Groove Coasting

Few games have inspired a state of wonder and excitement in me the way Groove Coaster has.

Reisuke Ishida, creator of Space Invaders: Infinity Gene is back. Already having reinvented the classic shooter for a new generation, he’s got his sights on a new genre—rhythm action. Sometimes, it’s the simplest things that resonate the most, and if a Tron-esque visual style, married with an uptempo soundtrack and evolutionary gameplay could work for the most basic of shooters, could the same treatment be used to revive the rarely changing rhythm landscape?

Groove Coaster
For: iOS 4.2 (iPhone, iPad, iPad 2, iPod Touch)
Publisher: Taito corp.
Price: $2.99
Release: 7/28/2011 (North America)

The premise is simple, your avatar follows a line from start to finish, and along the way, there are dots along the way that you have to tap in rhythm to the song being played. When you’re successful, the instrument in question rings out and the song sounds better, miss one, and the instrument sounds muted. However, to offer such a plain explanation would be selling the experience short, as the game expands from simple taps, to holds, to all out swiping gestures at higher difficulties, and the lines themselves change depending on the song played, veering off in strange angles and wrapping around itself in tune with the song. It’s surreal and exciting all at once.



This is exactly where Groove Coaster shines. One conundrum of rhythm games is that no matter how great the music is, most offer up the same interface and visual feedback no matter the song being played, leaving the difficulty to be the only distinction between tracks. Here, I can’t say the same thing. Each visualization here not only is unique to the song being played, but are also so distinct, each song feels like its own experience, and it’s one related to the song being played in a more intimate fashion. So where a techno song is filled with harsh lines and curves that veer off at ninety degree angles to the beat, a jazzier song is filled with softer curves and a slower pace that feels more akin to travelling on a wave of sound. The decision to use wireframe visuals was a wise one, and one that’s easy to appreciate especially as the game starts playing tricks with depth and other effects to obscure notes.

For the diehards or rhythm aficionados, there’s a leveling system in place that unlocks new skins, avatars and items, which serve as modifiers for each track affecting things like the visuals, just in case you need the visuals even more trippy than they already are, or how you accumulate score. Having Game Center, Leaderboards for each song are also a must, and there are plenty of reasons to return to each song, not that anyone would complain about the 16 already on display. All this and I haven’t even mentioned the in-game store with extra tracks, avatars and items to buy…



Groove Coaster is something special. Not just because of the visuals, or the excellent music, or the ingenious touch-screen gameplay, but rather, how all three manage to come together in a way that would make Tetsuya Mizuguchi lose sleep at night. It’s an innovative, engaging ride of sights and sounds that filled me with a feeling of excitement I haven’t felt since playing the original Rez on the PS2 nearly a decade ago. Long story short, if you have a pulse at all, you’ll find something to enjoy here. Is there a higher recommendation than that?

Rating: 9.5



Continue Reading..

Crying Wolf – DJ Hero 2 Ultra Records Mix Pack Review

Well, don’t I feel like a conspiracy theorist.

Far from running around for several months declaring the not-so-harmonious death of my favorite music franchise several times over,I truly believed that the last pack (that in itself the last-last pack) was all there was, and after completing the slightly underwhelming last (last) one, I packed my turntable away, and lost myself in a sea of FPS games. Imagine my surprise when news of this seemingly random mix pack found it’s way into my mailbox. Done? Bug-eyed much?

Now imagine my amazement when the words Deadmau5, Benny Benassi and Yolanda Be Cool crossed my eyes.

Oh, I’m done declaring this series dead. Yes I am.


DJ Hero 2 “Ultra Mix Pack" (Downloadable Content)
For: Xbox 360, PS3, Wii (Songs sold as individual tracks)
Publisher: Activision/Freestyle Games
Price: 640 Microsoft Points, $7.99 PSN, 300 Wii points (per track)
Release: 4/19/2011
Reviewed on Expert difficulty; Individual songs on a 1-5 point scale, overall is by 10 and not an average.


Benny Benassi - House Music




As it stands, House Music was already a deep, bass heavy song, but FSG apparently wasn’t satisfied with completely buzzing your ears off with one of BB’s finest. No, I’m pretty sure they wanted to make your head explode with a high-tier track. It was a SUCCESS, with their manic style complimenting this already up tempo track with a range of effects that make it sound like it received a shot of adrenaline. It’s all deep lows and piercing effects here, with a challenging, tap heavy chart that has its scratches and samples paced just right to lend a feeling of control over the beat. Even the scratchdown>tap pattern from “Sexy Chick” makes a return here, and it managed to throw me off when it came back at me in reverse. Excellent, excellent track to kick things off, and I don’t say it lightly. It captured the energy of the original perfectly, and only changed things slightly to make it distinct as a DJH mix. Believe that I couldn’t stop myself from dancing in my seat.

Rating: 5/5

Deadmau5 - Sofi Needs A Ladder



Deadmau5 and Sofi’s affair first graced my ears in Need for Speed: Hot Pursuit, and the fandom carried over into the (awesome) album 4x4=12, so I practically decided while downloading this DLC that it would be my favorite song in the pack. The sad truth is that, it is not. This however, does not mean it’s bad. It’s an oddly reverse take on the original, in that it starts out slow with lyrics from the END of the song, and then incorporates the rest about 2/3rds through for a better paced finish. While this change really affects how the song sounds and feels (and it does feel odd if you’re used to the original), it’s still undeniably Deadmau5. Call me crazy, but FSG must know that he’s an avid gamer, because this is a pretty challenging track that actually had my fingers cramping a bit midway through. At the end of the day however, it’s a good track, but not the great one I was expecting. I also can’t shake the feeling that it seems like a bit of a missed opportunity to mess with Sofi’s lyrics as well. Listening to her call out her addiction in metaphors in the original seemed ripe for mixing, but even if they weren’t feeling creative enough for the entire song, having them intact would’ve been better than cutting most of them out, similar to the way “Move for Me” was charted. I feel like it’s the one thing holding this track from the greatness it should’ve been.

Rating: 3/5

Yolanda Be Cool - We Speak No Americano



Fun fun fun. This track, whose band doubles as a Pulp Fiction reference (trivia!) has much going for it, already sampling the humorous song Tu vuò fà l'americano. As a result, it has a nutty, goofy feel to it, with samples in all the right places and enough mixed challenge to keep you guessing. The various ways FSG has managed to keep this game tricky is impressive, and I don’t know who can hit that series of taps/scratches without spraining something, but power to them. As good as I am, I’m pretty sure I broke something on my first attempt. Don’t let this ward you off though, because the song is so much fun that it becomes irrelevant about halfway through. I had fun with this one, and I love the sound they came up with for it. As I mentioned about House Music earlier, this is an example of a remix shaking things up enough to make it different from the original, with just enough flavor to keep it familiar. Kudos.

Rating:5/5

This is prime. If I didn’t know any better, I’d say FSG is pulling out all the stops, making a case for DJ Hero’s continued existence with an outburst of talent and wit. The in-game “hero feed” says that this is the final DLC pack for the game. Excuse me if I have trouble believing that after hearing it so many times before. I have faith in them. Ten DLC packs spanning twenty-nine songs later, I’m still on board, and I’m still dancing to what I consider one of the best game soundtracks ever. Anyone listening to this music and deciding the series needs to close is outright insane. There couldn’t be a stronger case for this to go on.

Rating: 9.0

Continue Reading..

IRL Box?

Love Cut the Rope? If you have an iOS device, OF COURSE YOU DO. The fun, addictive puzzle game from Zeptolab is extremely hard to put down once you’ve picked it up, and semi-frequent updates ensure that adorable character Om Nom’s hunger (and your spare time) are kept at bay.

The latest update added the “Magic Box”, which, in addition to 25 new levels and three achievements, adds a new element in the form of top hats, teleporting a new layer of complexity towards players’ feeding endeavors.

To celebrate the release, the wonderful people at Zeptolab constructed a MASSIVE demo unit at Los Angeles' Hollywood & Highland Center. Looking like it was pulled straight from the game, the unit features 9 huge touch screens well suited for all sorts of rope cutting, creature feeding craziness.

I’m not sure what else needs to be said, because if you’ve played this even once, you’re probably already halfway across the state to run off and conquer this thing. If you aren’t situated on the West Coast, fear not! Another one was spotted in Atlanta International Airport.

Road trip, anyone?

Continue Reading..

Dance Zero.

Go Kotick!

After the success of games like Just Dance, which placed dancing back on the map after years of DDR struggling to maintain relevance, and Dance Central, which took it to another technical level, it's no surprise that in their wake, a slew of other dancing titles have been released, trying to get a piece of the new best thing. Interchangeable, and of questionable quality, they're all out to get our dollars now via the medium of booty shaking.



Know what that means? Of course you do!

Rumor has it, Activision is working on their own competitor in the dancing space, predictably titled Dance Hero. Now before anyone gets inflamed with rage, know that shortly after purchasing the Guitar Hero brand, Activision went patent crazy, trademarking every possible permutation of Hero they could think of, running amok with expected Guitar, Drum, Rock titles affixed to the brand for prospective games , to more ridiculous sounding ones like Guitar Villain.Dance Hero was among the crazier of those patents, and three years ago, it sounded a lot more ridiculous than it does now.

...Yeah. Don't compete too hard with the crickets.

My question is: Didn't they learn from the last time they tried to go up against an innovator with their ingenuous, exploitative ways? I can't see this going anywhere good. Dance games in general are a questionable medium, so concerned with accessibility that none actually gauge performance accurately aside from Dance Central. Even monolith vet DDR doesn't capture the actual act of dancing in the way DC does. So WHAT exactly is Activision going to bring to the table aside from something blatantly bandwagon riding and devoid of effort like Michael Jackson: The Experience?



The more information I recieve for a rumor, the more I flinch, but apparently these are the songs allegedly in the works so far:

"2012" by Jay Sean (feat Nicki Minaj)
"Out Of Space" by The Prodigy.
"The Way I Are" by Timbaland (feat Keri Hilson and D.O.E.)
"Take Over Control" by Afrojack (feat Evan Simon)

Kotaku, you'd better be lying to me. I can't see any good coming of this.

Source: Kotaku
Continue Reading..

Lost in a Dream - DJ Hero 2 Trance Anthems Mix Pack

Following news of my favorite rhythm series’ demise, It’s difficult not to write this with a bittersweet taste in my mouth, or at least pangs of regret and latent annoyance. By now, it’s no secret that Activision has officially shuttered all “Hero” game development moving forward in 2011, and with what is either a sick sense of humor, farewell gift or recouping of losses (I’m betting on 3), the existing DLC will still be available. This pack was the second to last pack released, and even though I’m admittedly a bit late, can you see why the sentiment is so bittersweet? I’ve always thought that the DJ Hero series just needed the time Guitar Hero did before the greats of its respective scene would recognize and contribute. If the release of the sequel wasn’t telling, what with its Deadmau5, Tiesto, RZA, and even Chemical Brothers shenanigans, then this Trance Anthems Mix Pack would’ve moved even the most stubborn artist. How far it’s come! Here we have Armin Van Buuren, Ferry Corsten, Paul Oakenfold, ATB, and even Paul Van Dyk in my DJ Hero. Excitement doesn’t describe. Pride doesn’t encompass the feeling.

..and yet, it’s a feeling that is hard to enjoy because the franchise is technically over. But is it any good? I’ll chew through my personal bias against their publisher’s tactics to find out, though I have little doubt..


DJ Hero 2 "Trance Anthems Mix Pack" (Downloadable Content)
For: Xbox 360, PS3, Wii (Songs sold as individual tracks)
Publisher: Activision/Freestyle Games
Price: 640 Microsoft Points, $7.99 PSN, 300 Wii points (per track)
Release: 1/18/2011
Reviewed on Expert difficulty; Individual songs on a 1-5 point scale, overall is by 10 and not an average.


Armin van Buuren - Imagine vs. Ferry Corsten – Punk




Punk is a dark, sinister sounding track with a raspy voice threatening to drag you into its abyss. By contrast, Imagine is a wondrous track that feels elevated and limitless, akin to soaring in space. I have a feeling FSG felt the same way, as the track sinks low in the beginning by rasping Corsten’s Digital Punk phrase early off, juggling its beats until Imagine intrudes, then nearly dominates the song completely until its climax. The feeling of sinking only to soar later can’t be savored however, as the song is not only high tempo, but loaded with simple scratches and fades rapid fired at you with nary a chance to breathe. Some oddly creative scratches (Down, Up, Drag down, Up, Down, Up?!) manage to sneak their way in as well, and the song really can keep you guessing by firing scratches and taps at a relentless pace from start to finish. Overall a pretty fun track, and definitely one for the reflexes as well as the sound.

Rating: 5/5

ATB - 9PM (Till I Come) vs. Paul van Dyk - For An Angel




Evoking more thoughts and feelings of wonder from me is this track. Even though it seems to favor the heavier, more side of the equation from ATB, the songs sound so similar that they practically complement each other to a tee, For An Angel actually softening the blow of 9PM’s beats. The crossfading in here is insane, choosing to bounce between tracks like mad, establishing their individual sounds before making you forget that they’re even different at all. Another interesting note is that despite more than a dozen challenging parts of its own, it never feels out of control of the player. In fact, this song has a chance to become unique between players as its LOADED with freestyle effects and crossfades, all of them sounding as superb as the turntablist can muster. The only question is really, whether or not you’re willing to endure a bit of a challenge for some creative freedom.

Rating: 5/5

Paul Oakenfold feat. Ryan Tedder - Not Over



It’s something to fear every time you’re dealing with a straight up remix in this game, but while the ethereal nature of the song is retained (helped greatly by Tedder’s lyrics), it loses a bit of that in favor of a higher tempo and wide range of effects that make the song much snappier. Distortions and samples abound, the song has an immediacy to it now that translates into its above average difficulty. For me, part of the fun of DJ Hero comes from occasionally being surprised by a difficulty spike akin to the quality of the track, and this one is one of the best examples of the rule. At every turn where you think you’ll be able to rest, there’s another tricky scratch, or series of spikes that will correct you in an instant. It’s that quality that’ll have me returning to this one again and again, honing my skills. If only the song spoke of the franchise..

Rating: 4/5

Even though I started this one one a bit of a somber note, not even the impending death of the franchise can’t dilute the amount of life it contains, and this pack is proof. Similar to the way that trance translates emotion into sound as proven by its auteurs, FSG proves time and again that they have the ability to take the works of the greats themselves and put their own mark on it, creating something amazing. Even with the music genre in a decline, it’s nice to see that similar to the way Guitar Hero put rock music back into the limelight and gave it a new audience, that DJ Hero can do the same and place turntablism in the light it deserves, recognized by the artists themseselves. Here’s to the ascent.

Rating: 9.0
Continue Reading..

Outside the box

I keep trying to figure out why I like watching Street Fighter so much.

Perhaps it’s the constant set of checks and balances I can see through and analyze, having played the game for years. Similar to those who watch sports and can drop statistics at the drop of a hat and know the players of the league, I know this game. I know the players. I can hardly see the difference between an NFL fan and myself in this respect.

Street Fighter in particular has always had a bit of a unique balance in my opinion. It has a set of rules that were instituted over two decades ago, and has only expanded—not completely changed, but expanded—as the years went on. Projectiles clash only with projectiles. A crouching mid may get you out of a sweep. A throw requiring some kind of input will easily beat out most attacks. These are intuitive constants that have stood the test of time and made Street Fighter into the fighter mainstay it is today.

However, no amount of foreknowledge can anticipate that upper echelon of players. Those that, against all odds and reason, know how to extrapolate the game in unforeseen ways, doing things the developers never thought possible. This extends to the community as well, as they discard yet another tier list and learn the hard way that a fighter’s base ability is nothing compared to the person using them.

This is the brilliance of Street Fighter, in my opinion. The allowance of just that much leewway means that the game you purchased may not be the same game you're playing next year, due to an ever expanding repetoire as more and more skilled players come to grips with the system.

I stumbled across this video while paging through the internets, looking for some decent footage to analyze. There are some profound things going on in this video, but whether you’re well versed or not, it’s quite the show indeed. I don't think even Capcom thought this was possible when they designed this version, but they better be proud..

After all, circumventing the system is what we gamers do best. Bravo!


Continue Reading..

Becoming Skynet

There's no doubt that the Kinect is a fascinating piece of tech. But how does it work? Unsurprisingly, there's a lot going on under the hood of this thing. A very informative post on the Xbox Engineering Blog can clue you into that, if you're interested. Truly, it's really compelling stuff. Who knew something as simple as a hand gesture could be so radically complex to program? Algorithms? Thankfully, the tech speak is kept to a minimum, so even if you're not tech saavy, it's a great read.

I tell you, with every day I own this thing, the more I think $150 was a great bargain.

Think I'll go unplug it now before I get to bed. Feels like it's watching me.

How You Become The Controller (Xbox Engineering Blog)


Continue Reading..

Not Quite Numb – Linkin Park Mix Pack Review

Well, this is strange. While there’s no denying the band’s popularity, I admit I’ve fallen a bit off of the Linkin Park bandwagon. I was there for Hybrid Theory, as was everyone else and loved it, and Meteora was groovy. Their fusion of alternative, industrial, rap and rock has always been an easy pill to swallow, and I still believe that no one can do it quite the way they do and have it sound great, with crossover appeal that extends into the ‘tough to crack’ urban community. That having been said, after Meteora, I fell off. I really liked Collision Course though it was an album of mashups, but my complete knowledge of Minutes to Midnight begins and ends with What I’ve Done, and I’ve barely listened to A Thousand Suns. In fact, prior to this pack’s release, I found myself questioning their relevancy to date, and was surprised they were even still making music. Embarassing? Hardly. But their album release this year (and relative popularity spike) likely prompted this pack, arriving casually and unexpectedly in my DJ Hero. With a hint of trepidation,I started to download. But I still found myself asking: “Is this even going to be remotely cool?”

“Who really asked for three Linkin Park remixes?..”

Fortunately, I’ve heard the songs featured in this pack. Should be interesting..



DJ Hero 2 "Linkin Park Mix Pack" (Downloadable Content)
For: Xbox 360, PS3, Wii (Songs sold as individual tracks)
Publisher: Activision/Freestyle Games
Price: 480 Microsoft Points, $5.99 PSN, 300 Wii Points (per track)
Release: 12/21/2010
Reviewed on Expert difficulty


When They Come For Me (Remix by Diplo)



A very cool remix with a middle eastern twang to it, it’s an easy, surprisingly bumpin track that’s as much fun to play as it is to rap using vocals…Really, why can’t more of the hip-hoppish songs flow like this one in vocals? The song has an undeniable rhythm to it, and its one that’s easy to get into and stay in the rhythm of once the song begins. Now, everyone may not like this new, almost reggaeton sounding like mix of the song, but I enjoyed it a great deal, and it really fits in with the style of the game a lot more than it would have in its original direction. It’s a tad on the easy side, but that isn’t an issue with this reviewer. Making it more difficult may have made it more hectic as a mix, and I think the nice mixture of taps (on cue with the drums!), lengthy freestyle sections, and generous crossfades are just tricky enough to keep even vets from turning their brain off for too long.

Rating:4/5

Pts.OF.Athrty (Remix by FSG)



An oldie, but goodie. Oddly, it’s very similar to the original remix (produced much later), but with a DJ Hero twist in terms of a variety of turntable effects to break up the action. Honestly, the song was already sick. Featuring Mike Shinoda’s commanding lyrical cadence on one end, and Chester belting out the hooks in a way that makes you stand up and take notice in another, it already felt like a hard hitting song to begin with. Now that the track has been augmented with a ton of on-point, rhythmic scratches and long stretches of bass and electric distortion, it has a sound that escalates and elevates above the original. It isn’t even the meatiest song in the world, but FSG took the multiple choruses within and made them so much fun to play, you don’t even notice. Bonus points for bringing me back to Hybrid Theory though, this track literally reminded me why I started liking the band in the first place. Jeez.

Rating: 5/5

The Catalyst (Does It Offend You, Yeah? Remix)



Overly preachy “lol anarchy” lyrics aside, this is The Catalyst with an Electro/DnB twist. Somehow, this makes it sound more like a Daft Punk song than is reasonably comfortable, but it’s still a fun listen, and as far as challenge goes, it’s the most difficult of the three, but that’s hardly a negative. It has a difficulty curve that’s spread evenly and nicely, with long note sustains and strange scratches thrown about, and the low tempo keeps things from being overwhelming until a nutty conclusion that sees fit to have you alternating between tapping and scratching while holding other buttons on the platter. Overall a pretty good mix, but in my opinion, it’s overshadowed by the first two tracks, likely because the tone of the song keeps it from being as fun as the first two, at least in my opinion.

Rating: 3/5

Man, was this pack a wake up call. Not just because it’s Linkin Park on display here, reminding me why I did like them a TON at one point, but because they did it without taking the easy way out and mixing One Step Closer or Numb. Linkin Park was so far off my radar that even a personal recommendation would’ve been met with trepidation, but I took the plunge here and walked away not only surprisingly unscathed, but without a shred of disappointment as well. Really, what took so long for their music to be featured here? Not only did it fit like a glove, but like the Jay-Z vs. Eminem pack before it, it took several tracks thought untouchable and made them work in ways I couldn’t have imagined. I mean, really. This pack singlehandedly made the band relevant to me again! There should've been an achievement for that along with this content, if you ask me.

Score: 8.5

I don’t know what’s coming next, but with 2010 as a reasonable gauge for expectations*, let’s hope the mixes keep on coming, and with even more variety and creativity than what’s already out.

Easy request to fufill, huh?

*Sure, the Old Skool Pack disappointed, but it was still bumpin’..


Continue Reading..

Electric Boogaloo - DJ Hero 2 Electro Mix Pack Review

If you’re a fan of DJ Hero,you’re likely asking for two things. More music, and a larger presence of electro/techno. Fortunately, Freestyle Games acknowledges that there are two types of people in this world. Those who like Electro, and...everyone else. But the fans, (especially those overseas) demanded it, Freestyle Games listened, and now for our listening pleasure (or horror), the Electro Mix Pack is finally here. Countering the preponderance of amazing hip-hop and R&B mixes this game contains is no small feat however. Does it stack up in a way that’ll make our European and electro fans happy, ALONG with the somewhat alienated American audience?

Hmm..

DJ Hero 2 "Electro Mix Pack" (Downloadable Content)
For: Xbox 360, PS3, Wii (Songs sold as individual tracks)
Publisher: Activision/Freestyle Games
Price: 640 Microsoft Points, $7.99 PSN, 300 Wii points (per track)
Release: 11/16/2010
Reviewed on Expert difficulty

LMFAO "I'm In Miami" vs. Green Velvet "Shake & Pop"



I have a bit of a funny relationship with LMFAO (read: indifference) and nothing has really changed..until now*. The key difference between then and now is the addition of Green Velvet's "Shake and Pop". Both songs have a similar beat structure, a heavy, dirty electro sound, and the result is a pretty danceable mashup combines the best of both while throwing a pretty decent challenge around as well. There are strangely off-beat taps to deal with, a decent number of rhythmic crossfades, and plenty of freestyle sections that allow you to mess around with each track as you please.

Overall, a pretty fun, nonthreatening track that's more memorable for it's off-key challenge than its sound.

(*..I still don't like them.)

Rating: 4/5

Steve Aoki feat. Zuper Blahq - "I'm In The House"



While it doesn’t sound terribly different from the original, this beat juggle of Steve Aoki’s I’m In The House actually in my opinion surpasses the regular version with a heaping dose of crazed turntablism. Crossfades aplenty, taps inside of crossfades, scratches inside of taps inside of crossfades, plenty of freestyle sections, and an elevated pace make this not only one of the most challenging songs in the game, but an incredibly fun track that makes you feel like you’re in control of its high speed sound. Though it’s a great listen, this track actually became my favorite in the entire pack to play, no small feat considering the mixes in the final track..

Rating: 5/5

Simian Mobile Disco - "Hustler" vs. Technotronic - "Pump Up The Jam"



This is brilliant. No, really. Similar to the first mix, both songs were picked with an expert ear—the tracks sound similar enough in structure to segue into each other with nary a hitch, and they’re blended so incredibly well here, it almost makes you wish the original sounded this good. Pump Up The Jam’s shoulder moving rhythms flow perfectly into Hustler’s periodic lyrical injections (I'm a hustler, baby) during verses and saves the louder, more energetic parts of both songs for the hooks. The chorus lines are also the parts where the turntable is going to see the most work, with heavy scratches dominating most of the rhythms, and taps filling in the blanks where the unpredictable crossfades won’t fit. If I have any complaint, it’s that the challenge of the song does at times distract from it’s great sound, but it’s still highly enjoyable and a fun track to play in battle mode because of its unpredictable rhythm.

Rating:5/5

Overall, I can’t say I had a problem with this pack. I’m not the biggest fan of electro, but the songs chosen were iconic and fun enough to play, and the challenge is still up there in a way that still keeps the game fresh, even if you’ve already 5-starred most of (or all) of the game already. Yes, it's true that the gere may not appeal to you, but I'd encourage most fans of music to check it out due to the fact that you may experience the Guitar Hero effect (fandom gained by playing new music instead of just listening) and gain yourself some new artists to add to your roster.

Rating:9.0

It’s funny, between release and now, we’ve seen 6 all-new mixes, 14 returning ones from the original, and one can only wonder, what’s next? It’s been 20 extra songs in a little over a month! They’ve got to keep this momentum going as long as they’ve got it, right? I know I’m prepared for--

...Oh.



Well! This might be worth checking out..I looks like it’s free and only going on for a week..


Continue Reading..

They spinnin' - DJ Hero 2 Review

DJ Hero 2 is amazing.

You knew I was going to say that though, and it's funny how long I've come in a little over a year. Originally a detractor, turned fan, turned high ranking leaderboard jockey (I was in the top 5 on the leaderboards for a spell), it's safe to say that the unique, aurally innovative title got it's hooks into me and refused to let go.

When say that it refused though, I mean it. I've been across the original's 93 song list on Expert with 5 stars and beyond, purchased every DLC pack doing the same, and spread the love amongst my friends, hooking them as well and letting them know that an oversaturation of plastic instruments in the market did -not- mean that the music genre played not by only one note but by several, just cut and mashed to perfection. It wasn't the most social game however, with most sessions being limited to 1 on 1 battles people didn't want to engage in (especially with me), and an incredibly steep asking price turning others off (It went for $129 and $199 respectively..)

A year, and a reduced price later, the release of its sequel boasts not only a near equal number of new mixes, but a new career mode, expansions on the old gameplay, and a new social component that not only brings with it a new way to play with friends with new multiplayer options, but adds a Facebook-esque persistence to the whole online endeavor as well. Does it hold up though? Or--

Wait, are you kidding?

This is really how a sequel should feel.

Several stylized corporate logos in, and the sense of "new" is immediately evident. A new, sleek porcelain menu replaces the gaudy graffiti-like club flyer interface of the first game, a Facebook-like news feed pops up and replaces the ignorable RSS-like feed from the first game, and everything just looks and feels nicer. The visuals, the animations, everything combines to pull off a convincing club atmosphere, down to the crowd chiming in during mixes. This complete visual package carries over into the UI as well, as notes pop off the screen more than the original, the gauges and icons are larger and more prominent, and the star meter has recieved an upgrade as well. In some ways, because of these changes, it feels like more of a reboot than a sequel to the original.



The game starts you off asking if you'd like to view the tutorial, veteran or no, and with good reason. At first glance, the gameplay at first glance looks mostly unchanged, but slowly, the differences start to creep in. Vocals replace the terrible Guitar Hero mixes from the first with special attention to pitch for harmonizing and cadence for rapping/speaking, but it's really playing second fiddle to the main feature. In DJ Hero, with turntable in hand, you're tasked with crossfading, sampling, and scratching between two tracks to the beat of the music as gems and icons fall down a track shaped like a record. Much of that is still the same, but with all new held taps and long arrows during scratches that require you to hold a button and drag the turntable in a certain direction. If that sounds too boring and familiar for real change, fret not, because a whole new degree of user freedom has been injected into the mix.



At first, it's something strange and awkward, but after a few mixes, experimentation kicks in and you're left wondering why something so open ended and natural wasn't added before. Every track now has freestyle crossfade sections that let you mess around with one or both tracks at the same time, along with samples that change dynamically during the song (no more out of context YEEEEAAAAHH BOOOOYEEEE in every mix), and scratches whose tempo and duration are left up to your own creativity. It's something that makes the songs sound like they're truly under your control and practically ensures that any two people playing a mix won't have the exact same result. As you can imagine, all these new additions rear their heads constantly and to a point, simultaneously on higher difficulties.and if you thought "Groundhog" in the first game was difficult, prepare to have your fingers and wrists destroyed by what they have in store here. It's no stretch to say that the difficulty has increased, but with all the new additions feeling more natural than overbearing, the songs are still a blast whether you're a tried and true vet, or just a beginner.



Navigating the sleek new menus, there's a new option right underneath quickplay, and it's the meat of the single-player experience found within. Dubbed "Empire", it's starts you off naming your own party spot, picking a DJ, and traveling around the world mixing and battling others in a bid to build a virtual empire with you at the center. Along with some very cool intros from each venue seguing into phenomenal new megamixes (continuous sets of 3-4 songs blended together into one huge mix), there are setlists to complete, one on one battles to win, and many, many new things to earn on the way to the top. If only the "top" didn't lie in theory.



I say in theory because really, if there's any complaints to be had about Empire mode, it's that the feeling of being an up-and-coming DJ building a superclub from scratch is surprisingly absent. Yes, you start out picking a DJ, naming your club, and starting out in Ibiza of all places for your first set, but it's a red herring of a setup that ultimately doesn't deliver. You end up spinning in several venues across the world, go toe to toe with DJ superstars and amateurs alike, but it simply doesn't feel like it goes anywhere by the conclusion. There's no management to be seen, no money to earn from playing sets, no crowds to manage as a barometer for your own club's success, hell, even customization of your avatar is limited to a few predetermined costumes. It's a bit of a missed opportunity, and it's not something that ruins the career, but the potential in customizing and expanding your own party spot (or being able to create your own venue) is hopefully something that'll be explored in future DJ Hero games. As it stands, Empire is little more than a new coat of paint on the challenge based structure of last year's game.

Somewhat making up for this though, are the varied community options available. Every significant action you take, from making into a certain bracket on the leaderboards, to completing a challenge in empire, gets reported in a "Hero Feed" that shows up on all your friend's screens via pop up like Twitter. Challenging a friend's dominance in a particular song is a button press away from a notification, and the upgrade to the star meter I mentioned earlier? It now dynamically lists your friend's gamertags in order of high score, and you can either come close to or knock them off their pedestal in real time. It's a small tweak that goes a long way in making the game's userbase seem consistently alive. Fansites like Scorehero have been doing this since the release of the original Guitar Hero, but to see it seamlessly woven in here is a sign of progress.

The multitude of modes injected into the multiplayer do well to inject some much needed life into the original and its boring score battles, addressing a chief complaint about the first having very little to do when a second turntable is in play. There are star battles as before, though now you can steal rewinds and freeze the other player's track, accumulator and streak battles for you to compete on a technical level, DJ battles on special versus tracks that leverage speed and skill over scores, and more. Better still, a Call of Duty like experience and rewards system was added as well, and there are a ton of levels, icons, and titles to unlock on the road to the top. Playing constantly to get a higher score was the most addictive thing about the original, and with all these new features (including issuing challenges to friends after a mix), it ends up feeling more like an Empire mode than the actual game.



My small complaint about the career doesn't detract from the true backbone of this game though, and it's in the game's phenomenal soundtrack that DJ Hero 2 ultimately delivers. The first soundtrack was mostly composed of hip-hop, R&B, and a smattering of electro and techno. Things haven't changed drastically for the second,but things are more eclectic this time, with a broader range indulging disco, trance, house , reggae, and even current pop hits for this intallment. There are overall less mixes than the last game, but it's a moot point. Ever wonder what Kanye West's "Heartless" would sound like mixed with Lady GaGa's "Lovegame"? How about Sean Paul's "Get Busy"mixed with Harold Faltermeyer's iconic "Axel F"? Busta Rhymes vs. House of Pain? Once again, the game boasts an absolutely amazing soundtrack of mashups that'll have you scratching your head when read on paper, then dancing when you actually end up hearing them. The aformentioned megamixes of several of these tracks are a welcome addition the package as well, not only do they nail the seamless transitions between tracks that's normally common in turntablism, but they are an absolute knockout as well. One can only hope that they make it into the next game in a broader form, or that they at least become front and center during the deluge of generous DLC the developers have planned in the upcoming months.

It was a bit tough writing this review to be honest. I have a very strong love for this game, and it took a great deal of effort to simply not fanboy myself all over the place, but at the end of the day my original statement still stands. This game is amazing. The additions and refinements echo a developer who clearly listens to their fanbase, the game was made more challenging without sacrificing fun, the multiplayer is fun, and somehow, they managed to trump the first game's soundtrack with one that's even better, and arguably without peer in the genre.

Yes, even with Rock Band 3 on the horizon.

It's that real.

Why are you still here? You should be playing this. Now.
Continue Reading..

Hot Rod Time Machine - Sonic 4: Episode 1 Review (iPhone)

Also on Chocolate Lemon!

From the outset, Sonic 4 wants to win you over with nostalgia.

It's evident in the opening splash screens, Sonic running back and forth before that iconic and instantly familiar "SEGA" scream rings out. It's front and center as Sonic pops out of his crest and shakes his finger with a 'tude. Pressing start yields the sound effect from the original Sonic Adventure. All the pieces are in place, it seems, and after numerous delays, controversial fan backlash, and the ever-present notion that this attempt to be a reboot/remake/sequel could just completely jump the shark (problematic mine carts notwithstanding), Sonic 4 is finally here, and before the console releases to boot. The #1 question in fans' minds though, is: Sixteen years after the release of Sonic 3, is it the sequel we were all waiting for?

Well....let me just say I understand "hardcore" Sonic fans a bit more now.

Now don't get me wrong, I'm not advocating the abrasive, heavy-handed way that the more dedicated of Sonic fans approach every new game in the series. Pitchforks and stakes in hand, they're ready to completely trounce every new attempt to bring this series anywhere past 1992, both aesthetically and gameplay wise.

I am not one of those people. I'm in fact a huge fan of Sonic since the series' beginning and couldn't care less about their petty grievances, but immediately upon starting the game, something does stick out like a sore thumb.

The series trademark physics, something very easy to take for granted, seem off here.

Sonic games have always had a tangible, weighty sense of speed and inertia, and what developer Dimps have come up with here is a system that works, albeit inconsistently. Navigating Sonic is rarely a serious problem, But rarely does he feel like he has inertia, as he often just feels heavily programmed. It leads to jumps being floatier than they should be, speed getting marred by an almost erratic acceleration that's simply too fast to start or too slow to peak, a strangely magnetic attraction to flippers and bumpers, and things like ramps and loops occasionally defying gravity by making Sonic lose all momentum when curled into a ball.


This should NOT be happening.

It's as if a heavier sort of physics system from Sonic Rush was in play, but where the former had almost an entire focus on speed and moving forward with very little platforming, Sonic 4 shares level design quirks with the Sonics of old. Given that this was the general spirit, having controls that are slanted towards his new gameplay design is a bit ill advised. It works, but it's something to adjust to. If I had any abrasive fanboy whine of theirs to subscribe to, it would be this one, yes.

With that immediate gripe out of the way, I can finally let you know that despite that odd quirk, Sonic 4 is an absolute blast.



From the outset, the game's four Zones outright let you know this is a sort of retro revival, as the Splash Hill, Casino Street, Lost Labyrinth, and Mad Gear zones all have the distinct look and feel of previous stages in the series. Splash Hill has the rolling hills and corkscrew loops that made the previous Green and Emerald Hill Zones iconic first stages, Casino Street has the neon, oversaturated feel of Casino Night Zone, Lost Labyrinth is a trap filled maze akin to the Labyrinth Zone, and Mad Gear has all the tricky platforming and infuriating enemy spawns that made the Metropolis Zone one of the toughest Sonic levels ever. The music filling each stage is great as well, emulating many of the original 8-note compositions from the Genesis originals, and sounding truer to the spirit of Sonic than the horrible butt-rock that has plagued the series since 2000.



But make no mistake -- while these levels are clearly a homage, their designs are completely original, matching and in some ways even besting their inspirations. Massive, and filled with alternate paths, shortcuts, and secrets aplenty, they very closely nail that perfect balance long forgotten since the franchise's heyday. Well timed jumps and tense platforming sections are rewarded with stretches of speed or alternate (usually faster) paths through a stage, and each stages three acts are all detailed enough to warrant multiple playthroughs, especially for the boss battles that balance looks from the past with surprising new moves. (Special stages have returned as well, with a special surprise for anyone who collects them all) There are also clever gimmicks thrown into a few of the stages, and while they don't all work, tilting the phone to direct a minecart through a high speed maze, or keeping up momentum as a grinder bears down on you are nice diversions from the action.



The control, something I didn't mention until now, is very nice as well. The d-pad and single button given are very accurate, and very responsive (save for the occasional crouch), which is something considering the fact that you're forced to use a touch screen. However, as great as it is, a lot of this wouldn't feel as tight without the newest addition to Sonic's arsenal: The homing attack. It seems like a minor convenience at first, but what you'll find is that it lends a subtle rhythm to his usual run 'n' jump formula, something you'll notice as seemingly innocuous strings of enemies become paths to a shortcut, a botched jump gets corrected, or previously impossible jumps become manageable with just that small boost. It's a fun, logical addition to Sonic's classic gameplay, and its one of the many factors that make this truly feel like a real sequel.

All of this does not make for a perfect game however, and Sonic 4 is not without its flaws. Some levels still feature the series much maligned bad enemy placement and cheap shots, and while some can arguably be avoided with sharp enough reflexes, others simply have to be tripped in order to be aware of their presence. Some of the gimmicks are suspect as well, with one in Lost Labyrinth that doesn't explain itself until you've spent a life or two, and a particularly nasty one in Casino Street that makes the level impossible to finish if you mess up a homing attack on a string of enemies towards the end. The homing attack is a bit suspect as well, sometimes not locking on to targets right away, or locking on when they can't be reached (sending you flying into a wall or to your death) There's also a funky screen rotating effect when going through loops that you'll either love or get motion sickness from, depending on your cup of tea. I thought it was cool, frankly, while it drove a friend of mine crazy.


Motion Sickness!

The graphics are nice too, featuring colorful backgrounds and a great looking 3D model for Sonic himself, but the game inexplicably lacks retina display support, which means that the game looks great on anything but an iPhone 4, where the low resolution becomes more apparent and the game takes a bit of a washed out tone more akin to a DS title. For a iOS game released after June 24th, this is not just a minor oversight, it's inexplicable. The console versions feature some of the most gorgeous high-res CG I've seen in a downloadable title, it would've been nice to say the same here.

A list of complaints is a bit moot however, when the overall package is so well done. Despite its minor and occasionally major flaws in the design and gameplay department, Sonic 4 on the iPhone is not only a sequel that successfully updates classic Sonic gameplay for the next generation, but is a great sneak peek of what to expect from the HD versions as well. If the small bugs and annoyances are ironed out of the next installments of this planned episodic series, then we are all in for a real treat indeed, as Sonic Team (with help from dimps) seems to have tapped what made Sonic successful in the first place, and man, are they on the right track.


Just like '91.

Here's to many more.

Continue Reading..

Scott Pilgrim vs. the Arbitrary Objective!

So it's no secret by now, but I loved Scott Pilgrim vs. The World: The Game. The game's retro sensibilities, combined with it's purposely pixelated sprite art look and 8-bit soundtrack won me over in a way that many games that attempt to be "retro" fail to. I mean it without a shred of hyperbole that I've literally been addicted to the game since its release, and while I can point out any aspect of its design in bullet points as the reason for this (great fighting engine, wealth of secrets, addictive leveling system), it wasn't just the graphics, or the gameplay that really brought out that old-school feel in me.

It was the return of the completely out-of-left-field institution that dominated most of my early gaming life:

The arbitrary objective.


We've all been there. You love a game to death, you play it to death. Somewhere inbetween purchase, mastering, and fondly archiving it for good, players go through this phase. A game gets completed, mastered, and because we don't want to let go of it just yet, we start making up new rules in our head. Racing games can be beaten without nitro. A fighting game can be beaten without special moves. These pointless, unnecessary, dare I say..arbitrary tweaks to a game's established formula can extend its relative value long past is shelf life, and it's exactly what happened to me here.

The funny thing was, I didn't even need to finish the game in question. It happened while I was playing through the game by myself as Scott, I realized that essentially, aside from some very unique attacks, everyone played the same, and because they had openly customizable stats, simply powering them all up to maximum would just make them homogeneous. The gears in my head began turning almost immediately. I knew I was going to play through the game with each character, but how could I indulge my hardcore sensibilities and still keep the game fresh 4, maybe even 5 playthroughs later? I thought of one of the game's many inspirations: Streets of Rage.



I remembered how each character, despite having the exact same moveset, had different attacks, and not only that, but they also had stats giving them all a distinct feel in addition to this. Axel was a power character with great moves, Blaze was the balanced type, Max was slow but powerful, and Skate was small and fast, if lacking in stamina. I wanted something like this for this game. After all, what better way to highlight each character's individuality (and give players something to call dibs on during multiplayer) than to give them completely differing strengths and weaknesses?

It took a bit of time, but I got it. Thinking of each character's personality/ability in the comic, I went about balancing them all out, albeit in RPG-grinding fashion:




Scott became an all-rounder, given his reputation as a fighter (and his uncanny ability to adapt), Ramona, being the "American Ninja", became the fastest character, yet relatively low on strength and high on defense. Kim, resident drummer (and situational damsel-in-distress) became above average on technique, strength, and speed(drummer qualities!), but has absolutely no defense, and Stephen, aka "the talent", became a tank, sporting relative strength, but maxed technique (talent, natch) and defense (he did date Julie, after all) at the cost of speed.

If the stats seem kind of high, it's because I balanced them all to be used on either medium, or hard difficulty..and for the most part, it worked out wonderfully. Scott is as powerful all around as he should be, Ramona's speed goes well with the range offered by her weapons, Kim's strengths go well towards a solid offense that masks what she lacks in defense, and Stephen is the strangest feeling one, having the lowest speed but a wealth of special techniques at his disposal.

The funny thing is, none of the hours I spent doing this felt wasted at all. I just finished the game with Scott yesterday, and now I can't wait to go through it again with Ramona. She's much faster, with much lower attack so her juggles are a lot more fun to indulge. I singlehandedly introduced character balance and an extra layer of strategy to this game, and while I didn't have to, the experience for me (and the people I've played with) was that much richer because of it.



Labor of love as it was, It brought me back quite a bit. I remember my tenure in Sonic 3& Knuckles, having separate files for having completed with or without all emeralds. I'm still proud of completing Super Mario Bros without touching a single fireflower (never touching a mushroom was beyond me). This sentiment extended past "old" games as well. In high school, action games like Ninja Gaiden weren't spared, as a friend and I finished the entire game on "very hard" without upgrading ANYTHING, and my girlfriend, notorious for her Need for Speed exploits, did everything short of finishing Most Wanted by driving backwards before she was satisfied. The arbitrary objective knows no genre, and no limits, being clearly defined by a gamer's ability, and imagination.

Hell, I've even become fond of what I named "stock mixing" in DJ Hero, playing a song through for 5 stars with no (extra) multipliers or modifiers.



If any of this sounds crazy, it's because well...it is, but it's something we gamers are well acquainted with. Microsoft may have capitalized on this old art by giving it a mainstream name in the form of "achievements", but at the end of the day, they have no real value, and it's the pride that we put into them that defines their value. Putting a score on it doesn't really change the fact that we've been assigning arbitrary objectives to ourselves since the beginning, and it'll continue as long as we have the drive to push the limits developers have assigned us.

Now if you'lll excuse me, I'm off to practice M.Bison in SSF4 by beating arcade mode on hard using only his normals.

Continue Reading..

Looks like Twitter's good for something..

I know Abe, I can't believe it either.

A few weeks back, I found out about a Twitter account apparently started by Abe, and while it claimed to be official in some way, knowing the internet, I took the small rumblings within to be nothing more than a fan having a good time. This didn't stop me from keeping a close eye on it anyway, and now, it seems as if it's paid off! A small development crew by the name of Just Add Water games has apparently been working closely with Oddworld Inhabitants on a new Oddworld title across multiple platforms.

Screenshot from my phone after the jump, and man. I know I'll be on eggshells until they announce whatever it is. The gaming landscape NEEDS something as soulful as Oddworld right now, and I've been waiting to dive back into all those charming personalities and beautifully twisted worlds for some time now.

Heck, I'm still sitting here trying to achieve a perfect 300 in Abe's Exoddus on my PSP (297's my best!)..and that's REALLY saying something.

Welcome back, sir. You were missed.






Continue Reading..

Cry if I want to - DJ Hero Party Mix Pack Review

Tis another day, and suddenly, out of nowhere, DJ Hero Content! While I was completely sated with the Domination Mix Pack and the great Preview for DJ Hero 2, the Party Mix Pack is a complete surprise, and it can't come soon enough, as I don't think I can really wait until October to keep the party going anyhow. After seeing the tracklist in the description on Xbox Live, I worried a bit. With beat juggles (arrangements) of The Pussycat Dolls "Buttons", Rihanna's S.O.S., and a mashup of Lady Gaga's "Poker Face" with Duran Duran's "Girls on Film" (wha?), it signaled a more MTV pop direction that left me not knowing what to expect. While the first two I could tolerate, given that I didn't exactly hate their original versions, it was the mashup at the end that really had me going. Those two songs? Really? How could that possibly work?

I hit the download button with a hint of unease, but remained faithful. You know, I never would've thought "Feel Good Inc." would mix with "Heard It Through the Grapevine" so well until this game, and surely, the same applied here, as the high quality of their mixes thus far left little room for doubt.

Was I right?



DJ Hero "Party Mix Pack" (Downloadable Content)
For: Xbox 360, PS3, Wii (Songs sold as individual tracks)
Publisher: Activision/Freestyle Games
Price: 640 Microsoft Points, $7.99 PSN, 300 Wii points (per track)
Release: 7/4/2010

To put it lightly: No, I wasn't right with my assumption at all. But it isn't all bad news. While the Party Mix Pack features an daring track selection and a decent challenge, its lazily put together arranges and questionable third act, not to mention its oddly placed difficulty spikes ensure that seasoned veterans have little to return to, and the casual fan has yet another pack of songs to add to the collection, but it will stay in rotation for only so long before interest is lost.

But, to my verdict, yes?

Once again, songs are rated on a 1 to 5 scale, with an overall grade given at the end.

Pussycat Dolls - Buttons (Beat Juggle)



I was half awake and nearly had a perfect sightread on my first try.

Despite that ringing in my mind as a bad omen rather than a testament to skill, there wasn't a complete trainwreck left in my wake, but not anything too special here either. It's a slow, wispy track that mimics the same energy and tempo as the original, (why not make it energetic and interesting?) but sounds so close to it that you'll wonder why they've bothered to call it a beat juggle at all until the final moments, where a clever use of samples and scratches do a bit to liven things up at the end. It isn't enough to save the song from it's squarely middle of the road challenge, but it's a decently fun run that could've stood to be more interesting to play overall. Bit of a missed opportunity. (Rating: 3/5)

Rihanna - S.O.S. (Beat Juggle)



The same can also be said about this arrangement of Rihanna's song S.O.S. Carrying a higher and a more playful steady tempo than the song before it, its strange inclusion is only exacerbated by how boring it was to play. While I could stomach Buttons due to it's fun lyrics, heavy middle eastern-esque twang, and entertaining, yet unremarkable chart, I couldn't wait for this mix to end, and even started dropping notes and neglecting rewinds towards the climax because I didn't want to extend the song any longer than it should've been. Again, it was a bit skimpy on challenge, and I probably would've gotten another impromptu perfect if I hadn't gotten so bored 3 quarters in. Maybe a true Rihanna fan would enjoy it more than I, but that seems to me like it'd need to survive on made up excuses, rather than it truly being a good track to play and listen to on its own merits. (Rating: 2/5)

Duran Duran/Lady Gaga - Poker Face vs. Girls on Film



Well, this is strange. Watching the video, you can get a glimpse of what I mean. This way, you won't find it strange when I wonder aloud as to what the hell they were thinking with this one. While I enjoy "Poker Face" (the Cartman version sits proudly as a part of my Rock Band 2 tracklist), and "Girls on Film" on their own (Yes, Duran Duran has played MORE than "Hungry Like the Wolf"), whoever thought they would work as a mashup needs their ears, and brain checked. Very little of Poker Face is present besides the lyrics, and using GaGa's vocals with Duran Duran's synth results in a strangely awkward sound that requires a tempo increase on the former's part, turning the song even more poppish than it was before while managing to make it sound rushed and NOW!-ish at the same time. While the song has admittedly grown on me in subsequent playthroughs, I think it's more because of the song's unique blend of tapping and crossfading, rather than it's strength as a pretty good, but below standard mashup. I was disappointed, but still return for a challenge here and there. (Rating: 3/5)

So there you have it. While I was expecting something with a little more heart, and definitely little more challenging (especially after the amazing Domination pack), I didn't get that at all, and ended up feeling a bit shortchanged. The worst part was, the mixes themselves weren't terrible, per-se, but instead so middle of the road that in a game that insofar has had EXCELLENT downloadable content, it ended up feeling mediocre by comparison. It isn't even their fault for setting the bar so high in the first place, but rather their fault for not matching it with this uninspired effort, because for the first time wince release there's finally a pack that I didn't enjoy much at all. My advice for experts is to not expect too much from an unimaginative set, and midrange players, appreciate the oddly paced challenge, but don't expect to play it more than once or twice at best. Bummer.

Rating: 6.5

Continue Reading..

Skills for Kills - Crackdown 2 Review

The original Crackdown was a bit of a sleeper hit. Deftly combining a Grand Theft Auto esque sense of freedom and scale with an empowering, stat building mechanic that mimed the addictive, collect-a-thon nature of Rare's best titles, it seemingly came out of nowhere, gave players an sandbox, and told them to run around and have as much fun as possible, either alone or with a friend. The fact that the game came packaged with the Halo 3 Beta was also a boon, as it meant that many gamers who wouldn't have played it otherwise were exposed to it's unique blend of platforming, shooting, and open world mayhem, and it's a design that games like inFamous play off of to this very day. The aformentioned co-op was also unheard of at the time, and it ensured that the game would have a dedicated following, many of which were clamoring for a sequel.

Three years later, we've gotten our answer. Crackdown 2 is among us, boasting a new developer, new aesthetic, and all around more content. A new 4 player co-op, more weapons, more enemies, just MORE all around. It's risky after three years to go the route of refine rather than redefine, and while I'm not one to mess with an already winning formula, does it work a second time around?

In short, YES. Crackdown 2 may not be radically different from its predecessor, but its list of upgrades and expansions do well to augment what was already a great game.

Read the rest of the review on CLgamer.com!


Continue Reading..

Outdoing Stuart Black.

It's funny, to this day, Black is still one of my favorite shooters of all time. Originally from the previous generation of gaming, but definitely not FEELING like it, it deftly combined gratuitous "gun porn" aesthetics with a tactical underside that bested even the hardest of the hardcore. Unsurprisingly, everyone loved Criterion's take on the modern FPS and wanted more, and it's no surprise that a sequel was expected and anticipated. What was a surprise however, is the fact that said game did NOT get a sequel of any kind, leaving the masses to only imagine what could've been. If Black was able to be the spectacle it was on outdated hardware, imagine what it would be like now?



The creator of Black stepped forward and announced his new project, a spiritual successor in the form of Bodycount and triumphantly announced his return to the world of shooters, and how we would all be rocked by what he has in store for us. Exciting!

...To be honest, it sucked. A bit bland in some spots, a bit spotty in others, it's as if his hubris at having created one of the most intense shooters of the last gen has overshadowed his sight. There are so many shooters now that equal or best the intensity that Black displayed four years ago that his successor feels dated by comparison. These are just alpha impressions though, and while the game does have time to improve, if it keeps looking like this:


I have no choice but to assume that he's lost it, and I need to move on.

However, someone seems to be getting it. Polish developer People Can Fly (most famous for their stellar balls out shooter Painkiller) and Epic Games (Unreal, Gears of War) are putting together a shooter that looks to turn the action shooter on its head. Joystiq has the scoop with a brief walkthrough of one of the game's levels, and I have to admit..It looks like so much fun, it's prospective 2011 release date is going to be agonizing. Relentless destruction, a focus on creative kills and mayhem (with a combo and point system for an extra layer of tactical planning/childlike glee), and visually superb? Sign me up.



No,really. The points system is so robust that you get special bonuses for shooting a man in the ass. This game needs a release date already.

Mr. Black? Do step your game up.


Continue Reading..

E3 Postmortems Round 1: Microsoft - Resting on casual laurels ?

Sitting comfortably from their second place perch, Microsoft is booming, a bit high on their own success. Exclusives here, pre-emptive releases there, it's funny watching them now, 5 years into the current generation, in a position no one expected them to be in the first place. They've spent the previous years capatializing on their competitors mistakes to great effect, but now things are starting to get interesting. In the face of Sony's strongest year so far, and Nintendo's slow and steady caterings to the hardcore, MS now needs to prove that they can still hold their ground.

Did they? Highlights and thoughts on the jump.

Practically solidifying the annnoying stigma that the Xbox is the console of choice for all shooting men in the face enhusiasts everywhere, they kicked off the conference with a bit of Call of Duty: Black Ops, and I'm not gonna lie, what I saw was indeed impressive. I'm not a fan of ANY of the Treyarch developed Call of Duty games (I don't own ONE.), but what was here was impressively cinematic, intense, and looks to be the first CoD game they've made with some soul. The pervasive explosions and muted rock music blaring in the background may be the crow I eat for giving them this muc credit over a 5 minute demo...but if the campaign can keep up this level of polish, I won't mind breaking tradition.





Later came an announcement that all the DLC for the forthcoming years will be released first on 360, with other consoles to follow whenever they get around to it. Nice, but not world shattering. Shooter console stigma bolstered.

Kojima took the stage next, and it's something that still surprises me. They have such a good relationship now, if you'd told anyone at Sony that a new Metal Gear game would debut at Microsoft's conference before theirs, you might've been met with bouts of laughter. Now, for the second year in a row, Metal Gear Solid: Rising takes the stage, and I'm tempted to say, this was the most exciting trailer of their show.





He really did cut an Astro in half! While I have no doubt that this will look nothing short of amazing, I hope they can keep up the gameplay end of the deal. MGS4 had notoriously complex controls, and if they can dial that back for this game and make this extremely intuitive (looking) cutting mechanic simple and fun to use, I'm there on day one.

Some dude calling himself uh..Cliff Blez-

Cliff Bleh-

Blazkow--

..So CliffyB took the stage, and we already know what that means.GEARS OF WAR 3. Arguably more Halo this generation than Halo has been (in terms of relevance), Epic's trailblazing action title shows no sign of slowing down in terms of intensity or spectacle, which looks to push this system to its limits, vast improvements to the core combat (bayonet rush?!?) and 4-player co-op notwithstanding--




What can be said, really? This game is going to be ridiculous. New, grotesque enemies, impressive sense of scale, RIDICULOUS graphics..it's going to rock. This isn't hyperbole, either. Epic always executes with an extreme level of polish, and even when they falter slightly with choices we may not agree with (GoW2's multiplayer, looking 'atcha.) you can't ever accuse their games of being unplayable. This is one I'll follow closely.

..Peter Molyneux even came out and talked about Fable III...but my brain shut off as soon as I saw his face. Yeah, it looks cool, but I'll eat my own hat** before I indulge his grandiose empty promises again.

Then the Kinect rolled out, and I stood up.





But don't let the obviously focus-tested shenanigans at play fool you. This video is corny, yes, but it's a good representation of what they were able to show off. Impressively lithe, and functional in ways that neither the Playstation Move or a Wii Remote can match, any non-believers in Microsoft's motion control answer were quickly converted once the software came into play. No, it isn't entirely perfect at this early stage, but it was impressively so, down to its seamless integration of controlling the dashboard, Minority Report style. The Kinect's full body tracking camera also lends itself to an entire suite of possibilities game wise, and if standout titles like Dance Central, Kinectimals, and Your Shape: Fitness Evolved were any indication, we're in for a REAL treat come November 4th.

(Well, aside from the slimmer, cooler, more functional 360 upgrade that followed its announcement. 802.11 N WiFi built in, 250 gb HDD, 5 USB ports, Built-in Kinect port, and all for the same price as the existing Elite, with a $50 price drop for all existing models? Available NOW? Nice. Very.)

The big question remains though...was I blown away by this year's keynote?

Not really. While I'm all for promoting the Xbox 360 as a massive social networking and home entertainment device, I think things may have gotten out of hand. While bonuses like an improved Netflix, and full ESPN integration into the console are nice, they have nothing to do with the console's core strength; why we chose to play in the first place -- the games. Don't get me wrong, there were some nice titles on display, but I couldn't shake the notion. This year saw an increased focus on the Kinect and the system function and less on the games, and it gave this show a bit of a foul air for me. I really like the Kinect and what it represents for our gaming future, but it also points to a more casual, non-gamer audience that the Wii has seen fit to attract for the past four years. I've said it before, but believe me when I say the future isn't heading in that direction, and with this year's show, I walked away impressed, but also wondering what exactly the 360 has in store this year for the hardcore audience, if anything substantial at all.

I don't think I've ever felt like that before.

**I don't wear hats. Haven't in nearly a decade. Exactly.


Continue Reading..

Groovy!.....IN HD.

I have fond memories of the original Earthworm Jim. In a Sega Genesis-laden childhood formerly dominated by the Sonics and Disney characters, EWJ was a breath of fresh air. Featuring quirkky, odd characters, a strangely disjointed yet bizarrely cohesive collection of worlds, and a difficulty level that I struggled to keep up with as my friends fell prey to it one by one, I'd found my new favorite game. As someone who doesn't regularly play favorites, this is significant to me. I've played the original Earthworm Jim so much, I practically know it backwards, and welcome any opportunity to play it again.

So when an iPhone version was released, I was there, and was blown away by what developer Gameloft had done; this wasn't just a quick and dirty port, this was a redrawn from scratch, enhanced, high definition version of the game I'd grown up loving. Imagine my surprise when I heard it wouldn't stop there, and that a fully HD version would be released for the home consoles. Moreover, I'd heard that not only would it be based on the most amazing version of the game (Special Edition - Sega CD), but that it would not only have extra stages, but multiplayer!

How could I resist?


I COULDN'T. DIDN'T YOU READ THE FIRST PARAGRAPH?

Earthworm Jim HD
For: Xbox 360, PS3 (PS3 Release: tentative, July)
Price: 800 MS Points, $9.99 PSN
Released: 6/9/2010 (Xbox 360)

I'll get the obvious out of the way first, I enjoyed Earthworm Jim HD. Was it the definitive, ultimate version of the game I was hoping for? No, that title still goes to the original Sega CD version. Is it a painstakingly remastered, remixed, content filled version of the game I know and love that isn't perfect, but will draw in a load of new fans? Most definitely.



The story hasn't changed any, and in a very welcome change to the original, moments after pressing start, you're treated to a redrawn version of the original Earthworm Jim origin comic as an intro movie. While it never really did provide context for the world hopping madness that is Jim's quest to rescue Princess-What's-Her-Name, it's a welcome setup for the rest of the game, which is remarkably intact for the most part. I say for the most part, because while the game does feature many things from the Sega CD version, two levels; "Big Bruty" and the secret "Who Turned Out The Light" are surprisingly absent. It isn't a dealbreaker, as the game still retains its trademark schizophrenic approach to platforming--one minute, you're navigating an underwater maze in a pod created by a fish, the next, you're bungie battling a booger--, but it's a loss that will sorely be missed, as the latter level was one of the most unique ones in the game.



What won't be missed however, is the original game's resolution. Seemingly not content to just upscale the game and throw a blurry filter on top, Gameloft actually redrew the game from the ground up, and it shows. Not only do the stages look sharp and crisp, but they found time to add new details as well; New Junk city has a light fog tracking the ground, Down The Tubes has bubbles and several schools of fish swimming around (look for a VERY special cameo!) and Andy Asteroids wouldn't look out of place in a 3D game. Unfortunately, some of the remastered animations aren't as well done as others, and you can tell some corners were cut, likely because the original was SO well animated, it would've been too massive an undertaking to redo every single frame in HD. People new to the series won't notice, but fans of the original definitely will, and it has the unfortunate side effect of occasionally making the game look unpolished, because some of the original frames ARE intact. (Giant Hamster, I'm looking STRAIGHT at you)



Sound was paid a similar amount of care as well. A ton of new sound effects and added voice work were added to the game, and in some respects it makes the game funnier. Strangely, some iconic ones have been lost (where's Jim's high pitched scream?) or replaced (PLASMA! instead of WHAM!). Tommy Tallarico's fantastic score also remains mostly intact, though some liberties were taken with some of the older tracks (title screen) and similarly what's been done with the new tracks sometimes stick out like a sore thumb. This isn't to say they're bad, but it's more a testament to the original score and how strong it was that the new tracks actually throw things off a bit. Music can really make or break atmosphere, and a few of the new songs actually throw off the psuedo-serious and dark, yet lighthearted humor of the original, making things just a bit goofier (Read: The EWJ2 humor problem**).

Control however remains flawless, and feels surprisingly tight, even on an HDTV. Weapon switch from the SNES version was also added, making the game even more fun to play, as managing your plasmas actually becomes a possibility, opening the game up to new strategies. Jim's helicopter no longer requires a thousand button presses, and the whip swing is faster too. These changes are not only well recieved, but welcome because even though new difficulty levels were added, the original's brutal difficulty is still a selectable option.

Multiplayer was also a pleasant surprise, and while the initial reaction would be to hiss at the fact that yet ANOTHER game has had multi shoehorned into it, it's actually pretty well done. With support for up to 4 players, and redesigned levels from the single player game featuring all sorts of clever co-op puzzles and situations that force teamwork, it's a real hoot. It's a real shame that hardly any people are playing it over live, but local is a blast, and definitely will distract for an hour or two.



Many of my comments on this game keep going back and forth, similarly praising and criticizing each aspect of the game, making it sound like a mixed bag, but it isn't as polarizing as seems. Overall, I was satisfied with EWJ HD. The high definition upgrade makes an artistically great game even better, the updated sound effects and voiceovers add a ton of personality to a title already brimming with it, and even though it wasn't necessary, the multiplayer is an absolute hoot and extends an already great title. I can't recommend it enough to fans of the original, and for new ones, I hope they're prepared to play one of the most challenging, personable platformers around.



**The EWJ2 humor problem is simple to explain. The original Earthworm Jim, and part of its charm was being a game that didn't take itself too seriously, though it's intimidating boxart would've had you thinking otherwise.

The game starts with Jim's pants falling as he showboats for the camera, and moments after you've pressed start, he's on-screen sporting the angriest "GET TO THE CHOPPA" look you could ever possibly imagine on an annelid. But this was the balance--for every clever 'serious' red herring the game threw you, there was a clever joke waiting not too far away. Jim fights his way through a rabid junkyard, then he's in hell listening to elevator music. One second he's working his way through an underwater labyrinth constructed by a fish, then he's caught up in a freefall battle with a robot chicken. The best part was, Jim for the most part did it stone faced, and carried himself like a champion, like he was embarking on the greatest rescue mission ever, and like he was going to succeed...somehow.

Then in the second, it seemed as if it were all about the punchline. Gone was the deathly serious Jim surrounded by absurdity, he was now consistently bug-eyed and jogging in place. The levels were clever, but one huge punchline. The enemies were punchlines. The puzzles, onscreen words--everything seemed like a setup for a joke bigger than the next, and while it's fine in the grand scheme for a character like Jim to occupy the role of Jester--it was the fact that he wasn't in the original that made his quest so endearing. He was ridiculous--but not as ridiculous as what was going on around him, and that's why the humor worked so well. The second felt juvenile and undercooked by comparison.

(This article's also on CLgamer.com!)

Continue Reading..

Impressive Visuals = No Local?..

It isn't the craziest notion, in fact, it's one I had gathered while going over the new releases this and last year.

Nearly every time we've had a graphically impressive title with multiplayer potential, it's been lacking a major component : local multiplayer. Online multiplayer is usually included, sometimes even LAN, but it can't replace the simple fun of sitting next to a friend (or significant other) and playing the afternoon away. There are also other factors: Not everyone has internet, or are willing to deal with the lag, glitches, screaming and service fees that can associated with online multiplayer. Everyone I'm acquainted with unanimously agrees that playing offline is the superior experience, from the reasons above to the overall atmosphere.



But why give that up? The arcade experience is massive and can be "simulated" to a point online, but nothing can replace the interpersonal experience that is the small gathering of 2-4 friends.



I honestly just explained it away with logic; of course, it's a given, as graphics tech gets more advanced and games become more visually dense, the prospect of running two simultaneous instances of one is very low. Seeing a game as graphically impressive as Grid, or Midnight Club: Los Angeles cements this notion; in single player alone, these games can hang with the best, regardless of genre. They already look like they're pushing the console with only one screen; asking for two screens of it simultaneously is absurd, unreasonable even. At least, from a developers' perspective.



But why not make concessions? Last generation, and even the one before that, it wasn't uncommon for a game to pair down its graphics for multiplayer. A reduction in resolution here, a framerate slash there, but it was a sacrifice players were willing to make in order to punch each other in the arms over a botched win, or a clutch victory. It isn't like anyone cared either -- dare I say, we understood that it needed to happen. Now, we're so inundated with online, and so frightened of breaching the uncanny valley that we've accepted the copout over XBL or PSN.

Now, traditions like the triumphant stand, the Crushing Controller Fling(tm), all of our victory celebrations and heated rivalries have fallen by the wayside because of this trend. Sure, they still exist, but now they're confined to our lonesome. Before the advent of the internet, programmers had to figure out how to make multiplayer work by any means necessary. Now that you can have a single screen to yourself, the concern has fallen by the wayside.



It bothers me a great deal. I'm not the biggest multiplayer gamer around, but I'm starting to feel that as graphics improve, the push to online instead of local multiplayer due to technical constraints will only continue. Something like Killzone 2 begs to be played locally, and I've seen many a person pass it up because it's lacking this feature. Need for Speed: Shift is an excellent racer...but as a series, NFS has been missing local since Prostreet, again, much to the chagrin of the audience. The only games that seem to eternally retain this feature are the ones that literally cannot do without it; namely fighters and sports titles. How long will it be before we (or devs) decide we don't need to play those in the same room either?



There may be light at the end of the tunnel yet, as some companies still see the value of this dying form, no matter how graphically impressive their titles are. Games like Lost Planet 2 cleverly get around the issue with some strategic cropping in split screen, and others like Blur are simply programmed so well, the disparity in visual quality is something you have to squint at in order to notice. I don't think it's too much to ask to have games as well prepared for local multi as your average Nintendo title, and more devs need to take cues from them among others before it's too late. I'd hate to see local multi go the way of the dodo due to a lack of effort, and while It's fine that the graphical landscape is changing, good looking games aren't exactly hard to come by anymore.

Our excuses for leaving the house are becoming so.

(This article's also on CLgamer.com!)

Continue Reading..