Mass Effect 2 has a slew of great DLC, but Kasumi’s Stolen Memory is probably the shortest of them all. The DLC has two short parts to it. The first is you trying to find Kasumi, which doesn’t really make you feel so much, and the second is sneaking into Hock’s safe to find Kasumi’s stolen gray box, but it all seems pointless in the end.
There’s a good boss fight at the end, and it gets pretty intense, plus you can pick up a new weapon as well as some other things like credits, salvaged parts, etc. It’s your typical standard ME2 affair, and there are no gameplay changes, of course. Kasumi is a great character, and her stealth abilities really shine in combat, and she can get you out of trouble in a pinch. She’s a very mysterious character and has a lot of sarcasm to her, so she’s great to listen to and has an interesting past.
I would have liked to see more than just a little infiltration mission since there’s so much potential with her, and hopefully we’ll see her in Mass Effect 3. The whole DLC can be beaten in just one sitting, so you might feel like your $4 was wasted, so this isn’t the ME2 DLC available. It’s great for hardcore ME fans, but casual players of the game should pick this one up.
Oh, Peter Molyneux, you’re such a tease. You always make these simple ideas seem so grand and innovative, yet when we play with them, they don’t seem so. Why does Mr. Molyneux do this? No one may ever know, but it’s probably best for him to keep striving to make his games better, but Fable III isn’t an amazing game at all; it’s just a good game.
Let’s start with the story. Fable II had an awesome and memorable story, but Fable III tends to fall on a mediocre and typical one. You have to gather allies throughout the land of Albion to rise against your evil brother, but really, there’s a stronger force at hand (I won’t say for spoilers). The whole story is generic, the characters aren’t too memorable (except Reaver!), and following a nameless hero is getting old. Other than that, it’s decent and has a couple of twists, but it just treads on without doing much new to the series.
Secondly, the combat that Lionhead keeps changing with every game is very simple, yet there’s a uniqueness to it. Each attack is mapped to one button: firearm, melee, and magic. It’s a mixed bag as to which you should use since magic is the deepest of the three. You can equip a different magic gauntlet to each hand and mix attacks, and there are 15 combinations in total. Holding down B will allow you to charge it for an area attack, but they made this weird control scheme where you have to press the analog stick toward the enemy to make anything go that way. This is annoying when using your gun because while you reload, you are walking toward your enemy, so you have to stop pressing forward while you reload. There are some pretty gruesome fatality kills, but otherwise, combat is a bit awkward and simple. On another note, the enemies just swarm on you and don’t really do much else and can lead to cheap deaths (mainly the Balverines), and there isn’t a huge variety of them. Hobbes, humans, Balverines, wolves (early on only), Hollow Men, pretty much every enemy from Fable II, and not many new additions.
As you kill things or do things in the game, you can turn them good or evil, and each weapon has three different criteria to make it a truly heroic or evil weapon. This will also make it more powerful, but leveling up 50 legendary weapons? Fable III is full of unnecessary mundane things that only the hardest of hardcores will ever complete. The whole good and evil are used well here during the second half of the game when you become ruler. You decide the fate of people, cities, and other things to add money to your treasury (why you do this will spoil the story). It does make you feel powerful and is probably the best part of the story.
The game features something very unique, and that’s your central hub. You can press the start button anytime, and you will go to a hub with your map and everything else you need, such as changing weapons, clothing, makeup, the Xbox LIVE Marketplace, the Xbox LIVE co-op, the achievement wall, your treasury, etc. It’s very intuitive and unique (and there’s no loading!). On the map, you can fast travel to any city, and all gnomes, keys, and quests are marked so you can keep track of them. You can also buy real estate on the map instead of wandering around everywhere and doing it on foot.
Secondly, Fable is all about exploring, and there is more exploring than there are main quests. There are a ton of side quests, such as finding 50 gnomes, keys, and 30 Aurorian flowers. These are for opening silver chests and just getting achievements, but you will need the strategy guide or some online guide because, boy, it is frustrating to find these things. You can find dive spots, dig spots, and books as well, but it seems endless and doesn’t really pay off achievement-wise (except for the books).
Another (almost) useless thing that has stuck around is relationships and expressions. Peter insists that these things are unique and innovative, but they really don’t do anything except make it feel like something from The Sims. Expressions can be used to raise the level of like or hate. Go high enough, and you can propose to someone. You can also have sex with people and catch STDs, but this only feels like it’s for laughs more than anything useful. Another feature Molyneux pushed was the hand-holding idea. This is not as great as he claims and is useless (and in disguise) as an AI pathfinding replacer. You only really use it to guide people around during certain quests, so don’t get too excited about this.
Lastly, the game features a new way to acquire levels, expressions, jobs, and other items through The Road to Rule. As you complete sections of the game, you can purchase chests using guild seals that you get from defeating enemies or completing quests. This is an interesting way of upgrading, but you wouldn’t miss it if it were gone. Secondly, the same goes for those stupid jobs that you can do to make money. After you try each one, you’ll be done because it’s mundane, and you don’t earn as much gold after you buy up a lot of property.
Overall, Fable III tries too hard instead of starting anew. The game looks the same as Fable II, and in turn, it looks outdated with muddy textures and some low-resolution models, and the only thing that looks good are far-off vistas. The game also has a lot of British humor and may not suit everyone, but the voice acting is pretty good. With only a few side quests being memorable, a generic story, and some useless, overhyped features, Fable III is disappointing, but not as much as you’d think. If you liked Fable II, you’ll love this, but haters will still hate it.
Fallout 3 was a phenomenon like no other. With such care and time spent on a license that completely reimagines it, it is daunting, but Bethesda pulled it off. With its haunting and eerie atmosphere, huge selection of lore-friendly weapons, excellent story, dialog, and character design, Fallout 3 became an instant classic of the last decade. New Vegas continues this tradition, but Obsidian (the original developers of Fallout 1 and 2) is on one board and has changed the game slightly, which will either piss fans off or please them.
New Vegas starts out with you being buried alive after being shot. You are a courier, but a robot named Victor digs you out, and Doc Mitchell patches you together. As you come to him, he talks to you as you select your character design and special, just like in Fallout 3. While it’s not as memorable as Fallout 3’s baby scene during this setup, it works just fine. As you step out into the Mojave Wasteland, your eyes adjust to the light, and you’re set loose in Goodsprings, which is New Vegas’s equivalent of Megaton. You meet Sunny Smiles, and she shows you the ropes of the shooting part of the game, and from there you’re on your own.
The first thing you will notice is that the engine has had a slight upgrade, but not by much. The game still uses the Oblivion engine from Fallout 3, so it’s obvious Obsidian is playing it kind of safe. The game is also full of desert wasteland, and Obsidian did the impossible by making a desert feel fun to play in and not deserted, empty, and boring to look at. Of course, like in Fallout 3, you headed toward the DC Metro area. In New Vegas, you’re heading to the Vegas Strip to meet Mr. House, who can help you figure out what exactly happened to you.
In the meantime, there are rival factions battling it out, mainly the New California Republic and the Caesar’s Legion. The NCR wants to order in the Mojave and wants to take over the Strip, but Caesar’s Legion wants to enslave everyone. There are other smaller factions that you must decide what to do with, and each one has tons of missions that will ultimately determine how easy the end of the game is. Speaking of missions, that’s one thing you will notice. There are tons and tons of them, but the game is missing the epic set pieces that Fallout 3 had. Instead, it’s just quest after quest, but they are all designed brilliantly, and no one is ever the same.
New Vegas still has the VATS (Vault-Tec Automated Targeting System) system, but nothing about it has been changing. There is a new first-person iron sights view, so with this, you will rarely use VATS now. This helps make the action faster and speeds things along. Everything else from Fallout 3 is here, but a major addition is modding your weapons. You can find or buy things like clip extenders, silencers, and scopes to add to your weapons. Additionally, you can also break down ammo and create new ones, as well as make aid items from items found throughout the wasteland and cook them. These new additions are minimal, and some people may not even use them, but that’s ok. There are a ton of new weapons and enemies, and everything you expected from Fallout 3 is here.
New Vegas also has amazing dialog, characters, and quests, and there is a ton of it. There are quite a few companions to have to tag along with, and there seems to be an infinite amount of spoken dialog. Player choices still play a huge role in the game, so don’t think those are gone. The biggest feat for New Vegas is that it, yet again, portrays a believable, enrapturing world and feels every part as amazing as the Capital Wasteland. There are a lot of Easter eggs and tidbits for fans of the classic 90’s Fallout games too. New Vegas is just an amazing and engrossing game that you can’t get yourself sucked out of. The addition of gambling is a good example of something that can be done at any casino and can be a lot of fun.
The game does have a few flaws, such as the copious amount of bugs, the characters looking ugly still, and the fact that it feels kind of dated. While the engine is solid and works for this game, it just needs a huge overhaul for Fallout 4, but die-hard fans will appreciate the familiarity. On a side note (that doesn’t affect the score), the game has a huge moderator community. Within the first week of being out, there were over 1,000 mods. While most of them are junk, there are some amazing mods that you must have that will make you not want to play the game without them. Character mods to make them look better, sexier, clothing add-ons, quests, weapons, you name it. I can’t play the game without these amazing mods, but for people who don’t care, New Vegas is a great game.
On an end note, New Vegas really sticks true to the RPG genre with tons of perks, a level 30 cap, and somehow makes item sorting fun. Pulling up your Pip-Boy to check your map, fast-traveling to discovered locations, or finding little-hidden gems and secrets in the nooks and crannies of the world is satisfying. Before you know it, 8+ hours will pass, and you’ll go to bed with a smile on your face, knowing that the Mojave Wasteland is safe with you around. Or is it?
Collector’s Edition: If you want to pony up another $30, you can get a beautiful and well-put-together special edition. The biggest attraction is the real poker chips from each faction of the game, plus the 200 platinum chips. The playing cards are beautifully drawn, and each card features a character on the back with a bio. The quality is amazing. You also get the comic book and making-of DVD. Is it worth it? Hell yes.
The Xbox 360 has probably struggled the most hardware-wise since its launch in November of 2005. With extreme overheating issues, loud disc trays, and high-pitched disc spin-ups, it’s been rough. After the new Xbox Elite came out, we fixed some issues with a smaller 45-nanometer processor for slightly faster load times and less heat. It featured a bigger 250GB HDD and more solid hardware, but it was still having overheating and RROD (Red Ring of Death) issues. Now that the Xbox 360 S is out, it fixes all these issues with grace.
The console has a new slick gloss finish design with stylish air vents, and the whole concave thing is out the window. All the buttons are touch panel buttons and release an awesome “ding” tone when touched. The tray is quieter, the HDD is now built inside, and there is a much smaller power supply and brick. This is all noticed right out of the box, which makes it worth another purchase. The biggest addition is probably the built-in Wi-Fi as well as a Kinect port. The Xbox memory unit slot has been removed since you can now back up saves on a flash drive, but people who have items saved on one will be out of luck here.
The console also has built-in HDMI and can support up to 1080p, but other than these new features, nothing else is really new. The console also can’t technically RROD anymore due to there being no red LEDs. The console’s plastic casing does feel a bit cheaper and less sturdy than the other consoles, but being 10x lighter really makes up for it. I highly recommend upgrading to the 360 S if you really hate your old console or if it’s about to bite the dust. Trading in your old console could make up the difference and make it well worth the purchase.
BioShock 2 was a great successor to the original but didn’t live up to the hype or the cinematic quality of its predecessor. It suffered from repetition (loot, go through the section, save Little Sister, gather ADAM, rinse, and repeat), and it didn’t have the scripted events that made BioShock so epic. This, in turn, made you want the game to just end after a while, and the developers played it very safe by making the entire game almost exactly the same. It did have an excellent story, though, and this is what made the game great.
Minerva’s Den has you playing as Sigma, who is a Big Daddy sent by Milton Porter to destroy The Thinker. The Thinker is a computer that runs Rapture, but you are also being told by Reed Wahl not to destroy the computer. Along the way, you are able to meet six little sisters and a couple of big sisters, loot to your heart’s content, and experience the excellent dialog, story, and pacing that should have been in the second game. There are two huge levels in Den, with little things hidden everywhere, as well as a new plasmid, Gravity. Well, new splicers and upgrades are found by finding them on dead bodies instead of Power to the People stations.
The story is really excellent, with you being completely clueless and just following Porter and Tenenbaum’s voice to do as they bid. You discover most of the things going on down here through audio diaries, and some can be pretty haunting. There are a few scripted elements, but the level design is also well done, and there is enough to do here to keep you busy for a good 4-5 hours. You will really want to savor every moment by looking in every nook and cranny as well as completing all of the great achievements.
What BioShock 2 was lacking is made up somewhat in this little DLC that could. While the art style and objects are recycled, there are a lot of new ones that haven’t been seen anywhere in the world of BioShock, such as computer-related objects. It’s a good change and really helps mix up the visuals. With a surprise twist ending that makes you slap your forehead, Minerva’s Den is well worth the money, and I hope it isn’t the last BioShock 2 DLC.
A lot of movie-based games have a lot of potential but fall flat due to shortcuts, bad production values, or just rushed and unfinished work. Saw is one of these games that suffers from this disease, but it’s not a terrible game. You play Detective Tapp, who must find and help various people seen in the movies through traps, but there are small traps you must get through to advance through areas and find items to also advance through areas. This is where Saw should be great: gore. It falls flat; there is a sense that everything feels stale and nothing has any weight or impact on it. When a head pops, it’s no more exciting than a bubble. There’s not much gore other than a red blob on someone’s head and no cringe factor. The movies made me even feel sick and queasy, but the game does nothing for me.
Controlling the character feels floaty and weightless, kind of like those first-generation PS2 games. Combat involves a simple lock-on button and attacking, and it works except that it’s as simple as A-B-C. You can pick up various weapons, such as crutches, lead pipes, scalpels, etc., but they have a damage meter, so after a few hits, they break apart. Enemies are as dumb as they come, and blocking their path by shutting doors can help, but they really can’t kill you since they even struggle to target you.
When it comes to exploring, the game is linear to a fault, with literally narrow corridors everywhere. Sometimes you’ll come to a candle with a tape from Jigsaw or some type of document you can read, but the clues in the game are very vague or too obvious. Most of the traps that you must get through to advance through the levels are pretty mundane and not very interesting. These range from finding a code on the wall to a lock, reaching inside some nasty thing to grab a key, or timed lock mini-games. I want to see gruesome stuff, not silly interpretations of things we’ve seen before. Saw is a game that could really innovate mature audience-inspired games with some pretty brutal stuff.
After you slog through this, you can finally get to the finals, which are a bigger main trap, but not all of these are interesting and are pretty much more glorified versions of the advancement puzzles. Neither are very gory, look brutal, or are as convincing as the movies, and it’s the graphics that really transpire this. They look very dated, and the technology doesn’t allow a lot of detail. If these guys could get a sophisticated engine, they could make this game look fantastic, but they opted for the cheap engine instead. They did capture the Saw atmosphere really well, but the shock value is pretty much nonexistent.
Overall, Saw is a decent rental, but it’s not one that you’re going to walk away feeling great about, but instead depressed at how lame the game is instead of how great it could be. The game does support an Xbox 360 controller, but people who prefer the keyboard and mouse will be clueless as to what controls what because numbers don’t really help and there are no tutorials. The puzzles, however, are varied enough to keep you interested, and there are some fun doozies in there, but other than that, this is a huge disappointment.
Ninja Theory has had a hard time establishing itself as a talented developer. With the major hype of Heavenly Sword, Lukewarm sales of the crappy Kinect Joy Ride, and the controversy of DMC, it’s struggling. Enslaved is probably NT’s most successful game, mainly commercially, due to its better marketing. The story is probably the game’s strongest point, as character development and combat take a back seat.
You play Monkey, a guy who escapes a slave ship that’s crash-landed in post-apocalyptic New York. Along the way to escape, he finds himself stuck and enslaved, but a young woman named Trip needs his muscle to get her back home further west. The relationship between Trip and Monkey is what makes you keep playing, and their constant fight for freedom is heartwarming.
The combat had a lot of potential, but after the first chapter, you’ll get tired of it. It’s the same two combos over and over again, with a crappy camera that can’t stay put. Sure, the angles are cinematic, but if you get backed into a corner, it’s nauseating. The camera can’t stay put at all, and it leads to cheap deaths and frustration when mech after mech is beating you down. You can charge an EMP burst to disable shields and make the mechs temporarily stunned, and this is essential to defeating them due to their constant blocking and shielding. You can command Trip to use a decoy so long-range mechs shoot at that instead of you so you can climb around and get to them. Some mechs have weak points that allow faster kills, and you can use your staff as a projectile weapon equipped with plasma rounds and EMP rounds. This staff is also used for puzzles and exploring as well.
So combat is pretty finicky, but exploring can be a blast thanks to huge sprawling vistas, easy-to-see glowing handholds, and whatnot. Occasionally the camera gets in the way here or the controls can be a bit touchy, but it’s not nearly as frustrating as the combat. You’ll notice orange orbs floating around everywhere, and these are used for upgrades, but you can only upgrade if Trip is in the vicinity. There are some points where you can use Monkey’s Cloud hoverboard, and there are a few exciting moments like chasing a giant mech, but this feels a bit tacked on.
The game also has pacing issues since the first chapter is epic, and the next six or seven are the same repetitive area-to-area beating mechs up and jumping around the affair. It’s a shame that Enslaved feels like it’s only 80% complete because it needed a lot more polish. Even though the game looks good technically, it’s pretty bland, with just lots of green everywhere. There’s no unique art style or anything, and this is a shame. The mechs all look the same, and the enemy variety is less than half a dozen. Boss fights sometimes feel epic, but they repeat often, so Enslaved is iffy on every subject. I do recommend this as a great weekend rental or bargain purchase.
The Need for Speed series has been seriously confused and hurtful since Most Wanted. While Shift was a simulator, the other ones in between have been either subpar or bad. Hot Pursuit revives the classic entry with the Burnout team behind the wheels, and this feels more like Burnout than Need for Speed, however. Using the Paradise engine, Criterion did a good job making the game both look pretty and giving us a Burnout feel with real-world cars. These are slick cars, ranging from Mustangs to Maseratis.
As the name would suggest, it’s about cops versus racers, and each opponent gets a set of four weapons. Cops get an EMP, helicopter, spike strip, and road block. Each is pretty self-explanatory, but this feels like a glorified version of Burnout’s Road Rage mode. Racers get the same, but instead of a helicopter and roadblock, they get a jammer and turbo, which is an extra boost for NOS. Now you can earn turbo by doing crazy stuff as well.
The world map is also classic Burnout style, with each icon labeled for a racer or cop, and there are previews, time trials, and special events for each side. There is also Autolog, which is a social networking type of setup. Your friend’s best scores will be posted, and you can post screenshots and videos of your races. If a friend beats your score, you can jump right into that race and try to beat it. While the single-player is fun, it’s the online stuff that makes the game shine with all the weapons. The single-player feels predictable and stale compared to multiplayer because it feels like this game was made with multiplayer in mind. You earn a bounty and have to hit certain goals in single-player, but it’s nothing we haven’t seen in racing games already.
Once you race, everything feels fine, but the steering tends to suffer drastically depending on the road conditions and the car. Despite awesome damage modeling, the cars all feel pretty much the same, and the sense of speed is so fast that you don’t notice speed differences. This also concludes the repetition because once you unlock all weapons, it’s just the same events over and over again, and some people may never even finish the single-player due to this. The game can also look pretty good at times, but in other ways, it doesn’t.
The chaos comes from the fact that in multiplayer, you never know what anyone is going to do. You can see a roadblock ahead and get your shot lined up to dodge it, but just then someone deploys a spike strip right in your face and you hit both, losing a crap ton of health. You can take off again and try to shake off a helicopter, but then get hit by an EMP. It’s the same with racers, but this can also feel a bit unbalanced since racers’ biggest weapon is the jammer, so cops can’t use their weapons for a few seconds. It all depends on the players’ skills and how they race.
Despite the repetition and lack of weapons, the game works, but also notice all the Burnout references. There’s hardly any need for speed in this game, despite the real-world cards and the Hot Pursuit title. This is just a weird mix-up of game identities, but it’s probably better to have a burnout feeling than an old, crappy NFS game rehashed. Criterion already had the engine built for something like this, so I expect to see a sequel in the near future. I do recommend this to Burnout fans more than NFS, however, but old-school Hot Pursuit fans will dig this completely.
Most movie-based games are disasters, but when you take a movie license and do something original with it, it can turn out for the better. Bizarre Creations (Blur, Project Gotham Racing) has taken the helm of the Bond license to create the third entry into the series, but this is completely original with no movie tied to it. You play Daniel Craig’s Bond, and you’re, once again, trying to stop some evil thugs from doing evil things. While the story borders on paper-thin, it’s the action that we want.
Since Craig took the spotlight as Bond, his style is more brutal, raw, and realistic instead of the campy, funny, and smooth-talking past Bonds. He’s all about melee, guns, and less gadgets, and whether you like this better is up to you. While Everything or Nothing is the best Bond game in recent memory, Blood Stone is pretty decent. There are car chases, gun battles, and stealth sections that balance out nicely.
The stealth areas consist of sneaking around cover and meleeing guys and shooting them in the head without getting caught, or it’s going to be a firefight. This can be very satisfying when you learn the patrols and execute them accordingly. You can earn Focus Aim by doing a takedown, and this is just a one-shot kill, but you only get three. This comes in handy during stealth sections when you have multiple guys to take down in one area or are in a bind with your health.
Shooting is solid enough with blind fire from cover, and the timing is solid, but all the guns don’t really pack a punch. They feel light and sissy-like and completely not Bondlike at all. There’s a good variety of them, but you won’t care because you can’t tell the difference between any of them! There are some fun set pieces, such as slo-mo sections, some cinematic camera angles when jumping around, and a lot of explosions, so it’s packed full of action.
The racing sequences are something to be desired because it’s just driven from A to B and chasing this guy. There are no attached weapons or anything, and the cars drive like crap half the time. The cars either have severe understeer, oversteer, or feel really floaty. Coming from a developer who specializes in racing games, this is a huge surprise.
The game looks decent, but not up to par with current games. The racing sections look nice, but the characters feel last-gen, and everything just looks meh and sterile. The sound is pretty generic, with pew-pew gunfire, and the voice acting feels stiff despite being from real actors. Blood Stone is a great weekend rental, and don’t even expect multiplayer to keep you interested for much longer.
Military shooters tend to take the most flak because they tend to be the same, linear, sometimes boring, with questionable multiplayer, but when Modern Warfare came out four years ago, it really shook the ground, and shooters have been copying it ever since. Black Ops also has something that surprised me, and this was a solid, memorable single-player experience. Blasphemy right? Wrong! The game has lots of varied environments, tons of epic moments, and a few vehicle sections are thrown in, as well as the best helicopter-based missions in any game ever. The game also doesn’t start out as a regular shooter, with Alex Mason (Red Faction: Guerrilla, anyone?) strapped in a chair and a disguised voice yelling at him to remember numbers. The whole story only makes sense at the end, reveals a lot of plot twists, is beautifully crafted, and shows developer Treyarch isn’t the weak link in the CoD series.
The game has a lot of new weapons that are true to the Cold War/Vietnam era, and even the art style shows. The game is beautiful, with great sound, voice acting, and the actual plot mentioned above. The game has memorable characters that you get attached to through the 7-8-hour campaign (yes, it’s also a tad longer than most campaigns in shooters) and even memorable moments themselves. The storming of the Vorkuta prison in Russia and many other levels are memorable. Of course, the game has some issues that Treyarch is known for, such as not knowing what to do, poor directions, respawning enemies, and a few glitches here and there. Despite that, the campaign is solid and well worth the wait and the money, but of course, it’s multiplayer that most people will keep coming back for.
And, oh boy, is the multiplayer sweet. With new maps, a whole new approach to customization, and even the new Wager matches, Black Ops multiplayer is probably the best in the series and the best FPS multiplayer ever made. The game has the same overall playstyle as Modern Warfare 2, but instead of receiving fixed unlocks, the game adopted a currency system, and you can buy everything from perks to weapons to visual add-ons—you name it. This is a great approach to changing up the game and making it more about what you want. On top of this, the Wager matches are ingenious, with players betting on a match, and the top three get some money and the rest lose their bet.
There is One in the Chamber, which gives you one bullet and a knife. If you kill someone, you get a bullet but run out, and you are left with your knife. This is a great and intense mode because it does not shoot first and aim later like the regular models. Gun Game has you start out as a pea shooter, then you move up in tiers of guns with each kill. Not every gun is good because a sniper rifle vs. a machine gun won’t be very easy. The next mode is Sticks and Stones, which gives you a crossbow, a tomahawk, and a ballistic knife. Hitting a player with a Tomahawk resets their score to zero, and the most points are awarded for crossbow kills. Sharpshooter has your weapon switch every 45 seconds, and it’s random, but every player has the same weapon. These are fun and amazing modes that never get old.
On top of that is the zombie mode that Treyarch made a cult hit in World at War. You play as Nixon, Kennedy, and two other characters, along with surviving the three maps and the hilarious political banter the characters speak (Nixon when spending points to remove a barrier: This is taxing me like the Democrats). Players, but fight off hordes of zombies in multi-tiered maps, and points are awarded for barricading windows and shooting the zombies. Points can be spent to buy weapons and ammo and unlock new parts of the map. It’s intense, and trying to survive rounds gets heated (most won’t survive after round 10 and past round 5 alone). With four players playing cooperatively, it’s a great departure from the seriousness of the rest of the game.
thebinarymessiah.com 
Try multiplayer. A lot of fun !