gamrReview

Sacred Citadel (XBLA) - Review

Chris Matulich — Mon, 13 May 2013 14:29:00

There was a time when dungeon-crawling Diablo clones rampantly made their way through the PC and console market. Baldur's Gate: Dark Alliance and Champions of Norrath saw some great success on consoles, while games like FATE, Titan's Quest, and Sacred serviced the PC community. Yet, the attack of the clones has remained in a state of limbo, especially with the third iteration of papa Diablo coming and going through a debacle of auction house woes, even if Torchlight and its fantastic sequel were there to pick up the slack.

These clones did not disappear, however, they just simply moved to a new genre of sorts - the side-scrolling beat-'em-up. Castle Crashers proved to be wildly popular across multiple platforms, combining side-scrolling with some basic RPG aspects, and others followed suit, including a couple of free-to-play gems like Rusty Hearts and Dungeon Fighter Online, with DFO subsequently making the jump to Xbox Live. Not wanting to miss another opportunity for cloning, the Sacred series climbs aboard with Sacred Citadel, the prequel to the yet-to-be-released Sacred 3. I can't really say that I was brimming with excitement with its announcement, but when it was revealed that Swedish ilomilo developer SouthEnd Interactive was behind it, my interests were peaked. It's just too bad that this appeal isn't lasting.

If you have any familiarity with the mythos of Sacred, you're aware that while the premise and backstory has some exciting allure to it, its execution quirkily fumbles along. After an eon of peace, the protectors of the Ancaria realm, the Seraphim, have lived quiet lives void of conflict, with most forgetting their training and purpose, while the rest of the realm struggle to remember they existed. However, an evil emperor, Lord Zane of the Ashen Empire, has discovered how to usher in the return of the Gatekeeper, a being able to confront the strength of the Seraphim and conquer all of Ancaria, and only a select few heroes can hope to protect the realm against it.

Sacred Citadel is the prequel and companion to the upcoming Sacred 3, ushering in the backstory of the third iteration of the main series, and it does this quite superbly. I'm genuinely interested in uncovering the secrets of Lord Zane, the Ashen Empire, and the origins of the demonic Gatekeeper, yet this is partly due to the poor storytelling that discharges forth. Marred by a spastic, bare narrative that sees no real culmination of events in its abrupt finish, greatly unsuccessful attempts at humor, and voice acting that is at best mediocre and at worst simply embarrassing, I'm more intrigued how Deep Silver will make any sense of this mess of plot in terms of Sacred 3. It's hard to become enraptured with the narrative that Sacred Citadel offers, and the rare occasions that some narrative gold makes its way through the muck, it's not nearly enough to warrant paying attention to.

But where the story falters, the hack and slash side-scrolling gameplay picks Sacred Citadel up by its bootstraps and trudges forwards. Four playable characters are available to be selected, but like its copied formula of Castle Crashers, the difference between each resides in the character's ability. The Safiri Warrior, Khukuri Shaman, Seraphim Mage, and Ancarian Ranger all dual wield a variety of swords, axes, and maces, as well has having a specific ranged attack and unique character ability. Fighting the hordes of Grimmocs will take much hacking and slashing across the game's four acts, with new combos of simple four or five button inputs granted every couple of levels earned. Each character's ranged weapon provides different advantages, with the Seraphim Mage throwing out an area of effect explosive blast of fire and the Ancarian Ranger pelting orcs with rapid firing bows; all in all it keeps the action somewhat varied. Character abilities, powered by the focus meter and limited to just one type, are quite useful when confronted with a large group of enemies or one of the more difficult bosses, and are the only real defining aspect of Citadel’s combat . While the initial reaction to the combo system will be favorable, once the honeymoon phase is over, the game’s deficiencies are apparent.

Repetition, like many hack and slash games, becomes the major focus of combat, and subsequently, the major problem with gameplay. Though changing characters will provide new ranged and special attacks, basic combinations and the bulk of combat plays the same for each character, which can get very boring. Even with the more advanced combos gained at certain levels, the most useful combinations break down to just two moves by pounding away on the X button, with a stray Y thrown in at the end. Weapons are also granted different elemental powers, but elemental effectiveness is based upon a certain stat, and is only useful if the stat has been built up considerably, as damage output is more reliant on physical damage than elemental. It gets rather old rather quickly, and is exacerbated by the ease of combat and broken mechanics. It's extremely easy to get almost every enemy trapped in the corner indefinitely, with the normal split-second rest time between combinations and ranged attacks eliminated due to the enemy being up against the invisible wall. Certain bosses can fall victim to this cheesy cornering, which takes away the only challenge Sacred Citadel had to offer. Even without the glitchiness, the game is entirely too easy, and can be completed rather effortlessly all alone without so much as a continue used. Though having the ability for both online and couch co-op of up to three people is always a nice touch, here it hinders the experience due to the game becoming an absolute cakewalk.

Like its genre brethren, loot is readily available for collection and stat points can be allocated each level, yet Sacred Citadel makes some improvements on both. With two main weapons, a ranged option, and armor to equip, there’s a considerable amount of unique loot to find with the standard elements attached, ranging atypically from fire to ice to lightning. Main weapon loot is shared in multiplayer where any player can pick up a sword, axe or mace, but the ranged weaponry is character specific and can only be picked up by a certain character. Like all loot-fueled dungeon crawlers, the best equipment can be found from more powerful monsters and bosses. However, the tiers of loot that are common for the dungeon crawling genre are not utilized, with the best weapons and armor simply providing the highest damage output or armor score. The loot system simply does its job, nothing more, nothing less, and certainly offers no surprises, like legendary weapons or set-based equipment. The basic RPG elements are there, but the loot varies very little; just enough to fuel the mindless hacking and slashing, instead of something a bit more robust.

This is an excerpt from the full story which was originally featured on gamrReview, read the full version here - Sacred Citadel (XBLA) - Review

Anarchy Reigns (X360) - Review

Chris Matulich — Fri, 18 Jan 2013 17:59:00

Back in the day, when the Devil May Cry series was constantly rotating through my PS2, I would always contemplate how the genre would lend itself to a multiplayer/cooperative scope. Yet, as my hormone raging brain moved on to "bigger and better" things, the thought slipped my mind, until I finished the first Darksiders. The final scene shows the remaining three Horseman streaming across the sky. A once forgotten idea came rushing back into my head, and my excitement hit new levels, as a multiplayer/co-op sequel to Darksiders seemed to be inevitably on the way. While this didn't come to fruition, a similar thought seemed to flash across the quirky minds at Platinum Games. Though a cooperative campaign is sorely missed, Anarchy Reigns brings the 3rd person, action-adventure genre to the multiplayer realm and blends some traditional fighting game aspects into the mix - a whole two and a half months before God of War sets its own multiplayer stage, and at half the price. You see, Anarchy Reigns is effectively a budget title with an MSRP of $30, but it's leagues above anything else in the budget category, with the obvious exception of Access Games' masterpiece Deadly Premonition, that is.

In a post-apocalyptic world where governments and nations have been replaced with global corporate powers, weapons of mass destruction have been used all willy-nilly, eviscerating the earth and decimating the human population. Due to the use of biological agents, mutated humans roam the wastelands, as do more beastly abominations looking to terrorize the unaltered population. Enter Jack Cayman, one of Reigns' two protagonists, and returning from Platinum Games' first release that catapulted the quirky studio into the industry, MadWorld. Being a Chaser (read: Bounty Hunter), Jack has been tasked with recovering an elite, bio-technologically enhanced operative known as Max. Yet Jack is not the only one pursuing Max, as Max's old outfit, the Bureau's Strike One is also after him. Strike One, consisting of two Russians and a typical protagonist pretty boy named Leo, are ingrained with the same, superhuman bio-technology that Max also utilizes. A terrific set-up, yet lacking in execution.

Campaign is far from the main focus of Anarchy Reigns, and it's rather evident that many corners were cut along the way. Even with the dual character arc, where the Black Side sees the player taking the roll as Jack and the White Side as Leo, character and plot development is quite shallow. Not much backstory is given that details how exactly the Earth came to be in its destructed state, why Max lost his mind and went rogue and is being pursued by his former teammates, or even how Jack made it to Milvallen and had a daughter. Narrative is spotty at best, and is only saved because of the fantastic voice work, anchored by Steven Blum, an occasional surprisingly impressive cinematic fight scene, and the classic Platinum Games' quirkiness and over the top character interactions that helps to provide some comedic relief to the otherwise mundane experience. While the campaign may only take 6-8 hours to complete and is rather bare bones, it does serve a purpose - unlocking characters to be utilized in the game's selling point: the multiplayer.

Though diving into multiplayer is perfectly acceptable, it's definitely beneficial to play through the campaign, not only because it will open up a good sixteen characters to select from, but it will help with learning the quirks, as well as the hiccups, of Anarchy Reigns' gameplay. While no major breakthroughs are made to the standard action-adventure formula, where combos of X's and Y's (squares and triangles) are strung together to stagger enemies with light and heavy strikes, with the occasional grab thrown in for some flavor and some dodging, blocking, and countering to add some defense. Each character also makes use of a Killer Weapon, such as Jack's built-in chainsaw hand from MadWorld, which can be unleashed by holding the left trigger while attacking and utilizes the character's energy bar. Energy is easily and quickly built up through normal combos, with light Killer Weapon attacks burning through one of the bar's four sections and heavy attacks using two. Killer Weapons can be interspersed into any combo, allowing for quick, hard hitting attacks that offer a bit of variety depending on when the KW is used, as well as the chosen character.

Combat feels tight and well-polished, albeit repetitive. Combos are fast and vicious, with Killer Weapon attacks splitting enemies in half if performed at the end of a combo, which allows for quick transitions between enemies. Extending combinations will make up a bulk of the gameplay, though due to the repetition, lacking enemy variations, and the lackluster boss fights (by Platinum Games' standards at any rate), boredom has a tendency to set in. Rampage mode, the token super mode initiated with dual clicks of the control sticks, also does little to break the monotony, though is extremely necessary both in single and multiplayer. After finishing the story, a decent amount of characters are readily available for some variety. Yet the variety is very short-lived. Even after clearing the campaign and moving on to the relatively large selection of fighters in the multiplayer, each character struggles in differing enough to warrant their inclusion in the roster. While it's true that Killer Weapons provide a nice change of pace between each combatant, it's the technique that gets old and repetitive, as the most useful combos for every character consist of essentially the same sequence of button inputs.

Multiplayer can be quite a frustrating, yet also an exhilarating experience at the same time. Thinking back to my Devil May Cry and Darksiders scenario, it's pretty clear why the genre never got the cooperative or multiplayer treatment earlier in its history - the camera and targeting can make or break the entertainment factor faster than Ray Lewis could "lose" that white suit after he stabbed two men back in 2001 (yeah, I didn't forget that one). With the close up, over-the-shoulder camera, it's hard to see enemies coming from behind, and when using the targeting system, it's a crapshoot when it decides to switch or choose the correct targets, especially when a mass of people are tussling about. Though when the camera and targeting system don't act like finicky bitches, then multiplayer can be a ton of fun, even if the modes are rather unoriginal, with Deathmatch, Capture the Flag, Survival, and Tag Team (2v2) all making appearances. Nothing quite breaks the mold, yet when the game hits its mark, it feels like a blissful traditional fighter set in a 3D environment, filled with an eclectic array of combatants ready to provide a robust challenge. Too bad this doesn't happen very often, and while there's definitely fun to be had, the fantastic idea of adding significant multiplayer to the genre falls short of being truly special.

One major problem I had with the game, and one I have with the recent trend in traditional fighting games, is the music. Why must the game be littered with b-rate hip hop tracks? Don't get me wrong, I'm a fan of anything that sounds good, but the theme songs used in some recent big releases (including most of Anarchy Reigns' soundtrack) are just downright awful. The beats are unappealing and just feel out of place, making the game's budget price more apparent, yet it's the only real aspect of the game that justifies its budget status. That being said, the voice acting is pretty solid, though when you've got the one Mr. Steven Blum, as well as extensive voice work veteran Yuri Lowenthal, it's hard to go wrong. Even the visuals, which suffer slightly only due to some rough edges in terms of hair, some uninspired environments, and the large number of enemy re-colors, aren't terrible, and are far from some of the ugliness that other budget titles have produced.

Anarchy Reigns can prove to be very polarizing. On one hand, repetition, camera problems, a short campaign, terrible music, and just the general average feel may be off-putting. On the other, however, the pure fun and joy that multiplayer has to offer, the times that the campaign shines with Platinum Games' flare, the awesome voice work led by Steven Blum, and the overall non-budget quality, all for half the price of normal releases, makes it hard not to recommend Anarchy Reigns. Whether you're into fighting games or have had the same curiosity I've had concerning the action adventure genre and multiplayer, it's hard to pass up at $30. Even if you're not, and you've got a strong will to deal with frustration, the price is right, and you'll likely get more time out of Anarchy Reigns than many other titles at double the price.

This review is based on a retail copy of Anarchy Reigns for the Xbox 360.

This is an excerpt from the full story which was originally featured on gamrReview, read the full version here - Anarchy Reigns (X360) - Review

A Return to Form in Darkstalkers: Resurrection - Preview

Chris Matulich — Tue, 23 Oct 2012 14:10:40

The most surprising announcement at last week's NY Comic Con came from Capcom with their revealing of Darkstalkers: Resurrection (HD remakes of the second and third games in the series). While fantastic games in their own right - and it's about damn time the series got some lovin' - the HD updates could be the beginning of something much bigger, as with previous releases like Marvel vs. Capcom 2 HD that ushered in a brand new game, with fighting guru Yoshinori Ono confirming as much for Resurrection. It's about time that Darkstalkers made its way back into the fighting community, and with the extremely polished updates to both Darkstalkers and Night Warriors (Darkstalkers 2), it looks like a new installment is very much possible - just get your wallets ready so Capcom gets the message.

While the series was relatively unknown to me during its initial release, during the PS2 days the first batch of rereleases made the rounds and I attempted to catch up. The HD remakes make some key, yet expected additions, such as widescreen support, online multiplayer with all of the typical modes, and a remastered soundtrack that's never sounded better. The game may be a ways off from release, but I went hands-on with the full games (there were two different booths set up for the two games). They were displaying the two viewing modes that will be available in Resurrection. Arcade cabinet view was definitely the clear winner, as even with widescreen support Darkstalkers just looked too zoomed, stretched out, and overly pixelated when using the new 16:9 ratio.

On top of the obvious enhancements and added modes, Resurrection sees some more interesting additions, though none that affect gameplay, thus the classic fighting action is kept intact. Rather than simply adding online capabilities and other needed features like in Street Fighter III: 3rd Strike Online and Marvel vs. Capcom: Origins (thanks for the ping display and region matching this time around, Iron Galaxy Studios), Iron Galaxy takes it a step further, fueling the bragging rights that already control the genre by allowing users to upload their fights directly to YouTube.

This opens the possibility for some of the most entertaining gaming moments caught on tape (as long as it's kept civil; we all know how rabid and sexist the community gets), as tremendous comebacks, griefing opportunities, and glorious failures can be instantly shared with the world. While the desire for Darkstalkers matches is and will probably remain low, the idea can be implemented across the genre, providing a whole new level of being an asshole in the fighting community.

The two games themselves, Night Warriors: Darkstalkers' Revenge (DS2) and Darkstalkers 3, have been left unchanged in terms of balancing and priority, remaining true and faithful to the original arcade (not console) versions. They play just as well as they did over fifteen years ago, exhibiting the same fluidity, precision and creativity that made the series so beloved, and it's clear why Morrigan and Filicia have become prominent members of the Capcom crossover series.

This is an excerpt from the full story which was originally featured on gamrReview, read the full version here - A Return to Form in Darkstalkers: Resurrection - Preview

Emo Dante Dishes out the Pain in DmC: Devil May Cry - Preview

Chris Matulich — Sun, 21 Oct 2012 16:22:27

One of the games that attracted a large audience at Comic Con was the Devil May Cry reboot. Many Dante, Virgil and Trish cosplayers made their rounds staging fake battles and posing for hundred of pictures yet, (un)surprisingly, no reboot Dantes were in sight. Regardless of how you feel about the new design of the game's main character, DmC: Devil May Cry introduces some interesting new ideas while keeping true to the classic Devil May Cry formula. He may have adopted an emo style, but Dante still dishes out the pain.

Jumping into Dante's new and improved world was visually impressive and entertaining. Slightly more vibrant, yet surreal colors create a different feel compared to the gothic, darker style of the first couple of games. It feels a bit similar to the last entry in the original series, where Nero saw the light of day and the game looked very much like a candy store. Yet, with the surrealness applied, it gives DmC an interesting aesthetic with a very supernatural feel, which works great with the demon-infested cities and the demonic underground that Dante will explore. Though Dante's new look may have much of the gamer community up in arms, the emo style making it even worse for some, the new design fits with the rest of the game's visuals, even if you think he's gonna start crying into song at any minute.

At its core, DmC is very much the next installment in the long running series, where Dante's main combat focus continues to revolve around the use of his sword and Ebony and Ivory (his pistols). On top of his normal attacks, Dante now has two different combat styles he can enter with the use of the two triggers, aptly named Angel and Devil mode. When using the triggers, Dante's sword changes either to a larger hammer or scythe, giving him a whole new list of moves and opportunities to reach a high combo count while keeping his actions fresh.

Angel and Devil modes also grant Dante the ability to use a hookshot-like item that lets him pull enemies in for attacks, pull himself closer to enemies, and utilize the chain to progress through levels by moving platforms or grappling towards unreachable areas. The two additions compliment the game's mechanics and unique playstyle greatly, giving Dante some fresh ways to dispatch the demon army on top of his Devil Trigger Mode (which sees the return of the white hair), as well as creating a more robust experience when traversing each level. Movements are fluid and crisp in order for Dante to achieve those S, SS, and SSS rank combos that fuel combat and keep it stylish, with some great physics behind the game's design that allow for tremendous amounts of juggling to get those more high powered combos.

This is an excerpt from the full story which was originally featured on gamrReview, read the full version here - Emo Dante Dishes out the Pain in DmC: Devil May Cry - Preview

Hitman: Absolution's Split Personality - Preview

Chris Matulich — Fri, 19 Oct 2012 14:28:00

For as great as most of the Hitman series has been, none of the titles have really achieved massive popularity. With Square Enix now at the publishing helm, the series hopes to reach new heights with Hitman: Absolution, and if my hands-on experience is anything to go by it may have finally hit its mainstream stride.

The demo, which was comprised of the game's future tutorial, displayed much of Agent 47's classic equipment, as well as the freedom in how his assassin's arsenal is utilized. Beginning outside of a mansion where his former handler who's gone rogue now hides, 47 must first make his way through a garden and greenhouse all while remaining undetected. The choice is up to the player; one can clear out every guard with Agent 47's trusty fiber wire or silenced pistols and stash the bodies, sneaking past everyone with a pacifist nature, or simply go balls to the wall Rambo style and decimate everything in the Agent's path. The freedom in how to accomplish each mission is unprecedented, making for a much more interesting and new experience, even when replaying certain missions.

While most of the core gameplay has remained the same over the past couple releases, Absolution sees some neat additions that help to enhance the experience. Hand to hand combat is performed through a series of button presses, with the sequence becoming longer or shorter depending on the players performance. Though not very original, melee causes the camera to zoom in, exhibiting the fantastic, albeit quick real time cinematic that shows some brutally awesome arm snaps and throat strikes.

Agent 47 can also now use his "instincts" to see objectives, guards, and enemy movement patterns. Put bluntly, it's a blatant rip-off of Assassin's Creed's eagle vision. It takes away from the difficulty and overall experience, and feels tacked on due to its copied nature. That said, it's still fun to use 47's Assassin Mode to mark targets and dispose of them all in a fluid procession that leaves a once crowded room completely empty. It makes killing an entire room pretty exciting, and provides some unique kills to give it some style, even if we've seen this all before.

Though combat holds some great fun, the mainstay of the series remains in Absolution; stealth is still key to every mission. Besides the normal cover options, disguises, and ability to stash bodies in containers or throw them over railings, Agent 47 can pick up random objects to use as weapons, but more importantly, to use as distractions for the guards. Doing so is key to remaining undetected, as it creates openings for silent assassinations or simple stealthy progression. Remaining completely hidden is a challenge, and as entertaining as the difficulty is, with the added instinct mode, it loses the effect previous games had. Even if a mission was horribly and destructively frustrating, once it was completed, the feeling of euphoria was unmatched (masochism, anyone?). Instinct mode dulls that, if not completely removes it.

Hitman: Absolution exhibits some slick visuals, especially with the lighting and shadow effects that aid in Agent 47's stealth. Details are vivid, both in terms of great character design that convincingly displays realistic movements and expressions, and the high quality backgrounds. Cinematics also showcase the same level of quality and impressiveness that Square Enix is known for, helping to create that noir-like style with some great edits and soft focus opportunities. Voice acting fuels the noir style and includes some well known talent, led by the best in the business, Steven Blum.

Hitman has always been a niche series, but with the addition of some borrowed (and tired) techniques, Square Enix hopes to broaden its reach. Though the emphasis on stealth remains, the inclusion of the hand holding mechanics makes Hitman: Absolution feel more like every other third person shooter. Having the freedom of mission execution, however, helps to counteract this, giving some promise to the upcoming title.

This is an excerpt from the full story which was originally featured on gamrReview, read the full version here - Hitman: Absolution's Split Personality - Preview

Get the Sticker Album Ready for Paper Mario: Sticker Star - Preview

Chris Matulich — Fri, 19 Oct 2012 01:14:46

The Paper Mario series has come quite a long way since its N64 days, where it played spiritual successor to the classic Super Mario RPG. While staying to its role playing roots, the series has continually introduced more and more Mario concepts, becoming more a blend of platforming, RPG, and puzzle action. Now, with Paper Mario: Sticker Star, more unique ideas have been spliced into the already compact gameplay, yet the series also returns to its roots with a turn based battle system, creating a unique entity in itself.

Stickers are obviously the driving force in the game, and they are used in every aspect of the game, from battles to platforming to exploration. Though definitely intended for a younger audience, the sticker mechanic brings something unique to the paper universe that even older gamers can get behind. As Bowser expectedly messes everything up, the world gets inhabited with stickers, and it's up to Mario to fix everything by collecting all the sticker stars and fighting off Bowser and his army. Running around the world is very similar to past games, though the overworld works much more like classic Nintendo Mario games, as each area is a level in its own right.

All around the world, stickers are plastered to walls, the ground, and hidden under objects, most of them being utilized in the unique turn based action. Similar to card based systems, Mario must fill his album with an array of hammer, shoe, and fire flower stickers to smash, jounce, and burn the goombas and koopa troopas blocking his way. Stickers can only be used once, so searching the levels thoroughly and being well stocked will be key. One must be wary, however, of what stickers are collected, as some take up more space than others, and Mario only has so many blank pages in his sticker album.

The weapons work much like their previous role playing counterparts, where timing is everything. Besides the normal variety of stickers, some specialized versions of each weapon can be found, either doing more damage as with shinys or having a variety of effects like smashing an opponent into the screen for a cheap 3D thrill. The varied effects are necessary to defeat some opponents, as normal versions of some weapons won't work at all, like against the coned goomba where the point of the cone prevents Mario from jumping on them unless he has a special version of the shoe. It adds another layer to the already intricate battle system, mixing in some strategy with the reaction based fighting, enhancing the turn based combat. No XP is given, and not receiving any for battles is definitely noticeable, as there are limited rewards for battling every enemy, especially with a limited amount of attacks.

Aside from weaponized stickers, Mario will have to use stickers to repair the damage that Bowser has caused to the Mushroom Kingdom. Many objects, such as bridges, pathways and doors have become missing. Mario must find and peel them from what they've been stuck to, and then place them in the correct spot. Peeling is easily done with buttons, while placing uses the touchscreen to make sure the sticker is completely stuck. It feels very much like placing a real sticker on a piece of paper or album, yet the option to not use the touchscreen is there as well, so as not to completely succumb to gimmickry. Besides utilizing stickers for puzzles, Mario makes extensive use of his hammer and jumping ability, giving that classic platforming feel that meshes so well with the turn based battling. Most of the level can be knocked around with the hammer, which will reveal stickers to be added to the album or other secrets for Mario to discover, making for some great entertainment between random fights and boss battles.

Paper Mario: Sticker Star sees a very welcomed return to its roots, with some great RPG action leading the way and, as always, some superb platforming and puzzle fun. Get ready to fill that sticker album with a whole bunch of shinys come November 11th.

This is an excerpt from the full story which was originally featured on gamrReview, read the full version here - Get the Sticker Album Ready for Paper Mario: Sticker Star - Preview

It's the Same Old Song and Dance in Monster Hunter 3 Ultimate - Preview

Chris Matulich — Thu, 18 Oct 2012 18:59:27

One of the silliest moments I've had as both a gamer and someone who likes to think he's a games journalist happened to me this year at NY Comic Con. Waiting in the press line like a rabid dog, as soon as the O.K. was given, I started running. Sprinting, even. For what cause, you ask? To play the one game that had an easy 3 or 4 hour wait at any time during the show - and it pains me to admit it - Monster Hunter 3 Ultimate for the Wii U, which plays exactly the same as the 3DS version, which is also the same damn game as Monster Hunter Tri for the Wii. Folks, it's the same old song and dance, and clearly that's what the Monster Hunter community wants.

When I first sat down to write this preview, I figured I would publish two different previews - one for the 3DS version and one for the Wii U version. But then I thought, 'that's almost as silly as me sprinting to play this game'. The difference between them boils down to two basic things: slightly better visuals, due to the HD enhancement that the Wii version received, which honestly isn't much prettier than the 3DS title; and having use of a second control stick, which really isn't that necessary to begin with. While game content will surely differ down the road, in terms of gameplay, they are pretty much the exact same game. In fact, they are the same, because Capcom have taken a page out of Sony's book and included cross-play interactivity between the 3DS and Wii U.

Cross-play functionality that works in two ways. Firstly, the 3DS version of the game can connect with the Wii U, allowing for both players to inhabit the same world, though this is only archived through local wireless and not over a wi-fi connection. Secondly, if both versions of the game have been purchased (in which case it's likely that you'll own three copies of this game), you can carry over the save so you can always be monster hunting. It allows for greater accessibility when playing with a group of people, especially if you've got some friends who don't want to buy one or other platform.

Running around and endlessly hacking monsters apart feels relatively the same as it did on the Wii, though the size of the Wii U controller will definitely give people with smaller hands some difficulty traversing around. Both versions are definitely enhanced visually, as most of the jagged edges have been eliminated and other effects, like blood spurting from monsters, have received an overhaul. The colors are more vibrant, the lighting looks more realistic, and the textures around the dungeons don't look nearly as bland.

I played the hell out of Monster Hunter Tri and enjoyed myself thoroughly. But when hopping on the demo for the Ultimate re-releases, it felt more like a laborious activity rather than something fresh and exciting. There are some neat features that make room for accessibility and cross-play activity, but nothing new or game changing enough to really recommend outside of the rabid Monster Hunter community. There are a few new intricate and enormous monsters to take down that hold some great creative style, but is that really enough to get you to play the same game again, especially with a bunch of fresh experiences launching with the Wii U?

This is an excerpt from the full story which was originally featured on gamrReview, read the full version here - It's the Same Old Song and Dance in Monster Hunter 3 Ultimate - Preview

Tomb Raider Plays Catch-up - Preview

Chris Matulich — Thu, 18 Oct 2012 15:11:04

Tomb Raider has seen a plethora of sequels, spin-offs, and even a reboot or two, but with 2013 coming around, why not celebrate the world not ending with yet another reboot of Lara Croft and her tomb raiding ways? It may be that Square Enix might have hit he mark on the umpteenth attempt at making Tomb Raider relevant again.

The demo begins with Lara waking up after what seems like a pretty serious plane crash. All hope is not lost, as Lara struggles to her feat amongst the wreckage, overlooking a bluff where the quality lighting and water effects are instantly recognizable with the recent risen sun beautifully reflecting off the rolling waves. Lara displays the same level of detail, as dirt and blood cling to her body, giving her a much more realistic and natural appearance (bringing her down to normal proportions also helps). The forest which Lara needs to explore for survival creates a serene feeling, capturing its intricacies, from detailed foliage and colorful flowers to prancing deer and other scurrying critters. Lara Croft, and Tomb Raider in general, haven't visually impressed this greatly since it was first introduced back in the late 90s.

Though Tomb Raider portrays some slick graphics, the gameplay, at the moment, is rather run of the mill. Lara treks through the forest with a typical third person control scheme, scaling fallen branches, maneuvering through decrepit buildings and shimmying along trees stretched across watery ravines. While Lara really initiated the genre and helped it grow, it's come a long way since, especially with Uncharted's quality leading the way. It feels much more like Uncharted starring Lara Croft rather than Tomb Raider, as many of the cinematic climbing sequences are mimicked rather liberally (scaling a suspended plane at the point of falling sound familiar?), with quick taps of the X button needed to grip on.

No combat sequences were included in the demo, but due to Lara's need for food and her lucky acquisition of a bow slung across the back of a rotting corpse hung from a tree, hunting is the main focus. The bow works with both triggers, the left to ready it and the right to pull the string and fire. It was pretty entertaining running around the forest tracking deer and collecting their meat and this has a lot of potential, yet it's not exactly intuitive when many other games have made better use of the bow mechanic.

In borrowing more from the fantasy side of the genre, Tomb Raider also features a leveling system, where each level grants a skill point that can be used when Lara uses a campsite. Skills range from recovering used arrows to tracking deer with more ease. Though it works as a decent reward system, it feels tacked on, and it's trying to be too much like other games in an already over-saturated genre instead of blazing its own path like it did when the original IP was released.

Though only in its pre-beta phase, Tomb Raider has both some really great visuals working for it, but the gameplay is rather mediocre at the moment. With some time still before the official release, and the potential that the bow possesses, there's plenty of optimism that Square Enix will be able to inject some ingenuity back into Lara.

This is an excerpt from the full story which was originally featured on gamrReview, read the full version here - Tomb Raider Plays Catch-up - Preview

The Wonderful 101: The Wii U's Quirkiest Launch Window Title - Preview

Chris Matulich — Tue, 16 Oct 2012 22:21:30

Nintendo had a pretty large showing at New York Comic Con, and with the Wii U just a short month away from release, the focus was on the bigger launch titles that will be coming along with it. Garnering just as large a crowd as big names like ZombiU and Nintendo Land, however, was the recently named, quirky, and very Japanese The Wonderful 101 from the widely popular Platinum Games. In what can only be described as a mix of Viewtiful Joe, Pikmin, and pure, entertaining chaos, The Wonderful 101 will be many gamers' breaking point when it comes to buying a Wii U.

On the surface, 101 seems to be a confusing mess of superheroes and other non-super characters with no clear objective, but once the Wii U pad gets in hand, it's far simpler. The player controls a vast array of characters that stay compacted together, attacking, jumping, dodging and blocking in a unified front. Animations are both slick and amusing, creating quite a unique style that's reminiscent of Pikmin. Sitting back and watching the organized chaos unfold is a blast in its own right, as each character fights in their own stylized way and makes a beautiful conglomerate of high combo action. The mock anime look that permeates the game also adds to the quirky feel, and is pretty impressive, though looks no better than an average HD game (welcome to last gen, Nintendo!)

Gameplay breaks down to light combo attacks, special attacks, blocking and dodging, with the specials needing a battery meter to be built up by normal attacks first. Specials come in three varieties that can be selected by drawing certain shapes on the touchpad, whether it be a circle for giant robot fist, a line for a sword, or an L for a gun. Linking attacks together is fluid and necessary, with the flow of battle adopting a Viewitful Joe style. More characters can be found throughout the level, and - by using the touchpad to draw a U shape to ensnare them - can be recruited to the team. While many of Nintendo's first party titles see a very limited control scheme, Wonderful 101 allows the player to make use of the right analog stick to draw in the game rather than the touchpad, and it's always better to give the player more options. Much of the action gets pretty frantic, where looking down at the touchpad for those vital seconds to draw something can lead to the game over screen, and it's just as easy using the right analog stick as it is to draw with a finger.

Bosses, and enemies in general, are creative and challenging, holding the same unique style as the cast of heroes and level design. Most of the enemies are robotic in nature, though with a style more akin to Pixar's Incredibles, featuring rounded bodies, old school-looking mechanical clamps for hands, and rubber tubing arms. It follows the quirky direction the rest of the game takes, with the complete package making for an original and refreshing change of pace from the super serious tones that the action/adventure genre has followed for quite some time now.

The Wonderful 101 is shaping up to be a... wonderful little title for the Wii U. Combat is sleek and fun, it holds a unique visual and gameplay style, and is simply extremely fun to play. The only downside is that it won't be an actual lunch title, so you'll have to wait until the New Year before you can get your hands on it.

This is an excerpt from the full story which was originally featured on gamrReview, read the full version here - The Wonderful 101: The Wii U's Quirkiest Launch Window Title - Preview

The Flash and Green Arrow Stand Out in Injustice: Gods Among Us - Preview

Chris Matulich — Tue, 16 Oct 2012 15:54:51

The first go around for DC superheroes in a fighting game this generation (Mortal Kombat vs. DC Universe) was met with very mixed reactions, as the MK team had yet to hit their stride like they did with the most recent Mortal Kombat reboot. Flash forward a couple of years - MK has become a fighting household name again and DC Comics has seen yet another reboot resurgence. Now we're graced with a pure DC fighter in Injustice: Gods Among Us, being developed by the MK team. Is it a recipe for greatness?

Well Injustice is certainly a gorgeous game, utilizing a serious tone for our heroes and their hideouts, where vibrant colors and spandex are traded for darker shades and leather. Heroes and villains move fluidly and look superb, and it's clear much attention was paid to detail, as each character holds the same quality as they do in the comics, from Batman's endless utility belt to the newly acquired sword and shield Wonder Woman now utilizes.

Level design is equally impressive, receiving the same stylized attention, where the Fortress of Solitude looks much more realistic. Taking a page out of Dead or Alive, each stage also has equipment to utilize or hazards to string combos together, such as utilizing a giant laser hanging in Superman's fortress or a flying vehicle that acrobatic characters can utilize to get behind their opponents. The interactivity the backgrounds possess adds another layer to the game.

The gameplay follows the Mortal Kombat 2D style of fighting, but some changes to the core gameplay have been made. No rounds are present, and each character receives two full bars of life. Each hero and villain can perform 3 different light combo attacks, as well as each getting specific attacks akin to their powers. Batman makes use of his gadgets, Solomon Grundy his daggers and extreme strength, the Flash utilizes his super speed to slow the world around him, and of course Green Arrow has a varied ranged repertoire. Balance is already an issue (even confirmed by one of the producers exhibiting the game), as Green Arrow can spout off ranged attacks with reckless abandonment, and the Flash moves egregiously fast compared to other quick characters like Nightwing or Batman.

Injustice favors more nimble fighters, as they can rush, throw opponents into hazards, juggle, and repeat moves with much more ease, controlling the fight as they see fit, so all you Solomon Grundy fans out there are going to be disappointed unless there are some significant balance changes between now and release. Move lists are nonetheless robust and varied, giving each hero or villain a great array of techniques to battle with, and there are even level specific ultra attacks. Everyone also has a cinematic ultra at their disposal. These are a perfect mix of being beneficial, easy to pull off, and just simply amazing to watch. Batman's is especially great, as it ends with a slick backflip to avoid the Batmobile just in time to watch it smash into his opponent.

This is definitely a title to keep on your radar. It combines many of the genres more alluring aspects, such as super attacks, fast paced battles, and level interactivity, yet adds its own style with character role attacks and having a relatively unused cast of characters. Those who are more drawn to the superhero aspect of the game may want to brush up on their fighting skills, since Injustice isn't very beginner friendly at the moment. Many comic enthusiasts at the show were getting absolutely wrecked by those more adept at gaming, with many sour tastes left in the mouths of the uninitiated. Though some balancing issues exist with Flash and Green Arrow already, it's nothing to worry about with so much time between now and release, which is set for 2013.

This is an excerpt from the full story which was originally featured on gamrReview, read the full version here - The Flash and Green Arrow Stand Out in Injustice: Gods Among Us - Preview

God of War: Ascension is Shaping Up to be Something Special - Preview

Chris Matulich — Mon, 15 Oct 2012 19:28:00

The New York Comic Con 2012 Convention held close to 150,000 people of the nerd persuasion as they walked through the halls and show floor. Yet, while a very large variety attended for the comics, I flocked to Sony to demo a dream I've had ever since playing the first Devil May Cry: a multiplayer 3rd person action adventure. Skepticism may run high, but even with the small sample matches on offer here, God of War: Ascension multiplayer is definitely shaping up to be something special.

The demo showcased multiplayer matches that are essentially multiflag Capture the Flag scenarios, where the Spartans and Trojans (the two factions) compete for the favor of the Gods. Capturing key points is quick work, making for many lead changes and frantic sprints to recapture or protect one of the flags. Points - earned from kills, capturing flags, executions and other performed feats - are the real object of the game, the winner obviously being the one who has the most. But even if a team is thoroughly whooping the other, the losing faction still has a way to close the gap with ease. Close to the end of the match, a spear of lightning is shot down from the heavens. The first team to claim the spear and slay the magical beast in the background receives a giant point boost and usually a guaranteed victory, and every team is graced with a quality cinematic that only God of War can pull off, ending with the Titans' jaw split in half a la The Thing with Kurt Russell, and a spear to the ocular cavity. Priceless.

Many of the staples of the God of War series are included; chests can be opened, sub weapons can be found, magic is ready at the fingertips, and brutal executions await to be performed. Combat plays out just like any other God of War game, where light and heavy attacks are the main focus, but Ascension's multiplayer sees the addition of a very addictive grappling hook. Using the hook adds a whole new level of violent fun to the already brutal action, allowing either the Spartan or Trojan warrior to pull their opponent towards them, whether in the air or on the ground, for a rather damaging combo. Its use also takes some skill, as the opposition can easily defend against it by simply blocking or being in mid combo. Grappling is a great way to keep combos alive after staggering a player with a quick or heavy combo, making a bit of juggling possible in the process.

The Spartans and Trojans, based on their chosen deity, also have the use of magic throughout the match. The demo saw just two Gods to choose from, but the magic ranged from enhancing the warrior and calling down a rain of elements for an AoE spell. Magic can only be used once some MP has been collected from around the map to keep things balanced, since the spells can be very powerful, but they do have a bit of delay, which allows others to interrupt you with quick combos, so picking openings is key. While magic damage is rewarding, the lengthy casting time makes sticking to combos and the grapple more effective.

Expectedly, Ascension impresses visually, utilizing the usual fantastic lighting effects, finely detailed landscapes and enormous background Titans, superb fluid movements, and excellent execution cinematics. Running around the desert themed level was a blast. It lives up to the GoW namesake, and even manages to make some minor improvements. The level design is pretty good, though the fixed camera makes for some annoyances, as it is a bit hard to tell if making a jump is possible or if you're dropping down to another section of the level (or about plummet to your death).

God of War: Ascension's multiplayer is definitely hitting a great stride, making a gaming dream of mine become a reality. Be sure to look out for it next year.

This is an excerpt from the full story which was originally featured on gamrReview, read the full version here - God of War: Ascension is Shaping Up to be Something Special - Preview

Assassin's Creed III: Liberation Brings the Console Experience to Vita - Preview

Chris Matulich — Mon, 15 Oct 2012 14:14:46

Assassin's Creed has become a strange entity in its own right, releasing yearly games that are generally unique and are high quality experiences, proving to be the exception to the yearly release rule (ahem, sports games). Though their handheld experiences have been somewhat lackluster, with the power of the PS Vita, Ubisoft can bring the same high quality that the series is known for on the home consoles with Assassins Creed: Liberation.

There were two playable missions on the show floor, one showcasing the expansive wilderness of Louisiana with an emphasis on combat, the other set in old New Orleans which focused on stealth. Both showcased the same vivid level of detail at AC has become renowned for, the bayou populated by alligators lying in ambush, thick swamps and dilapidated shipwrecks that are fully explorable and scalable (and wrestle-able), and New Orleans holds the beautifully rendered French influenced city. Aveline moves with the fluid grace that Altair, Ezio and Desmond have demonstrated in the past, though some points during her scaling saw Aveline falling a bit into the wall or ledge, though it happened moreso in New Orleans than the bayou. While visually impressive, sound work, particularly voice acting, is rather poor in quality. Not that the actors themselves are bad, but the sound itself is tinny, even when coming through a pair of high quality headphones.

Like the visuals (and unlike the sound work), the same attention that the gameplay receives on the consoles has been transferred to the Vita, with all the series main stays, from dual blades to hidden guns to smoke bombs, making an appearance. Running and scaling buildings and trees plays fluidly, with no hiccups other than the occasional clipping. Aveline has a couple of new tricks added to the already robust Assassin gear, with a whip that can be used both in combat and while traversing the open world. The whip adds a great new spin on taking out guards, as it's essentially a long ranged assassin blade. Also getting some long-overdue tweaks is the countering system. Though it's not exactly groundbreaking, countering now requires two button presses; timing is everything (as usual) and even when performed correctly countering leaves you a little bit more open for attacks. It's much more difficult taking on throngs of enemies than in previous entries, which in turn makes for a more exciting and challenging experience.

While traversing the bayou, Aveline will come across lakes and other bodies of water that are too dangerous to be swimming in, so she'll have to make use of her budding canoe skills. Since we are on the Vita, however, paddling is done through the rear touchpad, and feels every bit as awkward as it sounds. Responsiveness is a bit of an issue, where swiping doesn't always send you forward or backwards or even paddling on the side of the boat that was intended, and the speed is rather slow (it feels more like a mundane task than playing a video game). Aveline can be ambushed by alligators, and rather than just shooting the beast, the choice to wrestle them can be made. Wrestling breaks down to a series of button presses, but is an entertaining alternative to wasting bullets, and how many games allow you to wrestle animals, let alone alligators?

Assassin's Creed III: Liberation achieves its goal - bringing a console styled AC to the handheld market, and it accomplishes it with gusto. While some little bugs and gimmicky touchpad controls may cause some small issues, Liberation is primed for a big release at the end of the month.

This is an excerpt from the full story which was originally featured on gamrReview, read the full version here - Assassin's Creed III: Liberation Brings the Console Experience to Vita - Preview

Darksiders II: Argul's Tomb DLC (X360) - Review

Chris Matulich — Tue, 25 Sep 2012 16:00:00

Darksiders II kept to its roots by borrowing the best aspects of some of the industry's most beloved games and adapting them to the Darksiders mythos: making slight improvements and adjusting them to produce a quality experience. While the main campaign saw use of the Voidwalker (see: portal gun) ability, Argul's Tomb focuses almost entirely on its use. Argul's Tomb serves as both the first piece of content for Death to continue his adventure and as the free bonus for purchasing a new copy of the game. However, if you have a used copy of the game, is Argul's Tomb worth the asking price of $7?

Argul's Tomb can be accessed at any point in the main game, however it is recommended that the first three areas of Darksiders II be cleared as the DLC automatically supplies the player with the Voidwalker and Death's Grip (see: hookshot). Before the Lord of Bones became the Dead King, Argul reined supreme with the help of the dragon Frostbane. Death is tasked by Ostegoth with the destruction of Frostbane, who lies waiting in the snowy grave. Story wise the DLC doesn't do much more than explore some subplots and provide further backstory to the universe. Gameplay is what this piece of DLC is really all about, so if you're looking to continue Death's story, then you're out of luck - but Argul's Tomb isn't intended to be a narrative piece.

The first Darksiders II DLC focuses mainly on utilizing Death's portal gun and hookshot to progress through dungeons filled with plenty of puzzles and enemies to keep a player happy. Most of the puzzles, though not exactly mind boggling, require a mix of creating portals with the Voidwalker and manipulating objects with Death's Grip. Using the charge shot of the portal gun to manipulate momentum is key, as many puzzles see Death shooting across gaps and movable blocks turned into pendulums so Death can snag it with the hookshot. Frustration won't set in due to the relative ease of each puzzle, yet breezing through them isn't possible due to their length. They're fun for the most part - they just don't require much brain power.

This is an excerpt from the full story which was originally featured on gamrReview, read the full version here - Darksiders II: Argul's Tomb DLC (X360) - Review

Kung Fu Strike: A Warrior's Rise (X360) - Review

Chris Matulich — Wed, 12 Sep 2012 16:55:00

In the land of the Far East, from the days of yesteryear, arcade and ported beat ‘em ups pummeled the gaming world with little regard to ingenuity or quality, their sole purpose being an extremely hefty challenge meant to thieve the quarters of the world’s youth. Now, with the age of cheap deaths and unprecedented difficulty nearly extinct, Qooc Soft (huh?) brings Kung Fu Strike: A Warrior’s Rise to the Xbox 360, where a ruthless challenge and an “authentic” Kung Fu styled plot, with all of its poorly translated goodness, await those brave enough to combat the martial arts action.

With the game set in Ancient China, Kung Fu Strike throws the player into the role of General Loh, the son of the former emperor, who was presumed dead after the disappearance of his father and seizure of the throne by Loh’s apparently malevolent brother. The story follows Kung Fu movie law and tradition closely, complete with an ancient temple inlaid on the side of a mountain, an old, wise master waiting to test Loh’s skills and guide him on his quest for vengeance, and a plethora of nameless combatants complete with awesomely bad dialogue and Kung Fu grip! Where originality takes a back seat, the overall feel of the game captures the movie genre’s unique flare seen during its heyday. Cutscenes give way for beautifully drawn frames to convey the story, with a very raw art style fitting the martial tone perfectly. Enhancing the martial flare, dialogue and narration, whether intentional or not, are some of the most poorly written exchanges I’ve ever had the amazing pleasure to read. As soon as words hit the screen, laughter burst through my lungs, and it’s very easy to picture each character speaking terribly dubbed English with a certain awkwardness that is beloved and could only work in this genre.

Keeping with the retro feel, Kung Fu Strike is heavily influenced by the beat ‘em ups of the 1980s and 90s, like Double Dragon and Final Fight, yet throws a modern spin on the formula. Instead of relying on just a couple of attacks, Loh can strike, counter, dodge, and utilize special attacks to dispatch his foes. Success against the high degree of difficult will only come with a combination of Loh’s repertoire, with an emphasis placed on countering to stay alive since there is no blocking. Discouraging button mashing, most enemies will block(!) and counter attack, and holding or striking with certain actions are the only way to break enemy defenses. It helps combat become a little deeper, as Loh can blend his attacks with lightning speed, yet can't simply attack wildly, and it further increases the challenge of each mission.

This is an excerpt from the full story which was originally featured on gamrReview, read the full version here - Kung Fu Strike: A Warrior's Rise (X360) - Review

Sleeping Dogs - Review

Chris Matulich — Fri, 17 Aug 2012 14:20:51

There once was a time when the modern Grand Theft Auto archetype reigned supreme, where sandboxed-styled, crime-spree fueled romps in seedy underbellies of some city or another seemed to pop up every couple of months. The comparison to the legendary GTA was neigh impossible to avoid - as it is with the shining example of any other genre - and Sleeping Dogs can't escape the same reality. However, unlike its spiritual predecessors in the True Crime series, Sleeping Dogs does much more than merely imitate the best - it competes with it.

One of the strongest components of Sleeping Dogs is the surprisingly deep and solidly entertaining story. It's set in the bustling underground of a Triad controlled, fictional Hong Kong, where the player assumes the role of an undercover cop recently returning from a long stint in California. With an old childhood friend, Wei Shen will slowly infiltrate the ranks of the Triad known as the Sun On Yee while seeking revenge for his sister (who fell victim to heroin addiction and overdose). It's essentially Donnie Brasco with Triads instead of the Italian Mafia, with more insight into the effect of undercover work and how a man can be thrown into a life of crime and willingly become a criminal. The story excellently shows the inner workings of a crime-family, depicting the bonds and honor that occur rather than just senseless violence and erratic, drug inspired humor... though there's definitely plenty of that too. It goes deeper into the main character's ideals and emotions, showing the struggle and stress of his work as it affects his psyche and personality. Most of the story is told through beautifully rendered cutscenes, backed up by some seriously superb voice acting led by newcomer and soon-to-be Silver Samura in the upcoming Wolverine flick, Will Yun Lee, and the loveable, raspy voiced Emma Stone. Other characters sound authentic with thick accents and make up a great supporting cast that is filled with an array of eccentrics to help create some individuality. Though where the voice acting is spot on, facial emotions are pretty subpar. Almost all characters are poker-faced the entire time, whether a man gets hacked to pieces and served in stew or gets tortured with an automatic drill, no one shows any emotion, and it's exacerbated by the fact that their body movements and mannerisms are very animated.

Where Sleeping Dogs's brings the thunder, the gameplay calls down some majestic lightning. Sleeping Dogs is a sandbox affair, complete with a sprawling city that's 100% accessible right from the beginning, featuring safehouses, karaoke, gambling, cock fighting, fight clubs, and many other attractions. Wei is a master of Kung Fu and, by extension, free running, allowing him to fluidly sprint through the city, jumping over dumpsters and scaling lower walls at will. It's used rather extensively through the many foot chases and semi-platforming sections, but movement is smooth and the system is generally fun to use. While the game holds all the mainstays of criminal action, Sleeping Dogs' ace-in-the-hole comes in the form of fantastic hand-to-hand combat. Most fighting is done without guns, and the combat system is fluid, intense, and brutal. It's all Kung Fu based, complete with grabs that throw people into exhaust fans or ice choppers, arms and legs snapping like twigs, and relying heavily upon a counter ability to deal with dozens of opponents. Much like Arkham Asylum/City's "Freeflow" system, countering will be the barrier between life and death, and there are certainly no complaints here due to its polished performance. Fighting off other Triads is a viscous effort and brutally fun. It has the combos and control of a game devoted to combat, creating a whole new aspect to the crime-infused sandbox genre. I found myself running around Hong Kong just looking for other gangs to fight so I could see all the unique grabs that utilize the environment, as well as just to enjoy the fluid movement of Shen's attacks and counters. It's a blast to use.

That's not to say the rest of the game takes a backseat to punching and kicking. Gunplay is exceptionally tight, yet lacks the ability to aim down the sights of a gun (definitely a noticeable absence). Sleeping Dogs adds a bit of flare to the third-person-shooter; when Wei hops over cover or slides over the hood over a car, a mini-slowdown occurs, giving the player that extra couple of seconds to line up shots. It helps with creating that aura of baddasary that leading characters in the genre need to possess. Though the slowdown wins no points in originality, it's not an ability that can be actively used, and brings just the right amount of style and functionality to the intense gameplay.

Driving also holds a certain uniqueness as well. Controls are GTA standard, with cars, bikes, and boats very responsive and holding a great feeling of speed. Unfortunately, no air travel is available to Wei, but the absence of jets and helicopters is hardly noticed due to the amount of "sweet rides" one can find around the four major sections of Hong Kong. The in-game physics are pretty impressive as well; moving through Hong Kong is never stiff, and the ragdoll effect looks great when flying headlong into the pavement after being thrown through the windshield or tossed off a bike. Yet, what really makes the driving an incredible experience are the Action Highjacks Wei can perform from any moving vehicle. When riding close to another vehicle while driving or riding shotgun, Wei can jump to the other vehicle, expel the driver onto the moving pavement, and continue on his merry way. It makes theft, car chases, and police escapes much more entertaining, and when combined with the violent car and motorcycle flips when tires get blown at high speeds, Sleeping Dogs' chase segments are some of the best around.

Wei Shen will gain experience for completing missions, events, and other side quests. Every mission rewards Wei with both Cop and Triad experience, but each receive XP differently (Triad experience is rewarded for being a general badass when it comes to fighting rival gangs, performing Action Hijacks, and using the environment and skills for unique kills). With each level gained in either the Cop or Triad "class", Shen can choose a new skill from one of two branches, with a total of 10 skills and levels for each tree. Maxing out both trees is rather easy with the amount of content available, which is beneficial since the skills unlocked make for a better game. The Cop tree sees abilities like the Slim Jim, making it easier to steal cars (weird, right?) and allowing Wei to pull a shotgun out of the trunk of a cop car, while the Triad tree raises his strike damage and resistances, also giving him a brutal elbow drop. The level and skill system is a great addition to the sandbox gameplay, providing an experience that only gets better as the game progresses.

On top of the Triad and Cop experience, Wei also receives Face XP that allows him to wear certain clothes that offer bonuses and gives other advantages at every level. Clothes make the man in Hong Kong, and these clothes can give 15% bonus XP or strike damage, which is a great change of pace from the strictly aesthetic alterations, but can only be worn if enough Face levels have been attained. There is also a Face meter, which increases as Wei beats his opponents down using a variety of maneuvers. When the meter fills, the world slows down a bit, slowly regenerating Shen's health, and intimidating his foes so Wei can take the advantage. The slowdown has lost its unique feel, but it's nonetheless a welcome addition. New fighting techniques are granted in a different manner as well. Upon arriving in Hong Kong, Shen encounters his old Kung Fu master, discovering that his prized animal statues have been stolen. Finding and returning them will grant Wei new moves, ranging from more powerful heavy attacks, to extending combos, to grabs that enable him to snap enemies' limbs. It all enhances the already-pleasing Kung Fu action, and the variance in obtaining skills and other bonuses adds to the enjoyment factor greatly.

Besides the main missions, Wei can undergo case files through an inspector working the Triad circuit, other events scattered around Hong Kong, stealing a long list of cars, collecting on loans, race some cars, performing drug busts, and looking for some potential girlfriends, among other activities. The case files are a mini story in their own right, exposing drug cartels and human trafficking rings through Wei's influence with the Sun On Yee. Drug busts, as well as case files and some of the main missions, require Wei to hack cameras, pick locks, crack safes, and bug cars or apartments. Each is accompanied by a creative yet simple mini game usually needing correct timing or "hitting the sweet spot" using the control sticks. Hacking cameras are a bit different, where four digits need to be guessed in a limited number of times. The mini games are fast and fun, giving the game more depth in the process. Events and the plethora of other side missions provide for a lot of the comedy, particularly when Calvin, one of the foot soldiers, decides to shoot wildly into a storefront or blow up the police station, hop in Wei's car, and tell him to just drive. The extra content found around Hong Kong is vast and quite easy to become enraptured with, as the hours upon hours of criminal action to behold can easily distract from the main story.

This is an excerpt from the full story which was originally featured on gamrReview, read the full version here - Sleeping Dogs - Review

Tony Hawk's Pro Skater HD (X360) - Review

Chris Matulich — Tue, 07 Aug 2012 15:23:00

Tony Hawk’s Pro Skater was a staple during the late 1990s on the Nintendo 64 and PlayStation, where almost anyone that picked up a controller right before the turn of the century most definitely spent some time shredding up the Warehouse and School, grinding and kickflipping their way to those sick scores and hidden tapes. When the HDified version was announced back at Spike’s VGAs, widespread rejoice rang through the internet. Yet, with the current state of the skating franchise and Neversoft NOT sitting in the developer’s chair, all the news was taken with a grain of salt, and rightfully so; for as good as the HD remake is, Robomodo’s attempt at recapturing the total immersion that the original instilled is slightly offbeat.

Since THPS wasn’t given a campaign or story mode until the Underground days, Robomodo chose correctly by not adding anything significant that could have detracted from the experience and memories gamers have stored in that special little hard drive we call a heart. One “major” addition, a map overview, is very welcome and makes level navigation much easier, as it shows the location of every S-K-A-T-E letter, cash ticket, and specific goal that every level holds. Oddly, no current skater position is shown, which would have been the icing-on-the-map-cake, though it’s not very necessary.

While create-a-skater wasn’t introduced until THPS3, Tony Hawk HD features one that’s not exactly in the game per se. The game allows for Xbox Avatars to be used as skaters, which doesn’t fit perfectly with the rest of the game’s art style, but can be used as a pretty robust character editor, giving a plethora of options and costumes to make any number of skaters (Master Chief Christ-Airing, anybody?).

This is an excerpt from the full story which was originally featured on gamrReview, read the full version here - Tony Hawk's Pro Skater HD (X360) - Review

Dungeon Fighter Live (X360) - Review

Chris Matulich — Thu, 26 Jul 2012 12:11:28

Some free–to-play games begin their life cycle as traditional paid titles, with notable games like Dungeon & Dragons Online finding its niche with a robust population that was much larger than the initial gathering. Most titles, however, do not begin their cycle with a freemium model in hopes to one day release a paid, digitally distributed version of the game, which essentially feels like a nuts and bolts adaptation of the free-to-play iteration.

Where its older, more immersive brother focuses on polished action, Dungeon Fighter Live makes an attempt to delve a little deeper and provide the obligatory console narrative. Yet, with Dungeon Fighter Online’s incredible success on the PC without so much as a lengthy anime cutscene, it’s difficult to argue in favor of adding a more in-depth storyline, especially one as clumsily told as DFL’s. The overly clichéd set-up has a plague known as Phantasmalia affecting the very young and elderly (and clearly not our three adventurous heroes), as well as acutely increasing monster activity in the land of Hendon Myre. The bland cutscenes look they came from an anime B-roll, there's a narrative flow that likes to teeter between complete stoppage and begrudgingly slow, and non-existent voice work save for some unintentionally sexified cries and grunts that serenade the ears; it’s hard to call Dungeon Fighter Live’s story anything short of laughably boring.

Luckily, DFL’s allure comes in the form of the engaging beat ’em up action. Like its free-to-play brethren, combat focuses on a concoction of normal attacks strung together for combos, and a decent collection of skills that also link with normal attacks to create some devastating combinations. Skills draw from a pool of magic points, and the game gives some liberty in how they are performed, rewarding more talented players who have the ability to remember and execute the Street Fighter-esque inputs by shortening the cooldown and cheapening the MP cost of each skill. Players can also utilize hotkeys that are mapped to the face buttons when holding either the right trigger or bumper, allowing for eight abilities or restorative items to be allotted. Abilities are upgraded by attaining SP through leveling, which can be spent at shops to strengthen or buy new skills.

The wide variety of skills that are available for purchase and upgrade are very welcome, giving traditionally melee or ranged characters supplementary abilities that play well with their given style. The RPG/beat ‘em up action can be a ton of fun; comboing through hordes of enemies while pulling off Capcom-styled maneuvers provides plenty of entertainment and provides some much-needed depth to the time-tested action. Yet, traversing each dungeon kills any momentum that hopes to build. Even when utilizing the double-tap dash, characters move egregiously slowly.

Each dungeon is a painstaking task due to movement speed, and quickly turns a dungeon exploring romp into a tedious affair. Dungeons are relatively non-linear, allowing a small sense of exploration with each dungeon, but the effect is hampered by the game's movement speed. This is exacerbated further by the extremely large amount of repetition that is required to progress through the game; many of the dungeons need at least five runs in order to find the correct item needed to finish the umpteenth fetch quest. Towns, which operate as quest hubs, don’t exactly invoke many emotions, as they are standard RPG cities that can’t be explored, only contain a few shops, and are carbon copies of PSP dungeon crawler hubs. It’s serviceable, but that’s about all it is.

To try and stave off the monotony of repetition, DFL features both local and online co-op, supporting up to four players for dungeon questing, as well as also loot department. Equipment slots are typical, ranging from helmets to armor to rings, but loot is plentiful in the game, helping to keep the mediocrity to a minimum. Multiplayer sees competition for loot, where it’s a first come, first serve basis, and puts a nice spin on the co-op action. MP is a great way to get some friends together and enjoy the beat ‘em up RPG adventuring, yet when four people are in a game together, pacing feels just as slow, and a new problem arises. While the menu already feels pretty awkward – navigation is restricted to left and right, which takes some time to become comfortable with – it’s even worse due to the menu’s small size, which becomes even smaller when more people are added. Size becomes a serious issue with a full squad, further making navigation a tedious task. Other design flaws permeate the experience, particularly after finishing a dungeon, where no matter what, the group must be disbanded and a new party search begins. It kills any flow that's being created, and just adds to the questionable design frustrations.

Though movement speed and repetition don't help DFL's cause, character classes don't do much to improve the situation either. With only three of the PC version's eight characters, the game lacks any real variety in play style. The Gunner provides the ranged option, but the Slayer and Fighter are too similar to justify not including one of the more unique classes. Another problem arises with the very small level cap that hits its threshold at twenty, where DFO sees the ability to choose a subclass and another one at an even greater level. It's a shame, too, since DFOnline allows for more varied styles of play with more character options, but Dungeon Fighter Live falls utterly short of the same rich gameplay because of its questionable design limitations.

This is an excerpt from the full story which was originally featured on gamrReview, read the full version here - Dungeon Fighter Live (X360) - Review

Lollipop Chainsaw - Review

Chris Matulich — Mon, 18 Jun 2012 16:38:00

Scantily clad, chainsaw-wielding, freshly legal cheerleader... check. Vulgar-quipping, wacked-out zombies... check. Outrageous, over-the-top, B-Movie quality styled dialogue... check. Disembodied head that acts as both special weapon and said chainsaw-wielding cheerleader's boyfriend... check. Yep - all the pieces are here indicating that Grasshopper Manufacture and the sadistically zany mastermind that is the creative director Goichi "Suda51" Suda have released a new game. But even if all the flare for another successful jam from Suda51's crew primes itself for some good ol' fashioned gaming fun, the beat can still be missed, apparently. What we're left with is the shell of what could have been another unique gem from the guys behind No More Heroes and Shadows of the Damned.

With what feels like the bastardized child of Joss Whedon and Quentin Tarantino, Lollipop Chainsaw throws you headlong into the tripped out zombie hunting family of the Starlings, with cheerleader Juliet celebrating her 18th birthday and taking center stage. With the script written by James Gunn (of the revamped Dawn of the Dead fame) and clearly influenced by the ridiculousness that is Goichi Suda, a hysterical, if cliched tale awaits you. A zombie outbreak has befallen Juliet's high school, San Romero (reference!).

Juliet's boyfriend Nick is soon bitten, and through Juliet's ingenious quick thinking she saves his life by decapitating and creating a disembodied head out of him. After some quick tutorial carnage of the local zombie population, Juliet soon discovers that her classmate and resident emo-goth (yes I know they're different... but not really) Swan has called upon the horrors of Rotten World (read: hell) to condemn the world of the living due to his obligatory ostracization. While the frame work may sound a bit dull and cliched, it's all hysterically relayed with some of the campiest dialogue to grace a "Suda51 joint." From vulgar one liners like "what the dick?!" and "I'm gonna fist your ass with my head," to many genuinely funny interactions between Juliet and her ever-increasingly strange zombie hunting family, to the surprisingly awesome decapitated head that is Nick, Lollipop Chainsaw hits its stride and blends the best that B-Zombie-Movies have to offer. Gunn and Suda collaborated for a pretty fantastic script, it's just too bad that's where the fun-train stops.

This is an excerpt from the full story which was originally featured on gamrReview, read the full version here - Lollipop Chainsaw - Review

Gotham City Impostors - Review

Chris Matulich — Fri, 09 Mar 2012 19:46:00

Have you ever wondered what it’d be like if Batman decided he needed to kill some fools? Of course you have. But have you ever wondered what it would be like if it all took place under a Team Fortress/CoD scope, ya’ know, without actually playing as Batman? Me either. But you know what? Monolith did – and Gotham City Impostors would have been a great game if it weren’t for some hang-ups.

GCI’s premise is simple: someone must protect Gotham while The Batman is indisposed, and who better to fend off Joker’s minions than copybats (zing!) equipped with their own versions of Bats’ famed gadgetry, as well as some more deadly homemade creations. Slapstick comedy permeates the experience right from the beginning, providing many unexpected chuckles and genuine laughs. Most come in the form of sound-effects that boing-oing or flop and splat when utilizing weapons or gadgets, and the grenade-in-a-box is simply a blast. Humor is used to help keep gametypes like rush and conquest refreshing, until you realize that three MP modes and just as many maps doesn’t quite cut it.

On the surface, Gotham City Impostors looks like another class-based shooter, which Monolith nails pretty well. As you delve deeper in and it attempts to become something more, however, it falters. Many class-based shooters seem to pigeonhole you into a class that can only use certain weapons, abilities, or body/armor type. GCI, however, allows for a deep amount of customization.

Any combination of body type (a total of five), weapon, gadget or sub-weapon can be utilized in the custom load outs, though some body types will be more efficient with heavier weapons or gadgets than others. Gadgets range from grappling hooks and glider wings to roller-skates and bouncing shoes, all of which provide a ton of fun at first. Though the traditional weaponry leaves a bit to be desired, the creativeness behind the gadgets helps to make up for it with originality and humor, yet still could have benefitted from more variants.

Gotham City Impostors is definitely not without its limitations. After the initial gadgetry love affair wears off, gameplay essentially breaks down to a combination of Call of Duty and Team Fortress. By no means an outright bad mashup, but GCI doesn’t go out of its way to bring anything new to the table, especially after you get bored with the limited amount of gadgets that are a pain to unlock in the first place.

This is an excerpt from the full story which was originally featured on gamrReview, read the full version here - Gotham City Impostors - Review

Resident Evil: Code Veronica X HD - Review

Chris Matulich — Wed, 26 Oct 2011 18:35:00

The industry’s new trend, this HD-ifying of the previous generation’s games to turn a quick buck, has caught a favorable wind with many big names re-releasing their jewels of ten years ago. Unsurprisingly, Capcom has spearheaded this shady movement, re-selling games with a new coat of paint and achievement/trophy support (sound familiar, fighting fans?).

Yet, if it’s done correctly, the HD process can breathe new life into a game or series that was once “long forgotten.” Capcom first entered the fray with Resident Evil 4 HD, and now with Resident Evil: Code Veronica X, the last title to utilize the series’ original, cinematic fixed camera style. However, for as good as Code Veronica X was the first time it was released, can it hope to survive amongst the waves of improvements and innovations that have been implemented across the genre?

Beginning where Resident Evil 2 left off, Code Veronica continues Claire Redfield’s story as she searches for her brother and protagonist of the original and Resident Evil 5, Chris. Including heavy doses of convoluted and intricate plot elements, from the double crosses to the inevitably “unexpected” flashbacks that RE has become known for, RE:CVX still impresses plot-wise. It exhibits a great sense of fear and shock factor, even after 10 years, and still sports some of the campiest voice acting this side of the master of lockpicking, but Resident Evil wouldn’t be Resident Evil if it didn’t adhere to b-movie horror flicks, and Code Veronica X fits the bill quite nicely.

This is an excerpt from the full story which was originally featured on gamrReview, read the full version here - Resident Evil: Code Veronica X HD - Review