The third installment into comical sandbox series, Saints Row: The Third doesn’t seem to be taking itself that seriously — in the first batch of screenshots there’s even a masked assailant at the business end of a “huge purple phallus.”

With its original 2009 release date delayed seven months to the day, Obsidian Entertainment’s much-discussed “espionage RPG” has been a long time coming – it’s not entirely surprising, given the game’s apparent ambition. Obsidian has maintained a clear emphasis on choice, citing a dynamic dialogue system, flexible mission structure and multifaceted narrative that are constantly informed by the player’s decisions. Fine words indeed, but now that Alpha Protocol has finally arrived, does it actually deliver?

Meet Michael Thorton, an agent newly recruited by the eponymous covert ops organisation Alpha Protocol; he’s drugged, tested and trained before being sent on a mission to assassinate the leader of an Islamic terrorist cell. His job becomes a little trickier, however, when he finds himself at the centre of an international conspiracy involving government corruption, illegal arms trafficking and mass murder. Betrayed, disavowed and hunted by his own country, Michael goes rogue as he searches for answers.

This is only the beginning of Alpha Protocol’s dense and intricately tangled narrative, one that encompasses a truly astonishing amount of variables. Every decision the player makes has consequences, either immediate or long-term, that can significantly alter the storyline. Which mission did you choose to complete first? Did you complete the previous mission without civilian casualties, or without being seen at all? Did you execute that small-time arms dealer, or spare his life in return for information? Even seemingly trivial actions have deceptive magnitude – a small mistake can easily develop into a catastrophe, while an exemplary display of tact or skill can bring unexpected windfalls down the line.

Most of the crucial decisions are made during conversations with other characters, through the game’s Dialogue Stance System. This functions a little like Mass Effect 2’s dialogue wheel, as you are given a choice of reactions that steer the dialogue in particular directions, but the comparison isn’t entirely fair; whereas ME 2’s interactions were all measured by a simple moral dualism, Alpha Protocol’s system is considerably more complex. You can choose to be Aggressive, Suave or Professional, but there’s no universally “good” or “bad” approach – every character you encounter has their own individual temperament, and it’s up to you to judge which stance is most appropriate to the situation. Glib one-liners might impress your flirtatious handler, but they’ll hardly score you any points with a dour, tight-lipped corporate kingpin. The fact that you’re only given a few seconds to make each selection lends urgency to the exchange whilst keeping the dialogue running smoothly.

With so many tenuous relationships in flux, the storyline is continually overwrought with plot twists, double-crosses and lurid liaisons, but such devices are hardly unusual for the genre. The amount of planning makes the execution feel entirely deliberate; the developer knows, for example, that you won’t remember half the shady characters and organisations that are hurled at you in rapid succession, and the game helpfully arranges them into Intel dossiers that become more detailed as you discover more. You can even buy additional Intel between missions that will help you understand your adversary’s history and psychology, giving you a better idea of how to approach them. There are so many subplots and hidden agendas in play that by the time you’ve completed the game, you will only have experienced about a third of the entire content – Obsidian clearly wants to encourage substantial replay value by the sheer volume of narrative to explore.

As far as choice is concerned, Alpha Protocol’s plot and dialogue tick all the boxes. Unfortunately, the gameplay is altogether less innovative – once you actually jump into the action, the cracks become all too visible. When starting a new game, you can select from a number of basic ‘classes’ with pre-determined stats, or you can distribute them yourself if you prefer; specialties include stealth, hand-to-hand combat, sabotage, gadgetry and proficiency with each of the game’s firearms. While such customisation effectively allows you to mould the gameplay to your own personal tastes, it’s much too restrictive, as Michael is rendered almost comically inept at any skill he hasn’t invested points in. Stealth agents who bulk up their accuracy with the pistol will be silently capping guards in no time, but when forced into a firefight, they’re about as effective with a shotgun as Elmer Fudd. Forcing the player to engage their strengths and avoid their weaknesses is understandable to a degree, but the stats you’ve chosen too often play a greater role than your actual skill – Michael is supposed to be an accomplished agent, after all. You can, however, customise your weapon loadout with barrels, sights, clips and accessories that improve precision and stability, in order to counteract the worst areas of ineptitude.

The cover system is also unreliable; parts of your body are exposed to the enemy even while you’re crouched behind a barrier, so you’ll still occasionally take damage. Once you “stick” to a wall or column, it’s also a little tricky to detach yourself, which can be incredibly frustrating if you’ve been biding your time for the perfect ambush. In spite of this, however, you won’t encounter much resistance from the enemy – almost by way of compensation, the game’s AI is hopelessly dim-witted and oblivious to your actions. Even if two guards are standing only a few metres apart, you can sneak up on one and drop him with a thud and a muffled cry without the other ever noticing, as long as his back is turned. Their peripheral vision is minimal; they might as well be humming with their fingers in their ears as they patrol in fixed patterns, stopping at regular intervals as if inviting an assailant to garrotte them from behind. There’s still a certain satisfaction to slipping into a room and clearing it without being seen, but an element of unpredictability would have made success more rewarding and less contrived.

The game’s graphics, which utilise Unreal Engine 3, are generally solid – be it sun, snow or sandstorms, each environment is well designed and features some striking weather and lighting effects. There are, however, moments when the camera breaks through walls, and some models have poorly-formed shadows that don’t give them a proper sense of weight. The facial animations don’t quite meet the emotional delivery of the dialogue, but it’s a triviality given that most of the characters are spies with well-trained poker faces. The worst offender by far is the bump mapping; the textures take so long to load that you’ll still see them being gradually applied well after the mission or cutscene has started. It’s incredibly distracting to watch a room full of unidentifiable shapes slowly come into focus while you’re trying to get your bearings. The game’s menus, however, are admirably stylish, particularly those in your PDA.

Closing Statement:

While any combination of these faults might ordinarily be regarded as a deal breaker, Alpha Protocol is far more than the sum of its parts. The gameplay and visuals would certainly have benefited from further fine-tuning, and yet the experience holds together with almost inexplicable cohesion. This is most likely due to the game’s exceedingly involved narrative, which exhibits far more polish; if only Obsidian had been as conscientious in all areas of its design, the game would have been truly engrossing. As it is, Alpha Protocol isn’t quite the paragon of self-determination that it had hoped to be – instead, it’s an intriguing hybrid whose divergent plot is the primary incentive for subsequent playthroughs. It’s a new franchise with room for refinement and growth; hew away the jagged edges and there’s definite potential for a sequel.

Final Score: 7.0

There’s nothing more debilitating then the darkness; it’s unwielding and it emits an irregular feeling of discomfort, tension. However, when you turn a light, all the discomforts seem to dissipate. This is the primness behind Alan Wake; making the darkness dissipate. That in mind, Alan Wake, obviously, isn’t an childhood narrative of the dark; it’s the tale of a brave soul plunging into the darkness. Evidently enough, Alan Wake delivers on its promises — it delivering an “unforgettable” experience, etc.

Apparently, it’s hectic being a best-selling author, especially when you have cortical writers block. However, as soon as Alan Wake is given some “time away from it all”, he’s forced into the writing a new novel. A novel that, for some apparent reason, he doesn’t recall writing. Nevertheless, the novel spills from fictionalization, into realization. And, somewhere throughout the process, his wife, Alice, goes missing. Now, Alan Wake’s on a quest to solve the mystery behind his wife’s disappearance — and to uncover the pages of the missing manuscript.

Dark forces populating the night are a tradition form of storytelling element from throughout the horror genre. But, there are some unique storytelling elements throughout Alan Wake. The most interesting element being the manuscript pages. These pages relay foreshadowed events; giving the player an insight to the future and past events. There are also abandoned TV and radio sets. The television and radio broadcasts are particularly intriguing; and they also give the player insight to foreshadowing events.

That said, there aren’t a lot of distractions that take the player off the beaten path, including collectibles. However, there are some vehicular segments that make the gameplay more diversified, but these segments feel out of place and monotonous. The vehicular segments just can’t compare to the on-foot combat. In terms of combat, the game takes advantage of two unique mechanics; light and weaponry mechanics. These mechanic aren’t only unique, but they add to the overall tension.

It’s because of these is an intuitive mechanics that the combat is so varied; basically, the more you progress, the more skills are needed to evaded attacking enemies and to dispose of them. This incentive mechanic truly intensify the experience, giving the game a bit more longevity, unpredictability. However, were Alan Wake truly shines is in the presentation department; there’s no doubting that Alan Wake is an impressive looking, sounding title. The in-game lighting is amazing, and the sound is top rate.

Nevertheless, though Alan Wake is a technological masterpiece, it lacks a climax and memorable moments. The beginning of the title sets the intension for the rest of the experience, but there are few instances were this intension is capitalized on. Thus sending sending the player into the predictable whirlpool; there aren’t too many unpredictable moments throughout. However, this isn’t to say that there aren’t different takes on the core action. It’s just that these situations don’t necessary count as “unexpected” moments.

Closing Statement:

It’s not the genre defining experience that we all were hoping for, but it’s pretty damn good. Remedy has truly developed a universe that’s truly unique, beside it sampling some from the elements within its genre — in the terms of atmosphere. Despite its flaws, Alan Wake is still a gripping, nerve-wracking experience. Though some may disagree, Alan Wake is a tough game to put down once you’ve started. That said, if you’ve haven’t already picked this up; rush out and purchase it.

Final Score: 8.4

For all their respective triumphs, the film and video game industries have always shared a rather laboured and unhappy marriage. Each Hollywood blockbuster inevitably spawns a ghastly interactive twin, rushed to meet its release with the same opportunism as any other form of merchandising and watered down to appeal to wider cinema-going audiences. More considered adaptations, such as Rare’s iconic treatment of GoldenEye 007, have demonstrated that there are exceptions to the rule – unfortunately, Iron Man 2: The Video Game just isn’t one of them.

The game’s storyline (or lack thereof) picks up where the events of the film left off. Don’t worry if you haven’t seen the movie – fans and newcomers alike will be absolutely baffled by the disjointed and poorly explained narrative. Tony Stark’s technology has once again been maliciously appropriated, this time by a nasty American industrialist who wants to meld himself with a 100-foot robot and use a weather machine to cause global storms. His actual motive for doing this is just one of many insoluble questions to consider as you travel across the globe, blowing up tanks, helicopters, Russian terrorists and a crazy Scotsman. There are no cutscenes to speak of; the glib, often cheesy dialogue between levels is delivered by cardboard cut-outs of the film’s actors that drift in and out of the foreground to indicate who is speaking. Don Cheadle and Samuel L. Jackson reprise their roles, while other characters are impersonated with varying accuracy – Tony Stark’s voice actor is admirable, while Natasha Romanoff appears to have been voiced by a computer phonics program, so listless and robotic is her delivery.

The Wii version of the game was developed by High Voltage Software, a company that prides itself as one of the greatest technical innovators on the console. It’s sad, then, that Iron Man 2’s graphics and level design are so explicitly underdeveloped, even by the Wii’s comparatively modest technical standards. While the game’s levels are distributed across such diverse and colourful locales as California, Russia, Budapest and Malaysia, they are all universally bland, grainy and uninspired; the textures and character models are rendered with such coarse simplicity that it often feels as if you’re playing an early Gamecube title. The environments feature few destructible elements, and these are fairly contrived – destroying the occasional deliberately-placed wall doesn’t make you feel powerful when, not two minutes later, you find that you’re incapable of breaking down a hotel room door. Given the game’s minimalism, it’s astonishing that the framerate still manages to falter at times, particularly during the on-rail flying missions.

Iron Man and War Machine are both playable, and they’ve apparently been designed to provide different play styles (agility and brute force respectively). You’re also able to upgrade and customise their weapons as you earn tech points, giving them new effects and applications. While these choices are clever in theory, they are really only cosmetic in execution; most enemies hurl themselves mindlessly against you, and they’re easily dispatched regardless of which weapon you use. Neither is there any great difference between the two heroes – they’re both equally awkward to control and have comparable firepower. The Wiimote’s IR sensor makes aiming relatively easy, though it can be a little sluggish at times.

Closing Statement:

There are, unfortunately, very few redeeming qualities in Iron Man 2: The Video Game. The suit customisation options and collectible “tech trophies” hidden throughout each level provide a marginal degree of replayability, but once you’ve played through the game once (which should take only a few hours), the tedious and unrefined gameplay offers little incentive for you to return. Even the most hardcore Iron Man fans should think carefully before purchasing this – they may not find their hero well served.

Final Score: 4.5

On being sent Monster Hunter Tri, I was slightly chagrined to discover just how little I knew about the franchise – it is, after all, nothing short of a national sensation in Japan, where Tri has already been declared the country’s highest-selling third-party Wii game to date. Given the title (and the enormous aquatic dragon on the cover), it seemed a fairly safe assumption that I’d be hunting monsters at some point, but the specifics eluded me. Once I’d actually immersed myself in Tri, however, I soon discovered just how much I’d been missing.

The game begins in Moga, a sunny little fishing village whose tranquility is shattered by sudden earthquakes and coastal storms. The culprit is Lagiacrus, the aforementioned aquatic dragon; he seems to have found a new home in the region, terrorising local waters and roiling up the sea. To whom do good dragon-fearing folk turn in such a crisis? Why, you of course, a freelance hunter who (despite being an apparently reputable slayer of beasties) arrives in only his underwear, carrying a cheap sword and very little else. You’ll need legendary arms and armour to defeat your foe – to forge these, you’ll need the necessary parts, and to obtain the necessary parts, you’ll have to hack them off the necessary monsters.

My initial assumption was correct – in Monster Hunter Tri, you hunt monsters. You hunt an awful lot of them, in fact, from the humblest insectoids to the mightiest stone-plated, razor-taloned, fire-breathing behemoths. It’s a simple premise that’s remarkably addictive; kill monsters, strip their carcasses for parts, bring the parts to a Smithy, forge them into stronger weapons and armor, kill stronger monsters, get stronger parts, and so on. While this might seem like just another form of grinding, it never feels laborious, due in no small part to the enormous array of armaments that can be crafted. Whether you prefer your quarry slashed, cleaved, bludgeoned, skewered or shot from afar, there’s a suitable weapon for you to brandish and an armour set to make you look hardcore while brandishing it.

You’re also saved from aimlessness by a basic quest system, which is included essentially to provide context and give a sense of purpose to each of your wilderness excursions. You’ll be contracted by “The Guild” on behalf of various townspeople to complete increasingly difficult tasks – these involve anything from fishing and gathering to killing a particular monster, or even capturing it alive. They all invariably fall into the same basic categories, but each offers a bag of goodies for your trouble while moving the narrative forward.

In spite of all these features, the offline single-player is a somewhat limited affair; once you’ve completed all the quests, there’s very little else you can do on your lonesome. Tri is, however, a game clearly designed with multiplayer in mind, as it features one of the most robust and carefully considered online components I’ve ever encountered in a Wii title. Once you select a server, you’re dropped straight into Loc Lac City, a bustling trade hub where you can meet other hunters and embark on various quests for up to four players. In lieu of narrative, there are numerous new quests on offer, new locations to explore and new epic monster encounters, all geared towards teamwork. These will provide you with rare, otherwise unobtainable components from which to forge some of the sexiest gear in the game. Don’t worry if you’ve spent a lot of time learning the ropes offline – you’re able to use the same character for both offline and online play, so your efforts aren’t wasted.

Communication with other players is understandably vital, and Capcom has gone the extra mile to include support for Wii Speak. Unfortunately, my bundle of the game did not include Wii Speak (though some apparently do); instead, I was forced to write out messages letter by letter with the D-pad, a truly barbaric act that no civilised person should ever be forced to perform. There are a series of “gestures” available to your character, but these aren’t especially helpful, and I certainly wouldn’t advise you to attempt them while you’re in any sort of real danger. You can, at the very least, ‘ping’ your location on the map if you need assistance.

In terms of presentation, the game maintains a colourful, reasonably detailed aesthetic reminiscent of Legend of Zelda: Twilight Princess. NPC models are kept relatively simple, while greater attention is given to your character, whose appearance you can customise upon creation. It’s nothing spectacular; you’re given a level of control comparable to World of Warcraft, selecting from preset faces, clothes, hairstyles and colours to create someone reasonably unique. Weapons and armour are again more detailed – it’s these that you’ll be showing off to other players, after all.

The environments are deceptively beautiful. As you explore them, you’re really only moving through a series of small ‘enclosures’ – you’re kept from wandering by conveniently placed boulders, inclines or ravines. Beyond these, however, you’re offered a spectacular view of the horizon, as the landmass stretches towards a vast sea and skyline. A slightly contrived illusion perhaps, but it works; the levels appear genuinely expansive, and you don’t feel nearly so confined. The lighting and environment effects are much the same, economical but pretty, and you’ll see them in play across all manner of settings: volcanoes, icy tundra, desert plains, marshland and forest. The monsters themselves are similarly diverse, although earlier creatures such as the Aptonoth and Jaggi bear a striking resemblance to dinosaurs (on my first hunting trip, I felt as if I’d been let loose on an indiscriminate killing spree through Jurassic Park).

There are, in spite of its merits, a couple of annoying faults in the game. The first is the lack of a lock-on system – regardless of the reason, it’s an appalling oversight. I very quickly lost count of the times I lashed out at a monster only to go hurtling past its shoulder, slashing stupidly at thin air as if I were concussed. Such clumsy combat is rendered all the worse by the game’s camera system, which seems determined to face away from your enemy at all times. You’ll spend most of your time manoeuvring it manually while fighting, or hammering the C button to keep it locked behind your back. The camera is also solely responsible for directing your character underwater, which makes marine combat an absolute nightmare. It’s a real shame that these issues weren’t addressed; they’re a blemish on an otherwise enjoyable experience.

Closing Statement:

There are two fundamental demands we make of a Role-Playing Game – epic boss battles and epic loot. Monster Hunter Tri doesn’t disappoint in either regard, and yet it never gets mired in the tedious number crunching that so often afflicts the genre. It’s not a perfect game by any means; there are only so many monsters to kill and items to craft, particularly if you only play offline. The game’s online replay value ultimately depends on Capcom, who have already started posting temporary “Event Quests” with the promise of further downloadable content in the future. In any case, it’s an extremely solid title that you can and will get lost in for some time to come. If, like me, you’re new to the franchise, don’t overlook this one.

Final Score: 8.6

It’s hard to say that something has “out done” the original without some kind of proof, something without a doubt proofing that the successor is better than the original. Throughout the review process, I considered searching for this. Then I stopped and realized that I needed no evidence; this sequel is proof on its own. That’s why I pride myself by saying that BioWare have outdone themselves with Mass Effect 2. By them doing so, they’ve fulfilled the promises of the original while continuing to push the boundaries of what we can expect from a modern-day role-playing game.

Intended to capture a darker and more serious tone, Mass Effect 2 begins with an attack on the SSV Normandy, leaving it destroyed and Shepard, series protagonist, missing in action. However, thanks to some “unexplainable” events, Shepard returns. This time under the influence of a controversial pro-human organization called Cerberus. You see, human colonies have been disappearing across the galaxy and The Illusive Man, the watchful eyes of Cerberus, needs you to find and eliminated the forces behind these disappearances. However, Shepard can’t do this alone; he’ll need a squad.

In total there are eleven squad members, each with their own past experiences and specialization. However their most important attribute are their motivations; their motivations add a level of engagement to the Mass Effect 2 experience. For example, Thane, a Drell assassin, has chosen to fight alongside you in his final hours. Just by this example alone, you can understand him; him wanting to pass on in a positive light and the absolution of his sins. Its human characteristics like these that build a bond between the player and the character, an aspect present throughout the Mass Effect 2 experience.

Another engaging aspect of Mass Effect 2 is the improved combat and control systems. Though the controls are relatively the same, BioWare added more options to the control interface with better squad commands and a smoother cover system, addressing complaints of the original. These improvements have drastically changed the control and combat systems, making for a more streamlined, action-packed experienced. However, these systems need work; they are choppy and poorly mixed into combat. Add in some collision issues, and you add for a bad combination; in other words, prepare for a bit of bedlam.

This is what brings me to the technical aspect of Mass Effect 2. Taking note of the criticisms from the original, BioWare has improved on Mass Effect in almost every way. However, the most notable complaint of the original were its technical and presentational issues. That in mind, I’m happy to report that there are no major technical issues to speak of; this is a much smoother experience when compared to the original. But, thanks to the games excellent presentational style, it’s able to seamlessly makes up for any technical mishaps that may happen — there maybe some unseen glitches present.

However, the technical and presentational aspects aren’t the only things that have improved. BioWare also streamlined the games inventory and skill management systems. Though these systems may seem a bit dumbed down from the original, they divert the attention away from content management and onto visceral combat –- visceral combat being very important in this installment. In other words, you’ll don’t have to worry about the armor your teammates equipped with anymore, and seeing that content selection is slim, it shouldn’t take you more than a few moments to get your squad prepped for action.

Closing Statement:

Though there maybe some questionable missteps, planet scanning being a prefect example of one, Mass Effect 2 is the share-product of a developer lessening to the criticisms of the fans and innovating on them. As I said at the beginning of the review, I pride myself by saying that BioWare have outdone themselves with this sequel and, if you have been paying attention, you’ll know that is a game that was only achievable thanks impart to the collective criticisms of its fans. In other words, I can’t wait to see what the final installment in the series is to bring to the table.

Final Score: 9.4

BioWare’s known for impressive and engaging RPGs. However, the genre been seemingly non-existent this console generation; there are only a few out in the market right now. One of the many unnoticed problems of this console generation, BioWare has set out to fill this void with its “dark heroic fantasy” Dragon Age: Origins, the spiritual successor to the highly praised Baldurs Gate franchise on the PC. That said, unsurprisingly, Dragon Age surpasses all expectations; pushing the breaking point and scale of any previous RPG. In fact, Dragon Age could even be considered as the greatest RPG ever conceived.

In Dragon Age, you play as a newly mended Grey Warden, warriors tasked with fighting off the advancing Darkspawn in the time of “The Blight”, a catastrophic event in which Darkspawn try and take over the world causing years of darkness and chaos. However, the Grey Wardens have seen better days; their influence, as well as their numbers, are weak. Then, in this time of great weakness within the Wardens, push comes to shovel. Now, your character finds themselves building up an army in time for the impending Blight; done by pulling in debts from the other races and other factions within Ferelden, the setting for this adventure.

But, that’s only apart of the story. Dragon Age’s story also branches of into multiple segments; thanks in part to NPC dialogue tree, made famous in BioWare’s Mass Effect series, and the character creation system. However, with the dialog system, it’s not as obvious as to how your discussions effect your progression towards good, or evil. You see, since you cannot physically see the see the outcomes of your discussions, you’ll have to read and layout your options before picking your answers. This adds interesting aspect but, the moments when there’s only one outcome, are where the dialogue system trends to drags on.

That said, you’ll have three races (human, elf, dwarf) and three classes (warrior, mage and rouge) to pick from when customizing your character. Pick carefully because this decides how the world views and treats your character. Along with, which one of the six origin stories you’ll be to explore as that character. This is the biggest problem with the origin story aspect. After playing though a portion of the game, your characters origin story starts feeling like an afterthought, ie. The people of Ferelden don’t favor elves but, after awhile, it’s like people don’t care about who, or what, you are. This isn’t a major problem; it’s just that it adds an unrealistic feeling to the Dragon Age experience.

Even though there are some substantial differences between the PC and console versions, BioWare has created a combat system that mirrors that of the PC. This system works in one of two ways; fighting in real-time, and micromanaging. However, micromanaging isn’t the preferred battle preference on consoles; the console versions are geared more towards action, which is opposite to the PCs more tactical approach. Meaning that, there’s really no need for micromanagement on consoles – you can play though all the game without micromanaging. However, when you’re facing 15+ enemies, micromanaging is the prefect way for you to insure a clean victory. Be that as it may, the most notable difference between the versions are there presentations.

But, don’t get me wrong, Dragon Age is a gorgeous game. It’s just that, on consoles, the graphics can’t hold a candle to that of the PCs; the colors look washed out and foggy. Also, in the time it told me to play through Dragon Age, I noticed that the game was plagued with many annoying little glitches that, while not breaking the game, put a damper on the overall experience, ie. there’s a glitch in which a character’s lips move while no words came out. However, it isn’t all bad with presentation. Character animations, while stiff at some points, are smooth and well done, and the art style is very eye catching.

Closing Statement:

Dragon Age is one of those titles that can easily take hours out of your life, which, surprisingly, isn’t a bad thing because you won’t want them back. That, along with the fact that BioWare has chosen to introduce downloadable content, proves that Dragon Age is something that you do not want to miss. But, even though I did have a lot of fun playing Dragon Age, there’s just to many glitches that took away from the overall experience. However, if you can get past them, this is the game for you. In addition, never has a game been fully worth the $60; Dragon Age’s quality surpasses that.

Final Score: 9.1

Playing any wrestling game for a standard amount time feels like a chore; feeling like an eternity, when its only been a couple of hours. But, shockingly enough, I never felt that way when playing through WWE Smackdown vs. Raw 2010. I actually really, really enjoyed it. You see, year after year, THQ updates the series in a small fashion; adding new modes, or couple a of extra moves. However, never has the series felt this new.

This year’s SvR feels like a total overhaul, meaning that THQ and Yuke’s made improvements on everything. The most noted addition, the game’s Story Designer mode. In Story Designer mode, the player is given the creative freedom to create, or recreate any wresting television event/show they want. However, there isn’t any dialog for this mode. Instead, you’ll use text and animations to tell your story. The good news is, your story can be as long, or as short as you want it to be.

However, there’s one major limitation. Being only a limited amount animations, your story has to fit within the given animations, which is something that gets in that way of “true” story customization. Luckily, with the given animations, you can still create a large amount of creative stories. But, if you can’t seem to create the “prefect” story, the convenient “Road to Wrestlemania” mode returns from last year.

This year’s Road to Wrestlemania follows six well known WWE Superstars in their quest to became “imprinted into the WWE Hall of Fame”. These Road to Wrestlemania stories play out well, for the most part. However, these stories aren’t complex, they mainly hold back until the big show down at Wrestlemania. This is the main problem with the Road to Wrestlemania mode because, at some points, the events feel boring and slow; giving them an unbalanced feeling. But, overall this years Road to Wrestlemania is very good.

They’ve also the revamped Ceate-A-Superstar mode. In SvR 2010, the game finally receives 3D clothing, meaning that everything actually fits; there’s no more hovering clothing. Along with that, there’s also the all new point system, adding more options in key areas via a point bar. However, because of the point bar. It feels like the developers took a huge step backwards because the taxing on the points feels unfair; Yuke’s put a large amount of points on the most used accessories. But, where it really matters is character customization and, BOY!, is it good.

They’ve also added a Paint Tool; in association with the revamped Ceate-A-Superstar mode. With the Paint Tool, players can create, or recreate any logo or design they want. However, there’s a huge downside. You’ll need to be very skilled using the controller if you what to draw a logo free hand because it’s difficult to write anything; making a name like Adventure Dave look like “Advtue Daue”, or something like that. Personally, I don’t know why Yuke’s didn’t incorporate some kind of drawing aid. However, overall, Yuke’s has done a great job with the Paint Tool, and we can’t wait to see what they do next year.

Closing Statement:

Although I haven’t touch on gameplay, it’s obvious for me to state that not much has changed from the previous wresting titles; there’s a new grappling position, an expanded move gallery, and a one button counter system. However, I believe that presentation is SvR 2010 strongest quality; everything has been reinforced from past Smackdown vs. Raw titles. Don’t get me wrong, WWE Smackdown vs. Raw 2010 has its many downsides, like poor hit detection, and in-game HUD glitches. But, it goes without saying that this years Smackdown vs Raw is very impressive; even going as far as to say that this is the best in the series.

Final Score: 8.9

Hitman: Blood Money is a game that came out on PS3 and Xbox 360 around three years ago making it the forth installment of a series that I hold very close to my heart.

The Hitman series chronicles the life and works of professional killer clone Agent 47 – a largely silent protagonist who has never had any reason to regret his chosen line of work. In previous titles, Agent 47 laid waste to many unfortunate souls, including a number of his clone brothers, as well as his creator, before running away to Sicily in order to get away and become a gardener in Hitman 2: Silent Assassin. The events of Blood Money come some time after the events of Hitman 2: Silent Assassin and deal with what 47 does best; killing silently without leaving a trace. Outside of the character himself, the story of the Hitman series has always been a hit and miss. Blood Money’s over-arcing plot of a journalist with stupid haircut talking to an ex-FBI agent about cloning and super soldiers does little to inspire. However, as a means to revisit all 47’s high points of the previous years, it serves its purpose.

Surely the story shouldn’t matter as long as the gameplay remains solid. Unfortunately the gameplay is the most likely aspect the divide people who play the Hitman series. On the face of it, Blood Money appears as a fairly broken third person shooter with stealth mechanics. To play the game as a balls to the wall shooter is a largely unsatisfying affair. Then again to play it like a balls to the wall shooter is somewhat against its design philosophy. The best way to approach these games is as a macabre set of contextual puzzles. As has always been in the Hitman series, at the start of each mission you are given one or several targets; people who must be dead by the end of the mission, preferably without anyone noticing. The formula is largely unchanged in Blood Money, although this is the first title where 47 can platform somewhat. The levels are well thought out and provide plenty of creative ways to achieve your goal beyond shooting the place up. It is a lot like a point and click adventure game where you rub up against different objects in the hope chandeliers will fall, or a barman will give you an aphrodisiac. All of this without mentioning unbridled joy the garrote.

If there’s one aspect of the Hitman games that I can’t gripe about at all, it’s the way they present themselves. Without the thick layer of context and setting, the games would quickly fall victim to their list of shortcomings. Granted, there’s the odd character movement here and there and rag-doll physics could be viewed as a little grotesque, but it all pales into insignificance the moment Jesper Kyd’s soundtrack rumbles in, rising and falling with the action. The glacier engine that has powered the Hitman games before returns in Blood Money looking better than ever. Most importantly of all is that 47 is still the character we know and love; its been proven time and time again that accomplished voice acting is all it takes to transform a character into something so much more – see Captain Price for another perfect example.

Closing Statement:

In summation, I’d be the first person to admit there was a lot wrong with the Hitman games previous to Blood Money. What returns in Blood Money is the dark heart of the series which made the gameplay so very rewarding. Its’ more prevalent than ever; the sheer amount of replay value to be found in constantly re-exploring some of the levels is astounding, and silent assassin ranks don’t come easy, making them all the more satisfying. It’s a mixed bag and definitely not one that going to please all, but those who persevere will be rewarded.

Score: B

I don’t know that much about fighting games, mainly because I grow up in household filled with shooter enthusiasts, but I know for a fact that The King of Fighters series has been around for along time. So long that, if I recall, KOF series played key part as the counter to the popular Street Fighter series. However, over the recent years, The King of Fighters series has lost some of its momentum, make that all of its momentum. Fortunately, The King of Fighters XII doesn’t disappoint.

Boasting a total of 22 fighters, this King of Fighters title is a radical departure from past titles. If you played previous KOF titles, you’ll know that there’s a large amount of fighters normally featured in a game of its kind, but this installment doesn’t have a large group of fighters. The main reason being, for such a low fighter count, is the amount of time the developers spent making a fighter – because all the fighters have been drawn by hand. But, SNK, the developers, have already stated that they’ll be working on more characters as DLC. However, compared with some of the other fighting titles out there, this isn’t a bad turn out.

This hand-drawn style took a lot of man power to create. So much, in fact. That SNK had to set aside a complete team to do the visuals. By doing this, SNK insured very detailed environments and characters. But, as you can tell, this style has a questionable side to it. One, obviously, being the time it takes to create one character. However, as I stated, this is a very good turn out for any fighting game today. Another thing about the characters in the game, KOFXII features a list with character that were in the early titles in the series, this was done with the plan to please fans of the series. And it works.

Speaking of visuals, The King of Fighters XII is absolutely gorgeous – thanks in collaboration to hand-drawn visuals – the game is smooth and stunning. Basically, making up for the series’ lowest franchise count, which, for a fighting title these days, isn’t a bad turn out. However, the key issue with the characters is pixilation. As you can tell, this hand-drawn style is meant for modern day arcades, and it doesn’t play out so will on consoles. Luckily, SNK realized this and added three selectable levels of character filtering options. These filters blur the still-pixilated models making them easier to look at in high-res. But, one can only wonder why KOFXII’s sprites weren’t featured in HD. But, The King of Fighter XII finds all of its triumphs in its combat.

Losing Tactical Shift, the game introduces a Critical Counter and Clash mechanic. Critical Counter mechanics is activated when one player counters an attack with a heavy punch or kick, giving the player that activated it a small window to preform a damaging combo. Along with that, the Clash system works like this, when both fighters strike simultaneously with the same attack, the game breaks the characters up. Anyway, the reactions made by both systems are very enjoyable and entertaining. These aspects are what make the game entertaining and, like I stated, this is were The King of Fighters XII finds its triumph. That and its control scheme.

Closing Statement:

The King of Fighters XII is a mixture of both pain and pleasure. The pain being some of the very poor presentation chooses, like the repetitive menu music, boring menu screens, and a barely functional online component. The pleasure being the awesome gameplay, which is the core of the game making put for almost everything. However, when you put aside all the pains, in which I didn’t list all, you’ll find a true to the heart fighting title. But, because you have to put aside so many mistakes, this game is bitter sweet but it doesn’t disappoint at its core.

Score: B-

It’s been along time since UFC fans have had the pleasure of playing a video game with their favorite fighters within the virtual octagon. So long, in fact, that THQ had to build the game from the ground up with the help of the developers over at Yuke’s Media Creations, in order to “make up for the mistakes of previous title”. However, one can only wonder what’s so different; what makes this game so good and worth the wait?

When playing through UFC one of the many things you’ll notice is how well UFC 2009 Undisputed translates one of the most complex hand-on-hand combat sports into a enjoyable experience. The game has three fighting positions that can be executed during a fight: on your feet, the clinch, and your ground game. These positions blend together nicely, and depending on which moves you execute, in whatever position, you can execute a number of different combinations.

However, if I were to give you some advice, I’d say to go through the in-depth tutorial. Firstly, because it’s a requirement; but also because you’ll need it. And don’t try the online mode unless you have gone through at least half of the game’s career mode. This is because UFC 2009 Undisputed isn’t a game in where you just pick it up and start playing. Every fighter within this game has their own unique fighting style – Muay Thai, kickboxing, boxing, Brazillain Jui-Jitsu, wrestling, and Judo. You’ll have to learn each fighter’s style before you take anyone one.

Speaking of fighting, UFC 2009 Undisputed’s in-ring combat really puts an emphasis on realism. The title’s hand-to-hand combat has to be the most detailed part of it. Depending on your distance from your opponent, you can perform different strikes. The same goes for the clinch, but there’s a different aspect to it. In addition, to add the realism, the makers of Undisputed digitally recreated actual referees and corner men to add to the experience. But the real star is the amazing commentary from Joe Rogen and Mike Goldberg – the commentators from the actual events.

UFC 2009 Undisputed gives you the ability to create your own Ultimate Fighter – starting from the bottom, fighting your way to the top. But you’ll have to balance your Ultimate Fighter’s scheduling and training throughout your calender in the career mode, because it can ultimately affect your fights in the future. However, there are three major things that you’ll focus on during your time before a match: strength, speed, and cardio. Along with that, you can spar against AI opponents, gaining points to fill up any of your sixteen fighting style bars, which help customize which position your fighter’s really good at.

Graphically, everything looks sound within the octagon. The 80+ fighters look and fight like their reality-based counterparts, and the frame rate stays solid throughout a match. They developers were even nice enough to add damage calculation to the character models, and, when blood flies from one of these injured spots, it will stay on the floor for the whole match.

I have only a few problems with UFC 2009 Undisputed. Firstly is that flash knockouts happen way too often. Being a man that loves to fight tectonically, when a flash knockout happens out of the blue, it angers me and many players like me. Also, the soundtrack could have a lot more sounds featured throughout, because Undead can only rock for so long. Another thing is, they could have added the fighters walking into the virtual octagon much like they do on the televised events.

Closing Statement:

While it’s easy to say that Undisputed has its problems, there’s no denying that it’s a great fighting game. It’s atmospheric, and the characters feel and sound authentic. It seems that THQ have found themselves a yearly title that can hopefully stand the test of time. If you’re a fan of any fighting game, this is something that you should give a try.

Score: A-

Movie based games normally aren’t as good as they appear, but when a developer gets that movie and game combination just right, they can amaze everyone with their final product. X-Men Origins: Wolverine is just that kind of game, but instead of some hand-me-down PG-13 character, you get a Wolverine that stays true to Wolverine. Because of this, “the kiddies” can’t take on this role of Wolverine – thanks to some very brutal decapitations – but that just sucks for them.

Following events from the film, the game tosses you in into the tattered white tank top of Weapon X in a setting all too familiar from the movie. However, X-Men Origins adds a lot of back story into it. The game centers around the time when Logan was running with his commanding officer Stryker and Sabertooth doing animalistic missions within Africa. But that isn’t all, the title also follows Lugan’s turn from the group for a better life – but we all know how that turns out. So now, he’s on a one man mission of revenge. However, for some reason, the game finds away to pop in and out of these timelines, which sometimes can get a bit tedious.

Luckily, this game isn’t much about story; it’s mostly about hacking ‘n’ slashing your way though waves and waves of enemies. Thanks to some quick reaction, combat provides enough variety in its moves to keep things up to speed and interesting, while the ability to unlock special moves and upgrade them with points earned by experience offers an rewarding sense of progress. But without some of these controls such as the game’s lunges, blocks, rolls, and special moves – handled by shoulder buttons and triggers – the controls feel sufficiently different to most other hack ‘n’ slash titles. And once you get the hang of things, you’ll soon find yourself a pro.

Another thing that’s interesting about X-Men Origins is the new health system they have finally given to Wolverine. Like before there is a heath bar, but you won’t need it because Wolverine has the ability to heal in-game. When bullets fly into Wolverine, the holes appear in his chest and they begin to bleed out. Along this, you can also see the shirt being torn off of Logan back as enemy bullets and explosions hit him.

When playing thought this game, I found that there there hasn’t been much work on the characters within the design department. There are three character types that aren’t bosses, and depending on which mission you are on, there are different character skins you will be able to fight. Don’t get me wrong, there are many special moves and attacks that you can utilise, but you can only do something for so long before you get bored of it. This is want happens with X-Men Origins. Sure, adding new character skins in the mix is a nice aspect, but there’s aren’t that many of them to keep things fresh.

Closing Statement:

There’s only so much you can ask from a movie game, but lucky, X-Men Origins is able to capture them all well. When I was playing though this game I was surprised by all the things they’ve added to give the game replay valve. I played though this game twice: the first to beat it, and the second to find all the extra collectables and ablites. There have been very few movie games that people can consider good, however I’m happy to tell you that X-Men Origins: Wolverine happens to be one of these games.

Score: B+

I’m amazed by the potential this game had: the ability to advance the third-person cover-shooter genre, and the possibility of being one of the few great movie games out there. However, thanks to the marks of a rushed project, it couldn’t really expand beyond the movie game status quo. I mean, the movie itself was amazing: it had everything you could possibility want from a Terminator movie along with a overload of explosions. So wouldn’t you expect that from the game?

Terminator Salvation follows the story of John Connor as he receives a distress call from a resistance member trapped within Skynet territory. But instead of leaving with his team, Connor decides to go on a rescue. Sadly, the game doesn’t produce any insight or unexpected twists into John Connor or the formation of the resistance, which could have been interesting. Instead, you do get the chance to meet up with characters featured in the movie, but, really, who’s that interested in meeting Common’s character?

There really isn’t anything here to call this a game. It feels as if some portions have been painfully edited out. And there isn’t that cinematic punch that’s normally featured with games like this. There’s a scene within the game where an HK (Human Killer Tank) cashes into a building – sounds cool doesn’t it? But, sadly, there’s isn’t that explosive feeling. It just feels bland.

Terminator Salvation gains all of its controls from other games, such as GRIN’s recently released Wanted title. However, its cover system is more like a half-circle-shaped thing, flipped upside, and cut into five different sectors. By hitting one of these sectors, you move into a that selected position. It’s a unique and original way of creating a cover system, and works well when you add it into combat – which, thanks to this system, is very intense.

The visuals are strong, but it’s too bad there isn’t much to look at. Salvation takes place within a post-apocalyptic Los Angeles, so everything is destroyed, and the game doesn’t have that beautiful feel to the environments. Everything is washed-out and grey. I don’t know about you, but I like the environments within a game to have a pop to them.

The enemy AI is tough and follows the same logical attack patterns. This isn’t a good thing. When I was playing through this game on the lowest difficulty setting, it sometimes took me over five minutes to take out a squad of “spiders” – these are the enemies that can only be takien out from behind. This isn’t a gameplay problem. It’s an AI problem because they always have an eye on you, even if you’re behind cover. This passes by more easily if you play co-operatively with a friend, but that just makes a short game go by even faster.

Closing Statement:

Salvation seems to be a victim of time. There’s really isn’t anything here to call it a game. So I’ll have to tell you to pass on buying this title – instead, you should head out and rent it for the achievements or trophies because this game isn’t a long-term commitment. This game feels like a $30 title, and a rushed one at that.

Score: C+

The GTA series has become a bit of a mixed bag throughout the years. Upon changing up formulas, catering to different audiences, and bringing change to a formula that wasn’t exactly broken, its popularity continues to surge. With the recent release of Grand Theft Auto IV and its very first DLC episode, the franchise has gained and lost a myriad of fans. However, one thing remains unchanging: the fact that Rockstar has never been, nor will be, afraid to go there.

When Grand Theft Auto: Chinatown Wars was announced for the Nintendo DS, gamers collectively sighed with noticeable disgust. And why not? The DS has never particularly been seen as a platform for which more adult-oriented games could truly shine, that is, until now. A spectacular and intense throwback to the games that kickstarted the series’ success, Chinatown Wars is destined to become one of the DS’s must-play classics.

Fire up Chinatown Wars, and you’ll get acquainted with one Huang Lee. He’s making his way to the ubiquitous Liberty City in order to pass on a sword to his uncle. It’s no ordinary sword, as it’s symbolic in nature. After the slaying of Huang’s father, it’s his job to pass on the sword to the Triad head’s father. After some shady and unfortunate events unfold, Lee finds that the sword has been stolen and he’s tossed out into the sea, thought to be dead. With this, you’re thrust into the seedy underbelly that comprisees the single-player mode of Chinatown Wars.

Perhaps the very first thing you’ll notice is the long-awaited return of the top-down perspective from the heyday of Grand Theft Auto. What’s presented here is essentially a classic console installment downsized in every proper way imaginable to fit the DS like a glove. However, though it may look entirely alike, there are many ways in which it’s a bit different from its predecessors. Though everything is seen through a bird’s-eye view, the game is entirely 3D. Of course, that’s not exactly saying too much due to the DS’s graphical restrictions, but regardless of the bells and whistles expected these days from gaming youth, there is too much fun to be had here.  The best way to describe Chinatown Wars is a modern-day GTA title with a different camera angle.

Liberty City remains relatively unchanged from the days of the console releases, and if you feel the urge to explore right away, the entire city is unlocked at the onset. GTA wouldn’t be the mother of all sandbox titles if they didn’t cater to those of us with the burning desire to explore.  Exploring the city is one of the absolute biggest draws – if you see something that could possibly take you from point A to point B,it’s up for grabs. Commandeer a truck, a car, a bike, anything you want.  However, a good portion of your time will be spent exploring every nook and cranny on foot, because you can aim much better that way. You’ll be faced with many, many missions that require the sweet sound of shots ringing out -  a regular series staple.  There is a bevy of weaponry available via the ammunition dealer, ensuring that you always receive the proper tools to get any job done right. The implementation of a targeting system will ensure that you’re shooting to kill, but as the game wears on you may find that it makes certain areas of the game a bit easier than you’d like.

If you’ve ever wanted to live out the life of a drug dealer, Chinatown Wars delivers with its network of who’s buying low and who’s particularly needing a fix. It’s a living, breathing economy that works well, even incorporating real-life elements that could completely screw up even the best-laid of plans.  That’s right, a surprise sting could ruin your precious trade, leaving you with nothing if you hadn’t the presence of time to stockpile some goods. I found myself spending loads of time on this aspect of the game, forsaking storyline elements and productivity to make some quick cash and to forge some bonds with respected dealers around Liberty City. I can’t imagine this element going over well with whiny parents, but to be honest it really made the game for me. This level of interaction with the world was rather impressive, coming from a DS title Rather than relying on a cell phone to make plans, keep in touch, and all of those other important aspects, you’re given a PDA that works fantastically – allowing you to contact NPCs, and providing a great little GPS that you can use the stylus to navigate. It’s all about making the connections and networking.

Of particular interest is the new method in which you must lose the heat. Rather than simply evading cops, you must now take an offensive stance against those pigs, er, respected members of law enforcement. Driving away just won’t be enough anymore. Now you’ll find yourself going after the cop cars, effectively disabling them in order to lose your wanted level. This is an extremely satisfying addition to the series, and personally I hope to see it implemented in future, “big brother” console ports.

Chinatown Wars looks great, considering the hardware it’s got to work with. Music tracks as well as audio fit the mood perfectly, as well as score the action to a T. Rockstar has done a truly admirable job here in utilizing every bit of power the DS has to create a smashing new entry into the Grand Theft Auto series.

Closing Statement:

If you’re a veteran of the series, or if you’re just starting to get into the madness that is Grand Theft Auto, this is a  great first choice to start with, as it’s very accessible, reasonably priced, and you can take it with you. It’s a fantastic throwback to the original days of the series, if you remember the very first few iterations. This game is indeed a breath of fresh air for the franchise, and going back to basics is always a good thing. Check it out at your first convenience.

Score: A-

For years now Sony has been searching for the perfect game to conquer Microsoft’s Halo. Back when the first version of Killzone was released it got mediocre review scores because it was a “cracked shooter.” Now, it seems that Killzone has made a return, but this time it isn’t promising to be a “Halo killer,” it’s promising to be a new and redefined experience. But, can it deliver? Yes, I can say that it has but what qualities of this title deliver such an experience?

In Killzone 2, you play as a new character to the series, Sergeant Tomas Sevchenko. Instead of calling him Tomas they call him “Sev,” which can sound a lot like “Sav” at some points. Sev is a part of a four-man team known as Alpha Squad, led by series-known character Rico, who was in the first two games, including the PSP title. You and your teammates, Garza and Natko, fight your way through Helghan completing a vast amount of missions. Most importantly, you find yourself trying to capture Emperor Scolar Visari, the Helghast leader.

Taking place two years after the Helghast assault on Vekta, the ISA (Interplanetary Strategic Alliance) has launched an attack on the enemy’s homeland, Helghan. Their goal: take out the leader, Visari. That’s the story, in a nutshell, and MAN, is it good, on both paper and in playing out. But, I’ll say that there are some very weak points in the story. As for one thing, Rico really isn’t a likable character because he’s just annoying. This shows a weakness in the game’s story when it comes to the emotional department. But, other than that, the story is very strong. Sometimes, though, the game’s progression feels a bit sluggish.

Being the most visible part of the title, the game’s visuals stick out like a sore thumb all over. This really is the best-looking game to date. The character models are amazing and the graphical details in the game are, I don’t think that I can say this in a review, off the chain! But, there are some very bad low-res features to be seen, like the zip that comes out of the healer gun and the fire that shoots out the Flamethrower – they are just very last-gen, graphically. Looking into it, the game also has some strong features; the water effects shine and when it comes to the cut scenes the game put on its mega top hat and showed us a step or two.

To add to the graphical detail, the game has a very strong pick-up-and-play control mechanic, which works almost perfectly with most players. However, just like Superman, even this has its kryptonite. Luckily, the game allows you to change the control type, and there are multiple schemes to choose from. Fortunately, the cover mechanics are also very indebted. On the other hand, it kind of feels as though it was dragged on at some points. But, when you finally get how it works, there’s no stopping you.

The AI is very strong in every way, but one thing I didn’t get was why the AI always advance when you are near them. I know that it’s just a video game, but it feels as if they want you to kill them. Don’t get me wrong, they do perform the very technical things that most AI characters do – taking cover and being intelligent – but that’s just one thing that makes me upset. They can also be very resourceful and fighting a group of them at some points can be a BIG challenge, most of the time. Also, they come featured in many character types and each time you respond it feels like as if you are playing a new level.

Killzone 2 gives you an enormous array of weapons to pick from, such as flamethowers and more – you wouldn’t be bored with the weapons in this title. There also is the unique aspect to each weapon, giving you the chance to build your own strategies. You can only carry 2 weapons at a time, the primary weapon and secondary weapon – which generally deals with heavier weaponry.

Another great thing about this title is its multi-player, which will keep you playing for hours on end. The game gives you a long list of unlockables to pick from. It gives you the ability to pick your own map after each round is done. The level design in the maps are up to pair with any title currently available, but one thing we didn’t find so good with the multi-player is the unacceptably bad lag. It has to be one of the biggest problems in the games multi-player, but people at Guerilla Games say that they are working hard to resolve this problem. Also, they removed the cover system, which, lets face it, wouldn’t work in the multi-player areas of the game..

Anyway, the game’s Warzone feature for the multi-player mode really is something unique. It keeps you on your feet and things are always interesting in this mode. You start out as a normal soldier, then slowly advance throughout the rankings to things such as a Saboteur, Scout, etc.There are about six classes in total, but online you should expect the most popular class to dominate the field because not everyone wants to be the Scout. The game also deals out eight maps, but you will find yourself playing some more than others, because people are quick to click the first pick.

Closing Statements:

I feel that the game really has lived up to its hype, besides its minor jumps and skips. This game is time well-played. But, as I said, this game is far from perfect and with that I feel that this is one of the “must-play games of the year.” But, not because it’s so great; it’s because it does so many things right that it’s hard to go wrong. Also, the multi-player is a time eater. That is, if you have a high speed internet connection. Be advised that there’s no local multi-player! Keep that in mind, and you’ll find yourself playing for hours on end.

Score: A+

Its been ten months since the release of Grand Theft Auto IV and it looks like its developers, Rockstar Games, are finally ready to put their latest work to the test in GTA IV: The Lost and Damned. But, this time we will not be taking on the role of Niko Bellic, the leading man in the Grand Theft Auto IV. You’ll be taking on the role of Johnny ‘The Jew’ Klebitz, the Vice President of The Lost (MC), which is one of the three known big Biker Gangs in the Liberty City.

Sadly, unlike some of Rockstar’s other characters, Johnny really isn’t one of those characters in where you’ll gain a strong bond with. Basically, the DLC is all about John and his gang. BOY his gang is just a group of jerks. REALLY. When we were playing through the title, we found out that Rockstar tried hard to match some of the events that happen in Grand Theft Auto IV that they just didn’t give you enough time to gain a bond with the characters in the DLC. Making the characters look like they do what they do just because they can. However, what they did manage to do right is the game’s presentation. Talk about the ability to keep busy. Not only did they add a hand full of weapons to the mix, but they also added an interesting new race type in were you use a bat to hit your opponent off their bike if they get too close. But, one thing they messed up on in the games presentation is the new grain filter. It really makes the city look ugly, but it really does fit the kind of story they were trying to tell. On the other hand, they did add in a new group of games to play and trust us when we say that it isn’t a waste of time.

Sadly, the character models in the title don’t have that ground breaking amazement like they did when GTA IV, when it was first released, but they are still very detailed. Once again, the grain filter isn’t something that I would want to play this game with, but you can’t do anything about it. This makes me mad because it makes the city look alot on the bad side. Also, the vehicles in the game have received an update and, boy, was it a great step for the developers to make. It makes everything fun and easy to control.

Another great part about the DLC is the added additional Tunes, Talk Shows and Television Shows which prove that this title is a ‘BIG Bang’ for your 20 bucks. The Stations are freaking awesome! I even spent about ten minutes just sitting there in my vehicle tuned into ‘The Beat 102.7′ checking to see what was the update with Busta Rhymes’ ‘If your car ain’t right, homie you ain’t right’. Also, there are new Television Shows. It’s just that they aren’t that entertaining, but it’s there if you want to watch it.

The multi-player is still there with added content like weapons and vehicles. But, I don’t know what it is, when you get into a good match with willing players, you’ll have one of the best mutli-player experience there is. However, one thing I wished that they had updated was the cover system. Just like the single player, you can be easy pickings when you don’t attach to the right cover spot in the right way.

Closing Statement:

The Lost and Damned will go down, in at least our book, as one of the greatest download contents ever made because it has all the things that great DLCs are made of: great content and great acting all around. And for 20 dollars it’s one of the best items you can find on Xbox Live Marketplace, which is saying alot. There’s only one thing I wished they did and that is adding the ability for you to go back and play Grand Theft Auto IV instead of you having to re-download it every time you play Grand Theft Auto IV. Also, they should have given the player a little more back story into the members of ‘The Lost’.

Score: A

What comes to mind when you think Music based video games? Is it Rock Band or is it Guitar Hero? Or is it Singstar? Well, probably one of the most over looked downfalls in this gaming generation has to be the fixation on the casual gaming market, and sadly this game doesn’t divert from that manner. But, none the less, Lips is a party game that has one of the greatest bonding powers of getting friends and family to play with on another. However, one can only wonder if Lips is going to be just another video game face plant or an instant sensation?

After previous failed attempts by Microsoft at trying to recreate the fun derived from group gaming, with such examples as Scene It! and You’re In the Movies, Lips is another offspring of the guys over at iNiS in Japan, which is known for games like Elite Beat Agents – another party-driven game – and many others. Opinion-wise, I really do not think that it was a great idea to name the game Lips, which brings up the games first downfall. We really don’t think we need to go into detail about that.

However, with the game having a somewhat bad name, it does differ from its predecessors. The game has a start up track of about 40 songs, all of which are master tracks including music videos and select previews. They also have different videos other than the original video made for the song that the gamer can pick from. The game has a multiplayer feature that pits you against another player, or against the computer. As for mics, Lips has two beautifully designed wireless microphones that light up as you sing.

When singing, the upcoming lyrics will be highlighted in gray, and the current lyrics will be highlighted in white. However, in two player mode, where player one is on the top and player two is on the bottom, you sometimes fix your eyes on the gray lyrics if you are player two and end up singing the wrong words, which becomes a problem. Also, when singing in the right pitch and balance, the word bars will be colored in the the color of your mic (ex. player one red, player two blue).

Luckyly, the guys over at iNiS knew that you may not be able to hit all the notes so, unlike other music games, you are unable to fail any songs, which is both its strength and weakness. It’s just like the problem that many people had with Elika from Prince of Persia in his newest adventure. It really takes away from the challenge, I mean would you really want to play a game that does nothing to challenge the gamer? I think not.

If you add all those things together it really does make for a weak single-player experience, but this game is really strong when you play it was a buddy. Which brings me to the co-op and mutliplayer part of the game. When in this mode, you can take on a song with a friend (ex. Umbrella by Rihanna). This song has a better co-op standard then other songs in the game, for example Another One Bits The Dust by Queen. But, lucky the mutliplayer works great for this game.

Closing Statements:

I really had alot of fun playing this game. It is really strong in most aspects of it and will surely keep you playing for hours on hand. The interface is remarkably easy to use, the initial track list is solid, and the microphones are outstanding. But, there is one problem, it does not push itself as being a game that a hardcore gamer would want to pick up and play. The game also has the ability for you to transfer music from your iPod, but what really makes me mad is that you can’t upload music from an iPhone or iTouch. That is one reason we couldn’t put that in our review. Also the quality of the videos are mostly in SD, which doesn’t fit this game at all.

Score: B-

As long as I could remember there have been wrestling video games, even from back in the days of the SEGA Genesis, but many wrestling games these days have been feed off the same soul. The same old grappling, the same old hits and the same old fireworks. Many of us wonder what has change for the franchise? This time around Yuke’s is taking another shot at the championship, but can they really step things up for the gold?

Instead of the regular old campaign mode, the game steps up and adds a new mode called “Road to Wrestlemania”, which is just great for a person who has watched the TV shows for years. Honestly, this mode is truly unique. There are five characters you a can pick from, like The Undertaker and John Cena. They all have their own unique story separate from that of the show’s. The mode is also very well written, but one thing I really didn’t understand is why there is a change camera view in both this mode and Career mode, because it really doesn’t fit the game at all. On the other hand, this mode may truly be, acting-wise, better then the actual show. There are a lot of plot twists in this mode that’s sure to keep wanting more.

However, if you can’t get pass the missions in “Road to Wrestlemania” mode you can always pick Superstar and play Career Mode, but there are a few issues if you do. Basically, Career mode is were you can pick any Superstar or Diva from any one of the shows and pursue their story. When you start of in this mode, any character you pick will start in the 30s, which isn’t fun for anyone on the path to the championship – Cruiserweight and World Heavyweigh etc.. When you first enter this mode the champion is unknown so your basically fighting to get points, which you need to advance to the championship, to face some unknown character. You’ll also have to unlock the stipulations for this mode, but “Road to Wrestlemania” is still better than last years “24/7″ mode, so if I were you I’ll past on this.

And what kind of wrestling game will this be without the new match types and features, like the newest match type Inferno Match, an interesting and silly match type in the game. In this match type you and an opponent fight it out in a ring that is set ablaze and you’re suppose to pull your opponent in the flames till it gets to a high temperature level, like 500, but I forget these things. It is very sad that the Divas cannot be included into this match because we would love to see them sweat. lol. Anyway, once you pull your opponent in the flames it will go into a button-tapping minigame were you’ll try to push your enemy in or escape the flames. The feature is fun, don’t get me wrong, but it can also be a little silly to see The Undertaker trying to extinguish flames off himself.

Closing Statement:

At the end of the day WWE Smackdown vs. Raw 2009 is a great game that’s full of potential, but it’s just to bad that it really didn’t get there. The newest feature is Create-A-Finisher, but it’s nothing to be amazed by. You can send as much time as you want in the creative modes but anyway you put it, it feels like you done it a thousand times over. Personally, this game amazed me with RTW this feature gives the game a bit of playability, but it’s all about the game and the way you play it.

Score: B-

Question: How are you able to take a hit franchise to present day, make millions of fans, then send it back into the past and keep your fans? Well, first you will have to get all your fans to return to the game. Then you’re going to need the best reason in the world for them to want to buy it and then they’ll tell everyone about the game, and that should do it. And it looks like Treyarch has mastered this skill – no thanks to Infinity Ward’s unfriendly comments that were made last week – but how well did they master it?

Call of Duty games were never really know for long mission or long campaigns, sadly this game doesn’t divert from that fact. The games campaign is still really short, but this time around they really do step up on the voice acting. The game features well known voices from movies like “The Dark Knight” and the hit TV show “24″ and to add to it, it’s very well scripted.

Instead of the normal WWII shooter environment like Normandy and D-Day, Call of Duty: World at War takes place in the Pacific as well as the Red Army’s reversal to Stalingrad. These places give the game some new environments and battle experiences, from sunny beaches and bombed-out cities. But, there’s also a savage part of war and this game doesn’t pass on it one bit. The Japanese soldiers swarm like bees for a hive on to the battlefield, they even play dead and wait for you to walk into their sick little trap, then they’ll get you. Plus it really doesn’t end there, there’s also a very savage Russian Front with plenty of gunning down of wounded and unarmed soldiers by both fronts in the game.

However, World at War really shines in its Multi-player component, which gives you the ability to tackle missions with your friends in co-op or just do a online single or team game. Even if Modern Warfare had, arguably, one of the greatest multiplayer components in history, this game finds away to build, and build on it good. The game still has its ranking system that lets you unlock perks, weapons, and upgrades which you can use to mix and match for your style. Many of us may miss the helicopter which was featured in Modern Warfare, but this game brings in something so much better, dogs. Which swarm around hunting enemy’s to kill, but it’s way more fun to watch then to be attacked.

Closing Statement:

We can all fight and try to say that this game is better then Modern Warfare, but to do that now will be wrong. The multi-player doesn’t have that big explosion as it did in Modern Warfare, but it does brand something new. The game does have a lot more content then the other game, Modern Warfare, and to boot this is one of the best shooters out their and if you don’t own it now what are you waiting for?

Score: A

When we first saw this game I tough that it was a very good idea, but then again I also tough that Turning Point was a great idea. And to me this game isn’t what legends should be made of, but at least it was better then Spark’s last, Turning Point: Fall of Liberty. And for some apparent reason I just can’t stop talking about Turning Point, but lets at least see if this game is the right game for you.

Legendary tells the not so simple story of Charles Deckard, who is somehow duped into opening Pandora’s Box while on a routine heist. Right after opening the box his hand is scared by the signet of Pandora, which gives him the power to absorb Animus energy that emanates out of fallen enemy giving you the ability to restore your health and stun enemy’s.

The game really does play like a normal FPS, but has some very clunky shooting and some of the weapons carry bit of weight, which kinda gives it that troop feeling. And sadly the games AI does help it one bit. Enemies are frequently getting stuck in walls and the games human AI are just as brilliant as the enemy’s. And it’s kinda sad that these were some issues that plagued their last game. Speaking of, some of the perfect shots don’t register with the game, which can make fighting off enemy’s harder.

And it doesn’t just end there, the game has only one multi-player mode which is just happens to be a creative one. In this mode two teams race to fill a node with Animus energy by hunting NPC werewolves, we know it doesn’t sound that bad, but with this game – if more modes were added – it could have been saved by its online community.

Closing Statement:

In spite of Legendary’s many failings, the game is one of those games that you just can’t pass on but if you buy it you may want to know that this game is just a rent, not along term commitment. It does have a really good script set throughout the full game. And if you enjoyed Turning Point: Fall of Liberty this is for you, but if you hated it please give this game a try because even if it has the same problems as it, it’s still better than it.

Score: C-

“True goodness and nobility is not about saving this person or that person. It’s about how much you’re willing to sacrifice.” This is one of many guide lines for the sequel to the hit Xbox title, Fable from Lionhead Studios. The question is what kind of hero will you be? Will you be a noble hero or will you be a selfish hero? If you can answer these questions you have now determine the future of Albion because you are the future.

Fable II opens 500 years after the first game in our heroes pre-teens years in the snowy covered town of Bowerstone. When in this period of time, you travel round with your older sister doing missions for gold to try and get a mysterious “magic” box that has attracted your attention from a seller. While attending to one of your mission in the beginning of the game you’ll meet a new companion in the form of a dog, that we like to call “Rex”.

You’ll rescue Rex from a bully that is trying to kill him with a wooded sword and from that point on your bond will begin. Throughout the game Rex will follow you everywhere, which can be both a plus and a minus because he will help you fight off your enemy’s and find hidden items. But, on the other hands he doesn’t really help you beyond that point, which is weird because Peter Molyneux made a very big deal about him.

In many ways you can surely say that this game has a Melodie of music because one of the things that you may notice is the game’s wonderful soundtrack. As you play along in the game you’ll experience different elements and along with these elements comes it’s own sounds, like when I was in a carve the music was very dark. This made it feel as if I was about to be attack, which really kept me on the edge of my seat waiting for an attack.

The games user interface isn’t as friendly as it could of been for one thing, as it was stated in the review details paper. One of my friends played the game that doesn’t normally play video games. And according to him the interface isn’t as “enjoyable” as it is in other games. It’s scrolling system could use some work mainly because when searching for items in a menu you can scroll out of menu pocket at anytime.

The games has some very amazing graphics, it really fits with it’s even more amazing style, but there are some spot in the game that feel weird, graphic-wise. Like if you were to climb on top of the water fall by the monks place, at the beginning of the game, you see a triangle type pace when you look off the edge, everytime.

Closing Statement:

To say that game isn’t what you’ll be looking for is a complete lie, this game has to be one of the best RPG out there, to date. One thing I did wish is that they should have focused less on the bloom effect because sometimes it didn’t feel like if it was needed in some parts of the game. The game has a great cast of characters with even better voice acting and great character customization throughout. You should really pick this game up for the holidays.

Score: A+

Space the final frontier, this game takes place in the distant future an Isaac Clarke, a space engineer equipped with a protective armor called “the Rig”, and his company, Concordance Extraction Corporation, receive a distress call from a ship called USG Ishimura. So they go out to check out the distress call and when on the ship they find out that the ship is over run by an alien race called Necromorphs, who dependent upon necrotic flesh.

In this game Isaac has alot of weapons at his disposal and one of the many weapons that you will have is the plasma cutter. This weapon is used to, as it’s name suggested, cut enemy’s up with a plasma blast or ray. Another weapon in the game is the industrial lasers, which is basically a laser. Also each weapon in the game has a alternate attack or secondary fire, which, thank god, has just as much usage as the weapons primary fire. The types of weapons to pick from are flamethrowers, lasers, saws and, what they didn’t show you in trailers, Isaac’s vista of telekinetic abilities which allow to slow down time and etc.

One of the many things that make this game epic is the ability for you to build your own weapons from blueprints that can be found all over the game. This also goes for ammo, items, and suit upgrades but, nothing is more important then upgrading your suit because it is crucial to your survival in the game. Upgrading your suit also gives it some nice graphical upgrades to “the Rig”, which really adds to the games replay ability.

Nothing is more important in this game than it’s zero-gravity environments which adds a nice graphical and technical aspect to the game. When you enter the games zero-gravity environments one of the first things that you will notice is that the hologram display on Issac’s back will now show how much oxygen you have remaining. One of the coolest thing we saw when you are in this mode is the ability leap across entire rooms, and shoot enemies floating around in the air. This really adds to the zero-gravity feel and it makes you feel like you’re in space.

Closing statement:

For a now fan of this game, this game has everything that you would want for a video game from epic boss battles, big guns and even a crazy death gallery. Trust us when we say that this game is one of the greatest horror titles ever made and they really didn’t miss anything with this one and yes, it’s “even better then Resident Evil.”

Score: A+