Patchwork Heroes is one of those strange, quirky games that makes you really appreciate indie games. Heroes are all about strategy and are less puzzle-like, and I liked this a lot. You play as a team of kids who are hell-bent on destroying airships and scrapping them for parts. There’s really no story involved, but the cutscenes break up the levels nicely.
The main mechanic of the game is sawing parts off a 2D ship. Each ship is measured in feet at the beginning of the stage, and your goal is to cut it all off. There are obstacles on the ship, such as enemies and even prisons, that have your friends trapped. If you break them out, you can use them as bombs to blow up parts of the ship that can’t be cut by your saw, such as metal. Some enemies can patch up what you cut, so you have to distract them by cutting an area that’s not near your target and watching them fall.
You can find power-ups that let you move faster, slow downtime, etc. Once you saw off enough pieces, you can get a special power that will let you continually see up to a certain amount of time without stopping. After you sawed off almost the entire ship, you had to avoid the self-destructing bombs and saw off one final piece. While all this sounds easy, it’s kind of fun at the same time. The graphics are really charming, and the 2Dness of them brings the whole game to life.
I honestly think this is one of the best sleeper handheld hits of the year. It should have gone multi-platform on the DS and iPhone and would have done better on touch screens. Nevertheless, Patchwork Heroes is a great game to pass the time and shouldn’t be passed up.
I love sci-fi and fantasy books, and when it veers away from video games, I tend to be extremely picky. I love the weird ones, and The Dragons of Babel by Michael Swanwick is probably one of the weirdest books I have ever read.
The story revolves around a boy named Will le Fey who lives in a quiet little village with his aunt. He observes a battle with a dragon (dragons in this story are mechanical and are piloted by people), and one crashes into his village. The dragon crawls to the town square, declares himself ruler, and makes all the townsfolk do his bidding. While this fiasco goes on for several chapters, you follow Will’s life as he becomes the ruler of an underground gang and becomes a trickster in the great city of Babel.
The book has strange mythology and culture but ties current culture into it as well. You’ll see words like BlackBerry, Kawaski, Vespa, and real-life names pop up here and there. It feels a bit out of place, but not at the same time. The book is full of witty humor and strange sexual tensions with the main character. The book has sexy themes as well, so it appeals to everyone. The book is just so strange yet so invigorating that you can’t put the thing down.
There are very confusing plot holes that really don’t ever get answered, and sometimes you can get lost in all the made-up gibberish that Michael makes up. The world is so magical yet so real that it’s hard to tell which it really is. There are strange creatures, magic, and just weird ways for him to twist real-world ways into his own fantasy. The book is written very well, but it jumps around a bit too much and sometimes feels like it’s going nowhere. If you’re a huge sci-fi or fantasy fan, then pick up The Dragons of Babel.
Assassin’s Creed is one of those games that is really tricky to put into book form, and it didn’t quite get pulled off right here in Oliver Bowden’s adaptation of the second game. Assassin’s Creed has two parts: One is a science fiction story where a man named Desmond Miles is captured by a secret government organization and stuck in an Animus machine to unlock the DNA of his ancestors and find the Pieces of Eden. The second part is whatever time period Desmond is throw-in, and in this case, he is Ezio Auditore de’ Firenze in 1476 Italy.
The book completely cuts out the science fiction part of the game and just concentrates on what’s going on in the Animus, but dismisses this as well. This may be great for people who don’t like the science fiction side of Assassin’s Creed, but fans will miss it. Bowden also relies too heavily on the script of the game to drive the book, and rarely do you get to be inside the minds of the characters as much as you’d like to be. He rarely delves further than the games do, and this is disappointing.
A lot of the secondary characters are built upon very well, and you never feel for them except for Ezio. You always feel the other characters are just add-ons and not really important in the story. All of this is just more evidence that Bowden relied too heavily on the script. The book does include the story pieces from the DLC Bonfire of the Vanities and Battle for Forli, so you get some of that included that wasn’t in the original game.
The bits of Italian are nice, but most readers who didn’t play the game won’t realize that this was because Animus 2.0 had bugs in it that couldn’t translate all of it into English for Desmond. There is, however, a nice dictionary at the back of the book that translates all the Italian phrases for you.
Well, here it is. After waiting 3 years, we finally get the ending to one of the best video game series ever created. The biggest question that people have is whether the game is enough to stand on its own out of the other next-generation games. The answer is yes, so let’s get down to it.
The game’s story picks up right after God of War II, with Kratos riding on the back of Gaia and climbing Mount Olympus. The game starts out on the back of Gaia, with Kratos fighting hordes of monsters (and learning the controls). The game starts out more epic than ever with an epic boss fight with Poseidon. Giant water serpents come up and try to kill Gaia, so not only do you have to kill Poseidon, but you have to protect Gaia as well. The boss fights are bigger and more epic than ever with Titans that are miles high (fighting Cronos is the most epic of all), and you really feel like you’re taking these beasts down with satisfying results.
I have to first talk about how the game looks. Yes, God of War III is probably the best-looking game made to date, and it really shows in every aspect. The sweeping camera angles, the high-resolution textures, and the models. The gorgeous lighting effects and everything just feel updated and like it should on the PS3. You can see the pores and details in every character, the animation is more fluid, and the combat even feels better and more fluid, especially if you just played the God of War Collection. I can’t really describe just how beautiful this game is. You can see and feel the passion and detail every artist put into the game, from the creatures, levels, and even small things like blood, scrapes, and nicks on metal—just everything.
Combat is what has the biggest upgrades. No longer are you confined to having all your magic items come from your magic meter. There are a ton more weapons (four in total) to get, and each weapon has its own magic attack instead of being collected separately. The Blades of Exile (yes, the name has changed again) have the Spartan Army attack; the Nemean Cestus have a pounding attack; Hades Hooks that let you summon different creatures; and a whip-type weapon that sends electric shocks. All the weapons are similar to the Blades of Exile, and the Blade of Olympus is now used during Rage of Sparta mode (yes, it’s changed and everything turns black). There is now an item meter that is used for your bow, Helios head, and Hermes shoes. All these items sound crazy, but let me explain.
The bow lets you set certain things on fire and is mainly used during the beginning of the game, but not so much later on. The Helios head is used to reveal secrets and blind enemies, and the Hermes shoes are used during wall running sections. The grappling hook still exists, but all of these changes let you use all your items and weapons all the time and don’t rely so much on just magic. Some other changes to combat were made, so everything feels more fluid and you never have to stop fighting no matter where you are. You can evade in the air; there is now a grapple attack that pulls you towards your enemy in the air or on the ground. The combat system is just super fun to use now, and all the additions perfect the combat system and make a fitting end to the trilogy.
The QTEs are still intact, but with a bit of a change. They appear on the edge of the screen according to the controller layout, so you can now watch what’s going on. Using your peripheral vision to see these really helps keep you drawn in, so you don’t have to concentrate so much on the buttons. It is a little confusing at first, but after a while, you will get used to it. The QTEs are also better placed, especially during boss fights. You really feel like you’re making the big kill this time around with a new camera angle that lets you see in a POV of the enemy you pummeling or in Kratos’ view. This adds to the cinematic excitement and brutality of that game.
Another thing I need to talk about is just how much more brutal and explicit the game is. The gore is more detailed, with guts hanging out, cuts being visible where you slashed an enemy, skin stretching when heads are pulled, tendons popping, veins breaking, etc. All this is visible thanks to the power of the PS3, and it really makes you wince in sympathy. The game even has a more explicit sex minigame that is about halfway through with Aphrodite. Instead of just panning over to a table with a vase, you see two topless women talking about what Kratos is doing to Aphrodite, and it is both hot to watch and funny.
The puzzles in the game are what you would expect from a God of War game: clever, fun, and unique. Just like all God of War games, some puzzles are an entire level with little puzzles within that, and Daedalus’s labyrinth is one example. They aren’t as confusing as the last two games and are easier to figure out, but they are just as clever, and some puzzles are now part of the environment, so timing and speed are of the essence.
While there are a lot of game changes, like the combat, additional weapons, and even Icarus’ Ascension (which is a flying section where you dodge falling debris), the game stays true to the series. Everything is just bigger, badder, and meaner, but it does have a few slight flaws. The ending story is cut a bit short, there aren’t enough epic boss fights, and the difficulty is highly unbalanced. These are really all I could find, but they aren’t necessarily flaws. If the game were a bit longer and those three issues didn’t exist, it would get a 10. The game is perfect except for that little tic-tac-sized piece that you feel is missing and can never pin. The game has high replay value to unlock trophies, challenges, and costumes, and there are a ton of making-of videos for die-hard fans to watch.
I just can’t describe the improvements in this game unless you play it yourself. It is probably the best PS3 game out there so far, and it is so enjoyable and chock full of excellence that it’s almost too much to contain. The amazing scale, beauty, and vast improvements make the game worth a purchase tenfold. I just wish this weren’t the end of Kratos’ adventures, or is it?
ULTIMATE EDITION: If you pre-ordered a copy or can still find one floating around and want to shell out an extra $40, you can get the Ultimate Edition. It includes a very detailed Pandora’s Box, a code to get the God of War Trilogy OST, the Blood and Metal soundtrack, an hour-long making-of video, and a full-color art book. The package is a bit disappointing since the box is made of hard plastic and not die-cast metal. The soundtracks were a pain to get during launch day since the site was bogged down and wouldn’t load half the time. The Blood & Metal OST is pretty disappointing since it’s nothing special. It has a couple of big names like Trivium and Killswitch Engage, but only three of the songs on the album were any good. I also wish the soundtracks came in physical CD format, but digital is fine. The making of the video is filmed like a History Channel documentary and can be a snooze fest for hardcore fans who already know all about the game. The Trilogy OST is fantastic and is probably the best part of the whole package, along with the detailed art book. Is it worth $40? Sure, if you’re a hardcore fan; otherwise, pass.
The echo series is a very cerebral puzzle series that really is not for everyone, and echoshift is no exception. The game just makes you really think and screws with your perspective in a way that requires a lot of trial and error, and mainly memorization.
echoshift lets you directly control your echo, but this game uses a time mechanic instead of perspective. Every level is a 2D side view, and you are mainly pressing switches, walking through doors, and basically trying to find the fastest route to the exit. You get 50 seconds for your first echo to try and clear the way. Then your echo will do what you just did. This is the key element in echoshift to solve puzzles, since you can’t always solve them in 50 seconds.
Let’s say you have five sets of switches, but you can only do three in 50 seconds. There are 5 blocks on each set, and only one is the right switch. You would have your first echo solve three, then while that echo redoes what you did, you go solve the third (the final switch your last echo will press), and then you solve the last two. Confused? I don’t blame you since it takes a lot of critical thinking to get these 50 or so levels solved. You get rated on how many echos you had to use, and if you beat the level, you can go back and solve the version to find the key, which really has no purpose.
The graphics are very simple, just black and white, and all the items you interact with are in color. The game is also very slow-paced, so only the patient will find any fun in this game. Echoshift is one of those rare puzzle games that makes you think so much that your brain will explode, and I can’t stress this enough. There were times when I was too tired to think to play this game, but it gets the thinking juices flowing and can be a good exercise to get into the flow of school or any office work.
Real-time strategy games are one thing, but when you add the words fat, princess, and cake to the title, it becomes something magical. Fat Princess is an RTS that really makes your adrenaline pump. You have different classes such as warriors, wizards, priests, workers, etc., but call this game an RTS lite because the game is all about action.
The main story consists of 15 levels, and each one is different and super fun, with a very interesting fairy tale story that is being told. You slowly unlock different units to use, but how you use them is key. Each unit can be upgraded to use different weapons, such as the warrior, who can use a halberd, the archer, who can use a gun, and the worker, who can use bombs to blow up structures. Your main goal is usually getting the enemy’s princess into your dungeon, so think of this as capturing the flag. You can feed your princess cake to fatten her up so it is harder for the enemy to take her away. The enemy will also try to build ladders near your castle or find shortcuts, so watch out.
Workers have two different resources for upgrading “Hat Machines” or completing different objectives that require them. You can gather wood and metal by hacking away at it and carrying it to your base. Most resources will grow back after a few minutes, but it’s a fight for the best areas. You can capture command posts as well to keep a firm hold on the map.
But like I said, the game is about action, so unit building and all the resource gathering are faster. Each unit is AI-controlled, and you can call some guys to fight by your side and help you escort the princess. You can call an archer, a warrior, or a priest who will have hearts under them, and you can move faster. If the enemy’s princess is too fat, however, you can’t carry her at all.
The fun part about Fat Princess is how the tide of the battle is a tug of war and can be really intense. Choosing what to do is up to you. Do you want to help heal everyone as a priest? Help upgrade the hat machines. Do you want to charge right into the castle yourself and get the princess? While the AI-controlled guys may have some issues going online via infrastructure, that is the icing on the cake. Playing against real people can be a blast since they pretty much know what to do.
Besides all this, you can customize the units of your people and do skirmishes, but other than that, the game is light on modes and extras. Fat Princess is chock-full of internet quotes and game-related nuances, so there are laughs all around. Fat Princess is a wonderful light RTS for pick-up and plays action. Plus, the game looks and sounds great on the PSP and doesn’t lose anything from the PS3 port.
By now, everyone with a 360 has either played or owned this game. There’s so much about Oblivion that it would take pages and pages to describe it all in detail. The main story is that you have to restore the dragonfires so the realm of Oblivion can’t come back to Cyrodiil. The story is very interesting, and the side quests add to this. To start with, you make your character with an absurd amount of detail, and you can even name and customize your own race, abilities, etc. In each city in Cyrodiil, you can choose to join guilds such as mage, fighter, thief, etc. You complete tasks for the guild leader, and you get a recommendation from the head of that guild. You can train there to raise attributes and rest. Now, when it comes to talking to people, the game uses facial expressions to show you what the NPC is feeling. You can persuade people via a little mini-game that takes a while to master.
Now let’s talk about combat. The combat is very deep and simple at the same time. You block with LT and attack with RT. You can use magic, swords, bows, katanas, staffs, etc. As you use your weapons, they deteriorate, and you can repair them with hammers or at weapon shops. Some weapons can have attributes like causing your foe to be paralyzed for 30 seconds or something like that. You can use scrolls, which are magic attacks for defense, and offenses that can be used once. When you level up, you have to go to sleep so you can meditate on everything you learned. It takes a long time to level up in this game, but it’s well worth it.
The vastness of attributes is insane in Oblivion. The combinations of alchemy spells and everything combined just, literally, make it infinite. Now let’s talk about vastness. The game is huge—bigger than all the GTAs put together. Anything that you see, you can walk on or climb. You can ride a horse there or just go there for the hell of it and discover something new. You can pick plants for alchemy, you can find new weapons…or just completely useless stuff like bones, cups, vases, quills, mops, shovels, etc. Some stuff is worth thousands, and some stuff is worth nothing at all. You’re probably wondering how you travel such a huge amount of land. Well, the map lets you warp. Thank God for that. Of course, you can’t warp inside a building, but you can get the idea. Now the game can let you go good or evil depending on whether you steal people’s stuff, pickpocket, murder, etc. Or you can choose to be rude to people during conversations. Technically, there are some flaws.
The graphics are still pretty good by today’s standards but show some age, just a tad compared to recent next-gen games. The music is outstanding, and the voice acting is superb. There is some texture popping up here and there and hitting. The constant loading is also annoying, but with recent software updates that have been remedied, this is some. You just have to get this game. It’s so big and so deep that you’ll play it for hours and hours. Also, with all the expansions out there, I wonder if there is an end. A note to casual players: stay away. The vastness and depth will turn some players off and will turn JRPG fans off.
Ahhh, the tired old FPS genre. Everyone loves it, and then everyone hates it. What more can developers do to change the FPS genre to make it interesting? Better graphics? Better sounds? More realistic AI? Realistic physics? Less linear? Keep the linearity? More vehicles? Better story? The list goes on and on, and the answer is yes to all of the above.
Bad Company 2 is a sequel to the first, but the first game was pretty forgettable. You play as a squad of four soldiers who were military rejects and must earn their freedom or face the slammer. They are sent into Africa and other parts of the world to find some sort of scalar weapon that the Russians found in Japan and are using for global domination. Not something we haven’t seen before, but the squad has great characters that you’ll love, and hearing their banter is enough to keep playing.
A lot of people are comparing Bad Company 2 to Modern Warfare 2, and if I were to pick the better game, Bad Company 2 for single-player and realism, and Modern Warfare 2 for multiplayer, but then again, I’m not comparing the two, so let’s get down to it. The first thing you will notice is how real Bad Company 2 feels, more so than any other shooter so far. The sounds are just amazing, with the sound of fire echoing off caverns, the sounds of you reloading echoing in a building, the pinging of bullet shells hitting the floor—everything sounds like it would in life and is placed accordingly to unlock most (if not all) shooters, real or not. The foliage looks real, and everything blows up. You can blow pretty much anything up in the game with anything you can get hold of. This is also used in gameplay when getting around turrets that you can’t shoot through. Find some red barrels and blow the building up, then have it collapse on everyone below it. This goes for radio towers, telephone poles, and large trees. Then again, it’s pretty stupid when you can blow apart small objects like trash cans, chairs, or cardboard boxes, so it’s very strange.
The weapon selection in the game is great, and you get all your real-world guns, and they fire like they should. The guns feel powerful, and everything about shooting feels dead-on. Gone, however, is the whole healing thing, and instead, you just hide in cover to heal. Another element stripped is finding the gold bars, but instead, M-COM stations that you blow up and finding weapons. The M-COM stations are hard to find, and I don’t know where all the hidden weapons could be, but they’re there for people who like that stuff. I personally hate finding crap in shooters like this since it detracts from the experience and pulls you out. Other than that, though, the game is paced nicely and flows just right.
There are some elements that haven’t been down before, like the whole blowing up everything in your path (in an FPS anyway), and there’s even one level where you will freeze to death if you don’t find shelter fast. This level has your knifing doors open as you race down a hillside. There are some epic vehicle sections (that haven’t been done before), but there is one level that isn’t linear that has three checkpoints, and you can choose which ones you want to do first. The opening level is even from WWII in Japan, so the game is full of surprises and is a blast to play.
When it comes to multiplayer, the game is solid with three modes of play, but my favorite is Rush. Like in the original game, you have an attacker and defender side on a huge map (this one supports 64 players). You have five different classes to choose from, and you can customize them as you please. There are three “perks” that you can use at a time, but they must be unlocked, and this takes a while. The multiplayer is fast, intense, and fun, with lots of vehicles zooming around, everything blowing up, and people just being crazy.
My last words here must be how amazing the game looks. Probably being the best-looking shooter around, it looks great technically but has no artistic style and is just “real life” type of stuff, so it’s not for everyone. If you want a really amazing shooter to play and are bored of Modern Warfare 2, pick up Bad Company 2, because it’s one hell of a ride.
LIMITED EDITION: If you pick up the game soon, you can still get the limited edition, which has six multiplayer unlocks and entitles you to upcoming maps for free. A deal? I’d say it’s the standard price with no additional charge. To find a new copy if you can.
The first thing you will notice when you play Dante’s Inferno is that it’s a bold game. The game is one of the darkest, nastiest, and most mature games ever created, and it makes Christianity look like a damned fool. The game is about a man named Dante, who is a crusader and betrays his love, Beatrice. Upon his return to Florence, he sees her dead and watches as Lucifer takes her into hell, and Dante follows. The story is pretty good and keeps you interested, but it’s predictable. The game goes extremely deep into Christian and Greek mythology and pulls out names only hardcore followers would know, but enough of the story, let’s get to the gameplay.
The game has a pretty damn solid combat system. You use your scythe as your main weapon, and you have a cross-projectile attack. You can do aerial combat, launch enemies into the air, and use your magic. You can unlock moves by following the holy or unholy paths (which don’t actually affect the story), and each tree has a different set of moves. You can have four different magic items equipped, and all are useful and powerful. One of the first elements you’ll find that they took away is the relics. They are gone! These really helped you in the console versions, but they are nowhere to be found here. Anyway, the combat system is fluid, fast, powerful, and very deadly. Another element they took away from combat was the redemption meter. Geez, guys, why did you butcher this?! With those two things aside, the combat is fast and as fluid as it is on the consoles.
When it comes to exploration, Inferno both satisfies and disappoints. The game has you descending into the nine circles of hell, and each is harder, more deadly, and more brutal. Some levels are pretty epic, like The City of Dis and Limbo, and some disappoint, like Lust (just an ascending tower) and Gluttony (just fight Cerberus and a few baddies, and you’re down to the next level). The levels are varied in length, and I wish they would have been fleshed out more. Puzzle-solving is pretty rare, and when you do get some puzzles, they are pretty easy to solve. However, most of the puzzles have been solved for you. Yeah why?! Not only this, but a lot of the game’s intense sections are videos of gameplay from the PS3 version. One example is the part when you kill Charon and ride the giant minotaur up the crumbling bridge. You don’t get to play this part; instead, you watch it.
One thing I have to get straight is that the game is pretty epic. Not a God of Warepic, but enough to keep it very cinematic. There are QTEs in the game, such as when you take down a minotaur to ride it, take down bosses, etc. You can punish or absolve most enemies to get fed your tree paths. There are famous historical figures that you find throughout the game that you can punish or absolve upon reading what they ended up in hell for.
The game’s visual style is very impressive. It’s what you think hell would look like—dark, disgusting, and evil. The gluttony level is a good example since you are walking through the intestines, bile, puke, and so forth. The Lust level has female enemies’ wombs coming out of them to attack you. A giant Cleopatra with tongues coming out of her nipples and evil babies—yes, it’s bizarre, but it works, and it’s amazing to look at. However, on the PSP, it’s obviously downgraded quite a bit, and a lot of the beauty from the consoles is lost in translation.
The game is also extremely difficult, even in an easy setting. Wave after wave of enemies come at you from all directions, bosses are extremely hard to beat, and the game can be very frustrating often. However, the game’s major flaws are mainly the length, difficulty, and the fact that the levels weren’t developed to their fullest potential. So with the flaws of the console still here plus relics, redemption, puzzles, and a lot of other things removed from the game, you still get a solid Dante’s Inferno Lite for people who are on the go or don’t own an Xbox 360 or PS3 (you should!).
What would you do if MMOs were real? No, I actually mean real. That is what Walter tries to bring to readers in This is Not a Game. They are called ARGs (alternate reality games), and a mega-corporation invests in writing the scripts, hiring actors, etc. to plant clues in real-world locations for people to solve, but what if the players were to solve real-world murder cases in these ARGs? That is what Dagmar Shaw does, and she tries to find the mystery behind her three college friends. The book is chock-full of mystery, suspense, and quite a bit of drama. Walter also tried to keep the book “today” using internet terms like Facebook, YouTube, Xbox, etc. to keep it hip and cool. Does this make the book a sell-out? No, it does, because Walter uses it sparingly and when it’s appropriate.
Thanks to the book being very “now,” a lot of younger readers might be interested, but the game has a huge political plot twisted in that has to do with attacks on foreign currency, and this may turn some of the dimmer-minded away. The characters are very strong and likeable in the book, but you always feel like you are not getting the whole picture. The book has great pacing and doesn’t really jump around characters since it evolves around one (Dagmar), and you see what goes around her and in her mind. This makes you really like Dagmar, but she does seem a bit generic and average sometimes.
The book just really shows how social networking can get out of hand and become a nightmare, and thanks to Walter’s choice of setting and sticking to the “now,” this can actually happen today. The end tended to be a bit rough and rushed, and I wished we could have known a bit more of what the characters were going to do after the end or if there was going to be a sequel (knowing Walter’s work probably not). I highly recommend this book to gamers, social networking fanatics, sci-fi buffs, and anyone anywhere into the “now.”.
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ORC is probably the worst game in the entire series. It's objectively awful. Being bad isn't different. Different is Outbreak…