xbox 360), Sega (PlayStation 3)
Publisher: Sega
Release Date: January 5th, 2010
Rated: M for Mature