Desert Island Top Five Games

By Shaun El-Ters

 

I often think about what would happen if I were to be stranded on a desert island. People say it’s a stupid thing to think about. I disagree.

Before every plane ride, I carefully formulate the contents of my suitcase; if my plane goes down, and I happen to land on an island, and the island has electrical outlets, then I need prepare accordingly. These improbable yet totally possible situations are why I make sure to pack certain games; more important than scavenging for food and water is the ability to pass the time on my island. The following is the five games that I would want for my desert island.

 5. Metal Gear Solid 4-MGS 4 is the apex of one of my favorite game series of all time. The strength of this game is in its groundbreaking gameplay, which completely immerses its players in a battlefield setting, and provides them a multitude of options to reach their goal, ranging from stealth to full-on assault. This versatility would prove valuable on my desert island, and trying to figure out the nonsensical story through the game’s lengthy cut scenes would be infinitely entertaining.

4. Bioshock-The sole first person shooter on my list, Bioshock was also my 2007 Game of the Year. Set in an underwater dystopia drenched with eerie ambiance, Bioshock vividly creates a world that challenges the player’s very conception of gaming. I won’t spoil the big twist, but between the immersive story and strategy-based gameplay, Bioshock could distract me completely from desperately trying to escape my island. Which is fine, because according to Lost, escaping from islands can threaten to disrupt the whole space-time continuum. Or something, I don’t really know.

 

3. Resident Evil 4-In 2004, Capcom revolutionized gaming with the fourth installment of its popular horror franchise. Previously criticized for its archaic design choices, RE4 introduced an over-the-shoulder control scheme that has since been mimicked by blockbusters like Gears of War. This new focus on precision and control makes the showdowns with the enemy extremely intense (and fun) rather than just frustratingly annoying. Combine this with incredible pacing, which consistently keeps the game fresh and exciting, and you have a game worth quite a few replays on those quiet island nights.

2. Super Mario 64-This game is credited for bringing 3-D games into the mainstream, and served as the standard for all 3-D platforms to follow. Super Mario 64 is also the reason that I became obsessed with attaining the N64 in 6^th grade. I spent hours in pure bliss attempting to recover every hidden star, and navigating Mario through ingeniously designed levels. Simply put, the depth and nostalgia of Super Mario 64 would keep me busy for a very long time.

1. Legend of Zelda: Ocarina of Time- OoT carried a great deal of burden on its shoulders, as it was the game that was responsible for carrying the renowned Zelda series into 3-D for the first time. To say it simply succeeded would be a huge understatement. OoT is responsible for numerous innovations, including an exceptionally effective targeting function, and brilliant time traveling implementation. With an epic story and flawless gameplay mechanics, OoT is truly the greatest game ever made.

 

 

 

Little Kids Destroy Gaming Industry

By Shaun El-Ters

A few years ago, my 10-year-old sister and her friend were playing at our house. I was playing the best game ever made, Legend of Zelda: Ocarina of Time, while they were playing with Barbie dolls or whatever. Suddenly, the abrasive little boy, for no apparent reason other than to make me hate him, said “Zelda’s boring.”

Immediately, I paused the game. For a moment, I considered what a loser I would be if I argued with a 7-year-old about why my favorite video game was amazing. This feeling passed. 

“How is Zelda boring?” I answered back. 

“All you do is run around the field and talk to people and ride your stupid horse. You can’t even jump.”

I did not even know how to defend my precious game, which was being defiled by this kid, so I asked him what he would do to make it better. 

“First,” he said “take out the puzzles. They are too hard. And boring.”

“Yeah, but the thing is that puzzles are what make the game great. They…”

“And put guns in it.” 

Now I was genuinely flustered. “You can’t put guns in Zelda…”

“Dude, you wanted to know what would make it better and I told you. Stop crying.”

My will shattered. I unpaused my game, and aimlessly navigated my tunic-wearing man through a field.

I realize now that this conversation perfectly encapsulates almost everything that is wrong with the video game industry. Allow me to explain. 

For starters, the worst thing about online matches are the kids. OK, besides the jerks that are always so much better than you. (It just so happens that the kids are better than me too, but that’s besides the point.) Every time, the irritating jeers the children as they stick grenades on my back makes me want to smash my controller into my face.

Secondly, the desire these kids have to play Grand Theft Auto instead of Lamb Chop and Friends could cause major trouble down the road. The fact is, although these violent and mature games are not intended for a younger audiences, they continually find their way into kids’ hands.

Politicians and disgruntled lawyers use this fact to support movements of complete censorship of these topics. This censorship would place a handicap on the medium that would be difficult, if not impossible, to overcome.

If I could go back, I would have told the kid that if he wants to continue playing these games past puberty, then he needs to stop being a little idiot. If you want access to your favorite games, then don’t play them without parental consent; if your parents don’t want you to play Gears of War, then you are probably too young in first place. If you want respect online, then stop taking joy in making your opponents universally loathe you. 

And if you really want people to stop referring to you and your kind as a bunch of adolescent losers, then expand your horizons past first-person shooters. Try games that you initially think are “boring.” Contribute to the medium that you are slowly killing.

Yeah. That would’ve shown him.

Games as Art

These days, video games are often anything but. The medium has evolved from an experience defined solely by gameplay into a thematic vehicle that values storytelling, audio and visual ambiance. Games now provide their audiences with a truly unique form of media by blending storytelling with interactivity.

However, despite this growth and evolution, the true nature of games is still fervently debated.

One of the biggest debates regarding this issue is whether or not games can be considered to be a “higher art.” Even Roger Ebert, a renowned film critic, has commented on this topic, saying that although games can sometimes possess aesthetically pleasing qualities, and can contain poignant stories, the fact remains that video games cannot be art.

Ebert believes that art must be created by an artist, and experienced in an unaltered form by the audience. No matter which game one plays, the experience is going to be in some way different than every other person that has played the game. Because a player’s decisions factor into their experience, the unaltered work of the artist cannot not be achieved.

According to this definition, video games certainly cannot be considered art; however, concretely defining art goes against the essence of art itself. Defining what comprises art is much like trying to explain a color to someone who is blind. Art is a unique experience that affects people in very different ways and means something different to each person that experiences it.

Obviously, not every gameplay experience can qualify for this artistic ambition. However, anyone who has explored the Ayn Rand-inspired dystopia of Bioshock, or has witnessed the seamless fusion of beauty and gameplay in Shadow of the Colossus would have a difficult time arguing that these experiences were any less instances of art than those of other, more permanent mediums.

Truthfully, the judgment of whether video games can be art will be never be settled, nor should it be. It is up to the audience to interpret their video game experience, and determine for themselves how moved they were by what they have witnessed. Getting caught up with whether or not games it art’s criteria is beside the point.

After all, art is more important for what it achieves than how it exists in and of itself. For example, literature is essentially just words on a page; it is the audience’s interaction with these words that give the words relevance, the reflection upon the reader’s mind that gives them substance. Similarly, until a painting resonates with one’s own internal feelings and thoughts, it is just a picture. It is this sentimental connection that allows the picture to transcend into art.

A game does not achieve art simply by existing; it is not until the audience interacts with the game, and experiences the thoughts and feelings that are evoked by it, that the game can even possibly be considered as an artistic endeavor. My point is that, ultimately, perception is what defines art, not words, and certainly not one man’s attempt at a universal interpretation.

The experience derived from games is what is important, whether the game is defined as art or not.

Naruto: Broken Bond fun for fans and nonfans alike

           

           

      By Shaun El-Ters

 

      Anime games are typically games that only fans will by, as they are generally under produced cash ins more concerned with the bottom line than actually delivering a solid experience. Fortunately, the Naruto games are an exception to this anime adaptation rule, and the new game Naruto: Broken Bond demonstrates that there is a place in gaming for anime licenses.

            Broken Bond follows the story of the anime very closely, tracing the journeys of two friends down their separate paths. The controls are tight, and the combat in the game is fun, if not a little redundant. Many of the missions tend to follow the same guidelines, which may tire out players who have no interest in the show itself. Also, the multiple playable characters are a nice touch, offering diversity as well as an opportunity for fans to play as their favorite characters. By treating its source as serious material, Broken Bond integrates action-adventure gameplay and the established story to deliver a game that is actually worth gamers’ time, whether or not they were previously fans of the show.

 

The Importance of Meaningless Achievements

While transporting my Xbox 360 from a friend’s house, I accidentally left the console in my car overnight. The next morning, I was horrified to find the Xbox was not in the back seat. 

I immediately knew my 360 had been stolen. I despaired at the thought of all of the achievements and points I had earned that would now be lost — 20,000 points down the drain. I could always buy a new Xbox 360, but I could never get those points back. 

Turns out, the 360 was in my trunk the whole time, but I think it’s significant that the first thing my mind jumped to was my Gamerscore, not my $400 console. Forget what this says about my priorities; this is a testament to the ingenuity and addictiveness of the achievement system. 

Basically, Achievements are awarded for accomplishing certain tasks in each and every Xbox game. By unlocking achievements (complete with a pleasing little “bloop” sound), the gamer is awarded points that become a permanent part of the gamertag. This way, everyone the player meets online will be able to see just how much this person wastes their life earning these points. 

As if the pursuit of a high Gamerscore was not in itself pathetic enough, the points mean absolutely nothing. They serve as no currency and unlock no bonuses. Yes, you have it right: they serve absolutely no purpose. 

And yet, they are infectious, driving the player to complete even the most mundane tasks for the sake of earning empty points. I have spent countless hours playing through games that bored me just to unlock an elusive achievement…then I felt terrible afterward for wasting so much time to unlock 10 points. People like me are the reason that Achievements, once thought of as a cheap gimmick, have not only helped Microsoft build its early lead over the other consoles, but also set a precedent that is quickly becoming the standard in gaming.

For example, despite their lack of pragmatism, these points have become an important aspect of the Xbox 360’s success. Years ago, the innovative points system gave gamers a compelling reason to purchase the Xbox 360. The points created a unique way to connect the 360’s online community, which offered Microsoft a hook to attract gamers. Nowadays, if you own both a PS3 and an Xbox 360 (aren’t you rich), then the promise of achievement points could sway you to purchase the 360 version of a multiplatform game. 

Furthermore, the points add replay value to games (playing through multiple times to unlock everything), and even give bad games a reason to be played. Don’t take my word for it; this fact has translated into retail. Easy achievement points have boosted the sales of bad games, while good games sometimes suffer if the points are too difficult or time-consuming to attain. 

Sony and Nintendo have observed this trend and implemented rewards systems of their own. Sony recently started a trophy system, while Nintendo offers unlockable achievements in certain games, like Metroid Prime 3 and Super Smash Bros. Brawl. People like myself enjoy seeing their gaming accomplishments translated into a tangible form, and it’s great to see companies are finally catching onto this idea. 

Now just imagine if these points could actually be used for something. Like something useful at all.

My New Game: Tales of the Chronicles: The Final Myth of the Legendary Fable

Believe it or not, I am currently creating my own game. Yes, I know, after the prestige I gained from writing the gaming column for The Lumberjack for more than a year, it was only natural I would move into game development. My game is still in the early stages, and the production crew is made up of only me…and I don’t actually know how to program anything. But what I have so far is really promising.

In case you were wondering, it’s a role-playing game. To create my masterpiece, I have taken inspiration from countless RPGs and carefully studied their tried-and-true conventions. Without further ado, I present to you elements of Tales of the Chronicles: The Final Myth of the Legendary Fable. 

Image of newly configured Tales of the Chronicles: The Final Myth of the Legendary Fable.

Protagonist: Depending on which decade you’re playing the RPG, the hero of the story is either a brooding whiner with a hair style that defies the laws of physics, or the completely silent type who literally does not speak a single word of dialogue throughout the whole course of the game. And has amnesia. My hero will possess all of these diverse character traits.

Also, the hero will have to come from the most humble of beginnings. As the RPG genre has shown us, destiny does not choose individuals with any semblance of battle training or really any idea of what it would be like to actually kill something. Apparently, hapless farmers and adolescent teenagers who look no more fit to wield a weapon than my 12-year-old sister make far better “Chosen Ones.”

Item Procurement: As RPGs have shown us, the procurement of items often comes in unconventional ways. For example, the best way to obtain that rare potion or extra gold is to kill monsters who leave these items behind after they are vanquished. Wait, what? I killed a bird, and it dropped 500 gold? Where did that come from? Did it eat the money? Then again, it’s not my place to question; RPGs have been doing this for years, and if they say the stone gargoyle mysteriously leaves behind a mythril vest when it’s killed, then by god, that’s what happens.

Villager Interactions: Another tried-and-true method of gaining items is to walk into townspeople’s homes at any hour and explore. You don’t need to knock, and their doors are always unlocked. When you enter, the owners are unconcerned with your egregious trespassing; instead, they proceed to share a piece of irrelevant information. Better yet, if you find something of value hidden in their crate or behind their clock, it’s yours for the taking. Why did the old man hide an elixir inside of his flower pot? Doesn’t matter — it’s yours!

Journey: It’s not a true RPG without its fair share of meaningless roundabout quests, and my game will be no different. Want the key to the dungeon door that looks like it could be forced open in about five minutes? Well then, you want the Dungeon Key. Unfortunately, some guy currently has the Dungeon Key, and he won’t hand it over until you clear the giant rats from his basement. However, these are not just any normal Giant Rats — these are Super Giant Rats, which can only be vanquished with the Rat Killer Sword. Regrettably, the sword is only located at the top of the Mountain of Eternal Death. This wouldn’t be so bad, except it requires the Mountain of Eternal Death key to enter…You get the point. 

Finale: The finale of any RPG has to consist of an epic boss battle with the androgynous villain (is there any other kind?). After the first villain’s death, a newer, scarier villain, with no tie at all to the plot whatsoever, arises out of nowhere and threatens to destroy, like, the universe or something. Then the good guys, who are on the brink of defeat, rely on a Deus Ex Machina miracle to vanquish the evil once and for all.  For my game, I’ve narrowed down the miracle to the “power of shining friendship” or “inexplicable increase in might due to raging emotions.”

Online gaming’s effect on consoles

A few years ago, the gaming industry as I knew it was ending. Online gaming was growing, and it threatened to change the fundamental video game experience I knew and loved. In other words, I thought the push to the Web would infringe on my solo gaming sessions consisting of me alone in my room. I was not supportive of the direction the industry was heading.

Developers continued to implement this feature, despite my lack of support. I couldn’t believe it either. Now, the online element has been fully integrated into today’s consoles. This feature is essentially comprised of three aspects, which I will outline and then arbitrarily assign a grade. Is online gaming the scourge of the industry that I once thought? Find out! 

Downloadable Content (DLC): Initially, many people were concerned with this notion of downloadable content (additions such as items, levels or episodic content, made available after the game’s release). The gaming community was afraid developers would not support DLC to help it rise above a simple gimmick. If developers did climb on board, the fear was that DLC would simply be comprised of content left out of the game by lazy developers or time constraints, resulting in unfinished titles. 

Thankfully, these fears have been put to rest…for the most part. Aside from the occasional dud (like paying $5 for horse armor. That’s right — armor for your horse), the content has been pretty solid and reasonably priced. In some cases, the additions are a great way to prolong the replay value of a title and enrich the experience.

Arbitrary Grade: C+

Multiplayer: I think I have made this pretty clear throughout my tenure as the gaming columnist, but online gaming has only served to hurt my feelings. However, I understand that for the gaming community in general, online multiplayer is the best thing to happen to this generation, and it has been responsible for a large portion of the industry’s growth. In fact, many (most?) people purchased Halo 3 for the multiplayer feature alone, viewing the campaign as a secondary bonus. Online gaming is growing stronger than ever, with competitive gaming becoming a serious “sport” (and not just a “tournament” between you and your nerd friends held in the confines of your parents’ living room). Online multiplayer will continue to be a significant part of gaming’s future, ensuring continued insecurity in my gaming endeavors. 

Arbitrary Grade: 4.5 out of 5 stars

Additional Services: This aspect is the one I believe brings the most to the online table. The ability to watch game and film trailers is fun, and downloading TV shows and movies in HD adds another element to the console. These aspects, combined with the profile features and achievements, allow consoles to be much more dynamic, and extend beyond the games themselves. 

I’m thankful for the option to download movies and shows, but the library available is still quite limited, and storage is a problem unless you are willing to spend some serious dough. In a few years, this service will propel gaming even more prominently to the top of the entertainment field, but for now, it’s a nice feature to have on the side.

Arbitrary Grade: One thumb up, but slightly to the side.

So it turns out the online movement is not as cancerous as I once thought. As long as emphasis is still placed on the single-player experience, online gaming will serve as a great addition to the industry as a whole. 

Image courtesy of ripten.com

 

“Batman: Arkham Asylum” redefines superhero genre

Superhero games get a bad rap. I don’t get it. Remember Superman 64? Think back to how much fun it was to fly Superman through hoops for hours. No, not like the phrase “flying through hoops,” where someone is forced to do a bunch of unnecessary stuff in order to reach their goal–literally flying through (expletive) hoops suspended in the air. Superman’s other thousand powers are nowhere to be found, but that’s just because he is too busy flying through obstacle courses. Just like in the comics.

Okay, maybe you’re right; superhero games do suck. Superman 64 pretty much represents the whole genre. There are notable exceptions (like Marvel: Ultimate Alliance), but for the most part, I could create better superhero games myself. And I have absolutely no access to any programming devices of any kind.

For these reasons, Batman: Arkham Asylum had some pressure to live up to. It’s not enough that it is based on the legendary Batman: The Animated Series cartoon, a show many consider to be the greatest ever made. The new Batman game also carries the weight of being one of the first superhero titles with the potential to achieve gaming greatness (Ultimate Alliance was fun, but not exactly a masterpiece).

After playing through Arkham Asylum, it’s clear that developer Rocksteady didn’t just meet expectations; they bat-bombed them right out of the water. Arkham Asylum is, hands down, the greatest superhero game ever created.

No, I didn’t just use a hyperbole to punch up the column. Rocksteady really has crafted the best of the genre, and they did so by following one simple rule: stay true to the source material. In every way, Arkham Asylum captures the idea and spirit of the television show, and Batman himself.

For instance, unlike Superman 64, Batman’s abilities are embraced, not ignored. Stealth and the use of gadgets are cleverly implemented, and add another layer to the core gameplay. Special visors can be used to scan areas for clues, and bombs (bat-bombs!…okay, I’ll stop. For those that don’t get the reference, consider yourselves lucky) can be used to take out walls on unsuspecting thugs just minding their own thug business. However, the coolest and most useful tool in Arkham Asylum is the grappling hook. When Batman enters a room filled with guards, he can use his grappling hook to latch onto gargoyle heads (of which are numerous and all perfectly placed, but whatever), pull himself up, and slowly take out the enemies by silently swooping down on them. After incapacitating said enemy. Picking off enemies one by one is a visceral experience, and helps capture what it is like to actually be Batman.

While the stealth aspects play an integral role in Arkham Asylum, there are times when combat is required. Luckily, Batman is the ninja you would expect him to be. The hardcore audience may be disappointed with the overall simplicity of the fighting system, but the fact is that the battles are easily accessible and quite fun. Later enemies will require specific moves, such as counters, to dispatch them, but battles never really get much more complex than this. Something tells me that when you are breaking faces and shattering spinal cords left and right, you’ll be having too much fun to wish that these fights were harder.

Fortunately, all this carnage on screen is rendered beautifully. That’s because the graphics in the game are simply incredible. The gritty animations of the characters and environment fit the dark tones of the series. Darkness plays a large component in the game, but the screen rarely appears so dark that the player can’t see what’s happening. Furthermore, the more realistic character redesigns are all interesting and very well done… except for Harley Quinn. She looks like clown-prostitute. And no, that is not awesome.

Finally, the voice acting and storyline are very well done (Mark Hamill steals the show as the maniacal Joker). Arkham Asylum brought on the writers from the series, and it really shows. The character dialogue is excellent, and the story matches the visual tone of the game. The writers always tangled with a censorship line on the animated series due to the young audience, and it’s both fascinating and very refreshing to see their version of a Batman tale free of these constraints. For example, people die! And not just implied deaths, either! Without spoiling too much, the story goes in much more mature directions, and it is very appreciated and welcomed.

In the end, Arkham Asylum works because it blends great gameplay with a respect for the source material. Just as The Dark Knight rose the standard for superhero films, Batman: Arkham Asylum demonstrates what superhero games are capable of when taken seriously.

 

4.5 out of 5 stars

Rules for video game adaptation success

Wow, this has been a big year for the Street Fighter series. Street Fighter II Turbo HD Remix continues to perform solidly on Xbox Live; Street Fighter IV was released to critical and commercial acclaim; and Street Fighter: The Legend of Chun Li…wait, what? They made another one of these movies?

Street Fighter is just another example of a terrible video-game adaptation. Hollywood, for one reason or another, can’t seem to get video game movies right. Or even remotely watchable. 

For the struggling Hollywood execs who read this column, I have compiled a list of some ideas that will prevent a debacle like Street Fighter from happening again.

First, don’t just shoot for the easy cash-in. I swear, after watching Street Fighter, I feel like I could go in my backyard with my cell phone recorder and produce something more meaningful, especially plotwise. It’s like a Hollywood producer found a story his 7-year-old wrote and decided to turn it into a film.

Photo courtesy of elbit.net 

Seriously, though, why do all these movies have such poor production values? Everything from the plot to the actors to the directing is just disastrous. The answer is that these companies are more concerned with earning a quick buck than they are in creating a quality film. Of course, if these execs were to just take their time and make quality flicks, then they would gross far more than their awful cash-ins. I guess the moral of this paragraph is that Hollywood executives need to take their time and produce the highest quality work they can. This will benefit not only their wallets, but the audiences as well. 

Secondly, don’t let Uwe Boll anywhere near your video-game adaptation. This is more of an extension of the first suggestion, but Uwe Boll is, quite simply, a cancer to video-game movies and the film industry in general. Boll’s career (if you can call it that) consists of directing such cinematic atrocities as Bloodrayne and Alone in the Dark. Due to this impressive filmography, Boll has almost single-handedly dug video-game adaptations into a hole that they may never be able to climb out of. This is why producers need to keep Boll as far away from their adaptations as possible. Give the project to people who actually care about the source material and the integrity of the film. Video-game adaptations have developed into a joke within the industry, and correcting this perception means eliminating its greatest perpetrator. Go away, Uwe Boll!

Finally, follow the model set by comic-book adaptations. It may seem bizarre, but  think about it: both come from a similar place (superheroes, fantasy worlds), and both appeal to a similar audience. However, comic-book adaptations have gone through a recent renaissance of sorts with critically acclaimed films like Iron Man, The Dark Knight and Watchmen. These films have proved, with a little time and polish, that they are capable of transcending the expectations of their genre, and becoming critical cinematic successes as well as box-office juggernauts. The Dark Knight recently grossed more than $1 billion. Street Fighter: The Legend of Chun-Li, on the other hand, has grossed less than $8 million. I think it’s safe to say that video-game adaptations can start taking notes. 

If filmmakers and game companies follow these steps, then maybe the gaming industry will one day see an adaptation they can be proud of. When this happens, I have a great idea for a Zelda epic. Call me, Nintendo! 

E3 Coverage: Almost as good and timely as the magazines

Last year, I kicked the fall semester off by recapping my summer gaming exploits. This year, I decided to do something actually relevant to people outside of my mom, and provide highlights the E3 expo that took place in July. It’s my big E3 blowout; similar to the major gaming outlets, just less extensive and timely. I cover all of the major games shown in the event, so you can either read through the entire article (please!) or just scroll down to the games you were interested in hearing about.

Project Natal–Probably the biggest news out of E3 2009 was the announcement of Microsoft’s new motion sensor camera. For those of you paying attention, that’s correct: Microsoft first ripped Nintendo’s avatar idea, and now they are stealing the motion sensor gameplay as well. At this rate, expect the Xbox Equilibrium board out by the end of year, which will be the Wii Balance Board, but with black paint and the promise that it’s completely different than the Wii Board and Microsoft actually had the idea for it two decades ago. Honestly, I don’t know what to think about the new peripheral. While some of the “interactive touch” stuff seems cool (think the 3D computer images in Iron Man that Tony Stark interacts with), Natal is a full on gimmick with nothing resembling classic control. At a time when Wii sales are slowing down, the console’s ultimate longevity will depend on its ability to deliver classic gaming experiences, which means less gimmick and more actual control. Natal has no method to do this. As excited as I am for the game where you are a race car pit team and changing tires (hint: I’m not actually excited for this), I just don’t know if its outright gimmicky nature will sell in the long-term, especially after people have already bought into the Wii. In my opinion, Microsoft should just stick to what it does best: Decimating my hard drive with every virus known to man, and online gaming. And achievement points.

Halo 3: ODST–Yeah, it’s another Halo game, but this one looks like its shaping up to be the unique and fresh experience that Halo 3 was not. Instead of the mighty and personality devoid Master Chief, players will control the Orbital Drop Shock Troopers, men and women who possess none of the cyber enhancements of the Master Chief, but all of his killing ability. The slower gameplay design, which places emphasis on cover and tactics and not running into the open and going one on 40, will resemble more Rainbow Six and less Rambo 3, and the multi-thread story will hopefully keep things interesting in this revisit to the Halo universe.

Metroid: Other M–Did you ever play Ninja Gaiden, and, after witnessing all of its impossibly proportioned women and ridiculous levels of gore and hair ripping difficulty, wished that the guys who designed this game were in charge of the next Metroid game? Well, it’s your lucky day! Nintendo has handed the reins of the Metroid series to Team Ninja, and as ridiculous as it sounds, the first trailer actually looks solid. The action thus far looks fluid and surprisingly brutal, with Samus putting aliens in headlocks and shooting them in the face with her arm cannon. The idea is ripe for criticism, but if Team Ninja can combine the tight action controls of Ninja Gaiden with the atmosphere and ambiance of Metroid, this could be one of the best titles for the Nintendo Wii.

Twitter and Facebook on Xbox Live–Oh thank God! (Expletive) finally!

New Super Mario Bros. Wii–Despite lacking severely in the creative name department, NSMBW is looking to be a worthy successor to the 2D Mario legacy. Besides sporting new levels and enhanced graphics that bring the two dimensional worlds to life, this Mario game is also set to feature cooperative play in the game’s primary mode, a first for traditional Mario games. While this is a cool feature, the only other characters right now seem to be Luigi and a bunch of different colored Toads. I don’t know about the rest of you, but controlling Toad through a Mario game falls pretty low on my wish list.

Metal Gear Solid: Peace Walker–I’m a big fan of the Metal Gear Solid Series, but this is starting to get ridiculous. First, we are subjected to a trailer which shows a bunch of Big Boss clones (Big Boss is the original Snake, from which Solid Snake was clon…on second thought, never mind) running around with guns. So, good, the new MGS is shaping up to be the most incomprehensible Metal Gear yet. And what about Konami saying they are done with the series? With Peacewalker and the new Raiden-centric Metal Gear Solid: Rising coming out for Xbox 360, it appears that they are keeping their word. Except the exact opposite of that. In actuality, Konami is whoring out their series faster than Nintendo with Mario. At this rate, you can expect Metal Gear Solid: Shadow Moses Kart Racing! by the end of the year.

Final Fantasy XIV–I typically don’t like MMORPG’s, or any gaming that has anything to do with online, but I must say, I’m intrigued by FFXIV. Not because of the trailer; that was just typical fantasy world BS with Chocobos thrown in. No, I am more interested because of the fact that Square Enix was so excited about this game that they announced before Final Fantasy XIII has even been released yet. That’s like talking about Heath Ledger’s performance as the Joker before anyone had even seen Batman Begins. When a game is so good that it is getting hyped before the previous installment has yet to be released, you know you are in for something special. Or the company just jumped the gun.

Super Mario Galaxy 2–All the tight gameplay and groundbreaking level designs of the original Galaxy, but now with Yoshi. Enough said.

Splinter Cell: Conviction–The last time Ubisoft displayed the latest entry in their Sam Fisher franchise, the gameplay seemed uninspired at best, and Fisher’s beard and tattered clothing more closely resembled a hobo than the highly skilled spy that he is. Thankfully, Ubisoft took some time to revamp the title, and it looks like that extra time did wonders. The speed and efficiency Fisher shows in both executing his enemies and infiltrating their headquarters more closely resembles Jack Bauer and Jason Bourne than the homeless person living behind Wal-Mart. Also receiving a makeover is the visual style of the game. While interrogating a suspect (also known as smashing a guy’s head into things in a bathroom), flashbacks and memories of Fisher are projected in black and white along the wall, putting the events into context without cutting away from the action. Furthermore, instead of a separate screen highlighting mission objectives, Conviction displays mission objectives real time, with the text appearing on the environment itself (like a huge “infiltrate the mansion” imposed over the outside of the large structure). These style decisions all work to keep the gamer out of pause menus and load screens and in the world crafted by Ubisoft. Look for Conviction to breath new life into the Splinter Cell franchise, and be one of the best titles of this generation.

Uncharted 2: Among Thieves–The original Uncharted, chronicling Nathan Drake’s treasure hunting exploits, was one of PlayStation 3’s unexpected gems amidst a sea of mediocrity. Among Thieves brings back the original characters for the familiar treasure hunting exploits, but what is most exciting about the sequel is the movie-like set pieces. From traversing ancient ruins to escaping from a slowly collapsing building, Uncharted 2 is looking to be the experience that the last Indiana Jones film should have been.

Mass Effect 2–I saved the best for last. Most people consider The Empire Strikes Back to be the pinnacle of the Star Wars franchise. Personally, my favorite is Return of the Jedi–Ewoks amuse me tremendously — but most people love and appreciate the dark tone that the second act of the franchise took. Mass Effect 2 is following suit from the somewhat influential Star Wars series, and promising a dark second act to its planned trilogy. Where most stories put their protagonists in danger with a wink and a nod–no one really believes the character will actually die–Bioware has gone on record saying the survival of Commander Shepard is not guaranteed; if your character bites the dust, the trilogy will continue without him. This idea not only places added intensity (and stress) on the gamer, but goes a long way to include consequences for a player’s actions, something that most games can only talk about (and fail dramatically at). The added gravity of the story, combined with the more streamlined and intuitive gunfights, make Mass Effect 2 my most anticipated game of the year.

“Marvel: Ultimate Alliance 2″-Attack of the Clone

After marginally enjoying the first Marvel: Ultimate Alliance, I have to say I was fairly excited to play UA2. Not only was I looking forward to destroying legions of the world’s most generic minions as new Marvel superheroes, but the implementation of the Civil War plotline, apparently one of Marvel Comic’s more mature stories, intrigued me as well (off course, anything would have been better than the garbage “plot” in the first one, but still).

Well, I played through the story mode, and am happy to report that the new storyline, abilities, and characters make UA2 a worthy expansion pack to the original. The problem is that UA2 is not an expansion pack–it’s a full-fledged, $60 sequel. Of course, if you loved the first one, that may not be a problem. After the franchise switched hands from Raven Software to Vicarious Visions , some feared that the gameplay of the first one–a four-player brawler with RPG elements akin to Diablo–would undergo some changes that could hinder its successful formula. Well, this is definitely not the case; it’s safe to say Vicarious Visions stayed true to the original.

Like, really true. As a matter of fact, the system in UA2 is almost a carbon copy of the first one. Players still vary between light and heavy attack combos, and have access to their heroes’ unique superpowers by holding the right trigger and hitting the corresponding face buttons. The only new gameplay feature is “fusion” attacks, which combine two heroes’ powers for one very pretty—and very devastating—attack. While this sounds acceptable on paper, I have to admit that I was already feeling the battle system in the first one getting a bit stale. Leveling up Deadpool and Nightcrawler was fun, but the gameplay started to put me to sleep by the time I reached the third act (something about freeing gods that were so bad at being gods that they were captured in the first place. Or maybe it was about Atlantis. Both are freaking ridiculous, and yet I don’t remember). So, as you can imagine, more of the same in the sequel became tiresome very quickly.

The graphics are better than the original and more fluid, but it comes at the cost of some load times, which are longer than they should be. Also, the animations are flashy and beautifully rendered, although some of them, specifically the fusions, recycle themselves. So there are, like, two billion supposed combinations, but your are looking at about the same 10 to 15 animations for all of them. And while the characters have more visual detail, I was sad to see that each hero only has a single available costume to unlock, and this costume only exists as a cosmetic skin–there are no stats tied in to the attire this time around.

For me, the most disappointing thing about UA2 is the plot. I don’t know what I was expecting after the first one (somebody taking two (expletive) to write an acceptable script, maybe?), but the story just does not have any emotional weight. Each and every bland mission is driven by an equally bland narrative, and whether you are playing as anti or pro-superhero registration (the two factions of the civil war), the objectives are essentially pallet swaps; instead of protecting turrets as one group, you are destroying them as another. Rinse. Repeat. Tough moral choices? Not here. Exploration of character? Try Batman: Arkham Asylum. I had never read the entire Civil War story arch in the comics, and after playing UA2, I don’t want to.

Ultimately, a purchase of UA2 really comes down to how much you enjoyed the first one, because it’s the same dance, all over again. The only thing UA2 did for me was bring back some warm, fuzzy memories of the original, and make me hate whoever writes Spiderman’s dialogue. Seriously. It’s like Spiderman is mute unless he is chanting some ridiculous one-liner. I want to break that writer’s face.

2.5 out of 5

Observation of gaming’s universal truths…by me.

For this article, I decided to make a list of random gaming observations that I have made. I should elaborate on why the hell I decided to do this, or why I thought anyone would care…but I don’t really feel like it.

- If you are ever walking to class and see a crate, any crate ever, break it open. As every game ever created has shown us, all crates have prizes in them, ranging from gold to equipment. 

- However, don’t break red crates or barrels. These storage containers always explode and are strategically placed by the antagonists to wipe out maximum numbers of themselves when detonated.

- The PlayStation 3 continues to lag behind the other consoles in terms of sales, overall quality of exclusive games and general public perception. Ken Kutaragi, former chief executive officer of Sony, once said the price of the PS3, in reality, was too low, and that people would work more hours to purchase one. How’s that workin’ out for ya, Ken?  

- Sonic the Hedgehog, for all intents and purposes, is trapped in a perpetual purgatory. Relying on my credentials as gaming columnist for The Lumberjack, I contacted Sega to ask what the hell happened to their once-cherished mascot. Here are the transcripts from my side of that phone call.  
“Hey, Sega….hmm…you decided to ignore the fans’ simple desire for speed in a Sonic game and opted to make Sonic Unleashed instead?…so, instead of speed, Sonic is actually going to turn into a big, slow werewolf…yeah, how did that idea not work?…yeah, I think hitting the drawing board again is a good idea…wouldn’t want to do something like destroy the image of your mascot and let down your fans year after year after year with terrible Sonic games…exactly, good thing that hasn’t happened yet…okay, sounds good…no, you hang up…no, you hang up!”  
Those Sega execs. So silly. 

- Games don’t tell cinematic stories as well as cinema does, but they don’t have to. By tapping into the medium’s strengths, games can deliver experiences that are equally entertaining and arguably more immersive than films. 

- With that in mind, some gaming cutscenes are awful and need some serious work. This starts with the writing. Seriously, in formulating the dialogue of the antagonists, there must be some bingo machine with phrases like “Time to die!” or “How nice of you to join us!” or “Let’s finish this!” written on the balls. Then, in lottery fashion, these balls are drawn and the villains’ dialogue is chosen. Ta-da! 

- Speaking of villains, it’s difficult for me to believe so many antagonists want to destroy the world. They work so hard to gain that power, and they just want to use it to kill everything, including themselves? That’s like Obama winning the presidency and then riding a nuke into the White House, Dr. Strangelove-style. Why would he do that?

- If you are ever being pursued, hiding in cardboard boxes until the heat dies off appears to be an effective solution.  

- Huge oversight: not including mute buttons for your squad mates in certain games. I don’t want to hear Cole from Gears of War speak in his laughably racist “black” slang, and I really don’t want to hear my squad mates in Star Fox 64. “Do a barrel roll!”

- I also don’t want to hear John Madden in my football games. You would think in a medium where everything is pre-recorded and censored, they could manage to make John Madden sound like a halfway sensible individual who knows something (anything!) about football.

- The baby versions of Nintendo mascots — what a (expletive) terrible idea that was.  

- Whatever happened to the shooter genre? I mean, there are only like, what, 40 different shooter franchises that fans have to choose from? Enough with the original IPs that come out once or twice a year and revolutionize the industry; we need more shooters! It’s easy to get caught up in being original and creative, but let’s not forget about the little guys, developers.  

- Dying? Stay at the inn for a night — just one night is fine — and you’ll be cured of all ailments.

Halo 3: ODST-Not just another Halo

Halo 2, more or less, was very similar to Halo 1.  This bothered many people (not the critics; they slobbered all over it), but at the time, I didn’t really care. The fact was that it was a sequel to the first Halo, which I loved, and I was excited to enter the Halo universe again.

Three years later, Halo 3 came out, and I began to see what had bothered so many people with Halo 2. Sure, we had neat little gimmicks like bubble shields and spike grenades, and a story that actually finished itself this time around, but the gameplay was still almost identical to the previous two entries. The game was fun, but I was starting to feel some major Halo fatigue at this point. When I heard Halo 3: ODST was slated to come out, I shrugged. Sure, I looked like a moron just shrugging there in front of my computer screen, but for the first time, I didn’t really care about Halo anymore.

While this nonchalance about ODST’s release is probably responsible for just how far my expectations were blown out of the water after actually playing it, the point is they were blown out nonetheless. Halo 3: ODST is the best and most innovative Halo experience since the original, and takes the series in a great new direction.

 

In this video game image released by Microsoft, a scene from, “Halo 3: ODST,” is shown. (AP Photo/Microsoft) 

The first thing you should understand about the new Halo is that, in many ways, it is very similar to the first one. You play as Orbital Drop Shock Troopers who, unlike the cybernetic (and roided up?) Master Chief, are normal humans. Highly trained, heavily equipped, often hilarious, normal humans. These soldiers cannot dual-wield (which added very little to the Halo formula in the first place); their health appears in the form of a health bar (not constantly recharging shields), which becomes permanently depleted upon taking damage unless the player can locate health packs; they cannot fall three thousand feet and walk…or be alive anymore; and they use the very popular (and powerful) pistol from the original game, not magnums with bullets that bounce off Covenant enemies.

Despite all of these common elements with the original Halo, ODST is far from a rehash. The reason ODST is so fresh stems from the title’s focus on a daytime/nighttime dichotomy that permeates through every element of the game. No, this is not a half-assed feature that dictates which events/monsters/pokemon appear at which hours of the day. The difference in the night and day portions of ODST represent a large shift in the gameplay and presentation.

During the night portion, the player controls The Rookie, an ODST that gets separated from the rest of his group during his orbital…drop…shock…whatever. After eventually waking (already, you see the difference—Master Chief is never unconscious. Just hibernating), The Rookie must search for clues as to what happened to the rest of his squad, and this is where the greatest departure from traditional Halo takes place. Instead of orchestrating suicidal runs into groups of enemies like the Chief, the player is encouraged to stealthily avoid confrontations. With the help of an AI entity named The Superintendent (who basically replaces Cortana), the player uses their visor to scan for clues to what happened to The Rookie’s squad. Between the music, presentation, and slower paced gameplay, these night sequences play out more like detective stories than classic run and gun Halo, and give the series a breath of fresh air.

However, when The Rookie does find clues, the gameplay flashes back to the day, and the player witnesses all hell break loose through the perspectives of the squad. As the squad, the player is thrust into classic Halo scenarios, complete with intense firefights and trademark vehicle sequences. The control is tight, the enemy is smart, and your fellow computer controlled squad mates are only good for taking enemy fire away from you for the brief seconds that they are alive and driving into ravines; basically, everything you have come to expect from the Halo series, but punched up due to the juxtaposition of the night segments.

The only other notable feature in Halo 3: ODST is Firefight, which is basically a survival mode. It’s nothing that you haven’t seen in Gears of War 2 or Left 4 Dead, it’s just far better. I haven’t played it enough to reach my goal of 200,000 points yet (reaching 200,000 points in the different Firefight maps gives you achievements, and I am infatuated with these points), but what I have played so far is amazing. The mode puts an emphasis on teamwork, and due to the limited health packs, things get very tense very quickly. I wanted to punch my friend in his face–in real life–because he sucked so bad and used all our health packs, but get four adequate players, and you have a mode that nearly justifies the purchase of the game by itself.

The only points of criticism I had with ODST is the fact that the campaign is extremely short, and the abysmal AI of your squad mates really kills the experience at times. I’m sure programming an AI to be really helpful is pretty tough, but if that’s the case, don’t create scenarios in the game that rely so heavily on them. Also, the graphics are still nice, but not as cutting edge as they were when Halo 3 released in 2007. Despite these small gripes, ODST lays the groundwork for a true masterpiece, and I hope future Halo titles will maintain this design and capitalize on this potential.

4 out of 5

BioShock 2 Provides Flawless Return to Rapture

As I write this review, I am sitting on a train heading for Chicago. I slept approximately zero hours last night, the person behind me smells like he died about an hour ago, and a woman in the back of the train is having a very rational conversation with herself about how mass suicide leads to sex with prostitutes and helps Carmella accidentally kill the savior. Or something. By all accounts, I should be wishing I was in front of the train rather than on it. Instead, I’m actually quite peachy. I’m still buzzing over my return to Rapture.

After picking up the heavily anticipated BioShock 2 at midnight last night, I thought I would try it out for 15 minutes before heading to bed. 15 minutes turned into seven hours, which turned into me wanting to cancel my Chicago trip altogether. I had not lost myself in a videogame like for a very long time. BioShock 2 is that good. It doesn’t settle for merely attempting to attain the standard established in the original–in many ways, it completely transcends it.

I don’t use words like “transcend” very lightly, especially when comparing things to the original BioShock. The modern classic’s art deco dystopia, haunting atmosphere, and sharp gameplay were unrivaled by anything this generation (until now), and its Atlas Shrugged-inspired themes place it at the forefront of the debate of games as art. Knowing full well how great of a title BioShock was, I say with complete certainty that BioShock 2 is just as good, and at times, even better. Between the refined shooter mechanics, engaging story, and brilliant level design, BioShock 2 does an admirable job of retaining the spirit of the original while simultaneously treading new ground.

Any discussion of BioShock 2 naturally begins with plot. The original explored the themes of individual power and objectivism, and the consequences of constructing a utopia governed by these ideals. This ideology was symbolically weaved into every aspect of the environment, creating an atmosphere that, just as much as the dialogue and plot events, expressed the narrative. A late twist even prompted the audience themselves to contemplate their roles as players. The industry truly had never seen anything like it.

Maybe it’s the cynic in me that expects terrible sequels (George Lucas broke my heart a few too many times), but I did not anticipate the BioShock 2 even coming close to the original’s greatness. Due to BioShock’s self-contained narrative, I was assuming any sequel’s plot would need to involve the premise of “YOU are Andrew Ryan, who has come back from the dead and created a plasmid time machine. Return to Rapture and kill Fontaine…before he kills YOU…or actually, before YOU make YOUR son kill you with a golf club to the FACE. The future is in YOUR hands!” Or even worse, a horrifically catchy tagline like “Show Rapture who’s the Biggest Daddy of all.”

To what I’m sure is your great surprise, this was not the case at all. I won’t divulge any story details, but suffice it to say my fears about the plot in BioShock 2 were quickly put to rest. The atmosphere returns intact, feeling more desolate and twisted than ever. 2K Marin did not settle for a simple rehash, where the protagonist visits all the same environments (what I call Kingdom Hearts Syndrome); BioShock 2 explores new locations, all of which have been affected by the rapid deterioration of the forgotten city. While BioShock 2 lacks the deeply profound and philosophically engaging narrative of its predecessor, it more than makes up for it with its more personal and emotionally resonant plotline. 2K Marin delivers a compelling story, complete with plenty of intense, crescendo moments that drive the narrative forward and create pitch perfect pacing.

While the storyline is solid, the greatest improvements to the BioShock formula are in its gameplay. Most aspects of the original have been retooled, providing a tighter overall experience. Hacking machines now takes place in real-time, changing the way the player much approach these situations (hint: not with enemies bearing down on you). Plasmids have also been retooled, allowing the protagonist to dual wield plasmid powers and weaponry. This gives combat an increased fluidity and efficiency, which equals more fun when blasting off the faces off the horrifically mutated splicers or harpooning them to the walls. Even performing research in the sequel is significantly cleaner, as it no longer relies on taking snapshots that momentarily freeze the action; instead, the player initiates a video recorder that films the action and gives a grade based on how you fought the opponent.

Many of the shifts between the two titles are achieved due to nature of the new protagonist. By now, you have no doubt heard that the hero of the sequel is no other than the “first” Big Daddy, Subject Delta. Very early on, it is clear that this transition in characters is more than simply cosmetic; other than introducing a character with a completely different perspective than Jack, playing as the Big Daddy feels significantly different. Delta has the ability to use special melee attacks, such as the drill, and delivering this attack into the chest of enemies is vastly more satisfying then whacking them with a wrench. Furthermore, Delta can breathe underwater, allowing the player to trudge through areas of Rapture that have been lost to the ocean abyss.

However, the most significant new feature granted by controlling Delta is the improved interaction with the Little Sisters. In the original, your only meetings with the Little Sisters were inconsequential outside of a single choice that only takes a moment to make: kill the girl and take her ADAM, or save her…in which case you still get ADAM, albeit later. Despite the developers’ intentions, these moments left little lasting impact on the player. The Little Sisters were foreign and completely unknown, and thus difficult to empathize with.

However, now that the Little Sisters perceive the protagonist to be one of the figures meant to protect them, a new choice is now available. Players still have the option to harvest, but can also choose to “adopt” the Little Sister, initiating the greatest moments in BioShock 2. In this scenario, Delta escorts the girl while she extracts ADAM from dead bodies, which prompts an endless rush of splicers. Fighting off these waves of hell-bent mutants will take every amount of strategy and tool available to survive. This is the way BioShock is meant to be played. Furthermore, the time now spent protecting the Little Sisters adds a new dimension to the relationship, resulting in a greater impression on the player, and giving the player’s choices some actual weight.

Although BioShock 2 does an incredible job of following in its predecessor’s footsteps, it’s not without some faults. The much maligned “Vita-chambers” make a return, devolving many battles into a cycle of “hit the enemy once, die, get revived, hit again, etc.” It is my strong recommendation you play through the game with these chambers turned off, as it forces you to use all of the combat options and strategies available to you, making for a more riveting experience (if you dare refuse my advice, subtract a star from the overall score. You won’t enjoy it as much, I promise. Besides, you don’t want to be a pansy gamer. Man, this is a long parenthetical tangent). Also disappointing were some of the supporting characters. Not one of them comes close to the captivating and wonderfully demented Sander Cohen, the first game’s most intriguing individual.

Finally, the Big Sisters are an amazing concept, but lack execution. The first problem is that they always seem to show up when your resources are depleted, which all but removes the tactics that are the building blocks of BioShock. This creates showdowns that are more tedious than fun. Secondly, the fact that they are basically a faceless, unexplained enemy and not a developed antagonist seems like a missed opportunity, a glaring plot hole in an otherwise taught storyline. These problems are not deal breaking, but they tarnish an otherwise spotless polish.

BioShock set such a high standard because the gaming industry had never seen anything like it. Naturally then, a sequel, no matter how superb or flawless, could not produce this same groundbreaking reaction, simply because it is reusing concepts introduced with its predecessor. What BioShock 2 does do, however, is perfect the ideas implemented in the original, and builds on the experience in a way that feels fresh, new, and exciting. Perhaps more importantly, it demonstrates that the world of BioShock does have legs as a franchise, and the potential for a very bright future.