For the First Socom on the Ps3 it is very good. For all you beta haters of Socom like me myself, i can tell you that the actual game is way better and you get the official Ps3 mic in a bundle with it for only $60 or you can get the mic for $50 and the game for $40 so what im saying is you will save$30 if you get the bundle. And the beta wasnt that bad. There are plenty of guns to pick from and vast downtown/urban areas and the maps have a feeling like the town or coutryside has been desserted for years and is very realistic in my mind. O and the graphics are amazing people say the graphics need work on but i think the secnery is a least 2 times better than Cod4 and let me tell you Cod4 was know for its graphics. So in my book this is a must by for tatical and TPS fans out there.
Subscripe and get the lastes news on the ps3
Posts
All Comments
Monday, October 13, 2008
Saturday, February 2, 2008
Rock Band a killer sound of 9-10
The Good
- As party games go, this one tops the charts
- Included hardware is a lot of fun to play with
- Band world tour mode is severely addictive
- Fantastic presentation
- This game will probably make you a better drummer.
The Bad
- $170 price is a lot of money
- Band world tour can't be played online
- Some hardware reliability concerns.
Rock Band is every wannabe musician's dream. A game that takes the four key instruments one needs to make a band a rock band (guitar, bass, drums, vocals), and builds a highly playable and intensely addictive game around them. To a degree, developer Harmonix got a head start on the process of creating Rock Band when it developed the first two Guitar Hero games, but whereas those games were all about the decidedly solo act of severe simulated shredding, Rock Band goes in an entirely different direction. The solo play has taken a backseat to cooperative multiplayer. This game is all about the act of performance as a band, getting a group of four people together and working together to get the highest score bonuses possible as a group, all while fake guitaring and realistically singing and drumming your way through more than 40 different licensed rock hits. The steep $170 price tag for the game and bundled hardware might prove to be a barrier for entry for some, and in addition, the hardware itself comes with a few flaws. But if you're willing to make the investment, Rock Band is a guaranteed good time for any music lover, and one of the best party games you'll ever play.
;)
In a sense, Rock Band is a little like three distinct games built into one. First, there's the guitar game, which lets you play approximately the same sort of game as Guitar Hero on guitar and bass, but with a few key differences. For one, the guitar itself is built quite differently from the Guitar Hero guitars. It's bigger, with a longer neck, and its body feels more solid. The fret buttons are larger, and are flush against the neck of the guitar, and there is a second set of narrower fret buttons all the way down the neck that you can tap on for solos. The guitar even comes with a built-in effects switcher, which puts effects like echo, flange, and wah-wah over the in-game guitar track. The only difference between guitars in the Xbox 360 and PlayStation 3 versions of the game is the fact that people who buy the 360 version get a wired guitar, whereas PS3 owners get a wireless one. On the flip side, PS3 owners don't get a USB hub to connect all the instruments to, whereas 360 owners do. That shouldn't be an issue if you have an older PS3, but if you have a newer one with the two USB ports, you'll need to buy one of those hubs separately. It's also worth noting that you only get one guitar with the bundle on either platform, but if you own a Guitar Hero guitar for the 360, you can use it with the 360 version of Rock Band.
The actual guitar gameplay isn't much different from Guitar Hero, with you strumming along and periodically tilting the guitar to engage "overdrive" (the game's equivalent of star power), but a couple of neat twists do add some flavor. For one thing, solos are given their own scoring section in each song, and the game tracks the percentage of notes hit during a solo. The higher the percentage, the higher the score bonus you get at the end of the solo.
The guitar game is of good quality, though a couple of things about it might drive a few longtime Guitar Hero fans batty. For one, the difficulty of the game is a good deal less challenging than what the hardcore Guitar Hero fan base is probably accustomed to at this point. The goal with Rock Band seems to be more about bringing in newcomers, so as a result, the difficulty level sits somewhere between Guitar Hero and Guitar Hero II overall. Not a bad thing if Guitar Hero III gave you conniption fits, but potentially less exciting for some of the hardcore guitar gamers out there. Also of note is that the note charts for guitar are handled a bit differently, with notes that can be pulled off via hammer-ons and pull-offs appearing as half-sized notes on the chart. It's not quite as easy to see these notes as in, say, Guitar Hero III, so you might end up screwing up a few solos until you get used to this new methodology.
Lastly is the guitar itself. It's a good guitar, but it does some things differently than the standard GH model guitars. The strummer doesn't click when you strum up or down, and the fret buttons seem a bit less forgiving in terms of timing in solos and other, tougher sections. It's not that it's bad or wrong--it's just different, and it takes some getting used to. Also, you're not going to get a ton of mileage out of things like the second set of buttons and the effects switch. Most people will probably forget the switch is even there until they accidentally turn on wah-wah, and sliding down to the second button set is a bit vexing to do just as you're about to head straight into a solo, since it takes a while to get accustomed both to the smaller buttons and to finding exactly where they are on the neck without staring at the guitar for a few seconds. Fake-guitar virtuosos will probably dig it, but most people will likely stick to the standard method.
Next there's the singing game, which closely emulates the mechanics of Karaoke Revolution and SingStar, but, again, with a couple of specific differences. You sing along as the lyrics display on the screen, trying to match your vocal pitch to the meter that moves up and down with the original vocal track. The key thing about singing is that the number of sections where a singer actually gets to do his or her thing is somewhat limited. But even those down moments aren't left for pure silence. Sometimes the vocal area of the screen will turn yellow, indicating for you to "make some noise," which then engages overdrive. There are also sections where you can simply tap the microphone to the rhythm of the song to get a tambourine or cowbell section going.
;)
Beyond these wrinkles, the core of the vocal game design is to just sing, sing, sing...and occasionally rap. If there is any complaint to be made about the vocals, it's that it doesn't leave a lot of room for interpretation. On the higher difficulty settings, the game is extremely intent on you hitting the mapped pitches as closely as possible, even in situations where it seems like the mapped pitches aren't quite exact to what the original vocalist is doing. The same goes for the timing of each word. In some songs vocalists will trail off, but you can't really do that and still get the max score, which makes the vocals feel a bit robotic. Still, most vocal pieces are quite fun regardless, and in a nice touch to help middling vocalists everywhere, you can adjust the original vocal track volume via the controller as you play, so you can use it for as much or as little of a guide as you prefer.
Finally there are the drums, easily the most intense and enjoyable instrument of the bunch. The kit consists of a collection of four color-coded pads and a kick pedal, along with a pair of drum sticks. There's really no reference point for the drums portion of the game except for, well, real drums. You hit the pads in time as you would with a realistic drum kit, and on expert, the game practically maps out each song's drum part note for note. Make no mistake: When you are playing on expert, you are playing the drums. If you can do well on expert, you can probably pull out a decent beat on a real drum set at will. The good news for novices is that easy difficulty does a pretty good job of easing you into the act of drumming. The number of notes is much more limited, kick pedal usage is rare, and drum fills are eased back quite a bit.
Speaking of fills, one really cool thing about the drum portion of the game is that it allows for some improvisation. The way the drums handle overdrive is to give you some blocked-out sections where you can just bust out any kind of drum fill you want. The pads act as a snare, two tom-toms, and a crash cymbal. Go nuts, but just be sure you hit the last crash cymbal note at the end of the fill, at which point you will engage overdrive.
If there is any issue to be taken with the game's hardware, it's its reliability. For instance, one of our pre-release kick pedals from the drum kit, which is made up of a somewhat thin piece of plastic hooked into a spring underneath it, actually snapped in half during a particularly heated rendition of The Who's "Won't Get Fooled Again." The other pedals we used for testing held up despite some extreme thrashing, but all the same, our suggestion is that if you've got a Mr. Heavyfoot in your band, tell them to go shoeless and ease up on the pedal slammage a smidge. Another issue is the USB microphone. One of our retail boxes came with a broken mic that cut in and out and wouldn't register our vocals properly. Any supported USB headset mic will apparently work in a pinch on the PS3, and the standard Xbox 360 headset works on there as well, but regardless, that's still a concerning issue. At least EA seems to be aware of potential hardware issues, as a big flyer inside the box explains the 60 day hardware warranty that comes with the game and directs you to an EA Web site. You might want to keep that URL handy if you run into any issues.
Those are all the technicals of the instrumental gameplay, but none of that quite emphasizes how excellent the game is at emulating the act of band play. By themselves, each instrument is basically fun, but when you get four people together playing at once, something spectacular emerges. Part of it is the way in which scoring has been designed for cooperative play. Overdrive can be turned on by anyone, but the more people you have in overdrive at once, the higher the score bonuses. By the same token, if one person in your band fails out of a song, another can simply engage overdrive (provided enough is stored up at that point) and come to the rescue, bringing the player back into the fold. But it goes beyond even the scoring mechanics. There's just something intangibly brilliant about the way having everyone play together feels. For instance, because the drums emulate the real-life instrument so closely, having a good drummer is paramount for success. If your drummer gets off beat, it can badly screw everyone up. Along the same lines, when your drummer is in a solid groove and the rest of the band is able to lock into that groove, the feeling that you're actually performing a song as opposed to simulating one is palpable, and it is quite the exhilarating feeling.
;)
The game's song list goes a long way toward making that multiplayer even more enjoyable. Though the game includes only 45 licensed songs (along with 13 bonus tracks from lesser-known bands), many of these 45 are big-name tracks that are immediately recognizable and span multiple rock genres. Alternative rock fans will find such '90s delights as Weezer's "Say It Ain't So," Smashing Pumpkins' "Cherub Rock," and Nirvana's "In Bloom." Modern rockers will find The Killers' "When You Were Young," Foo Fighters' "Learn to Fly," and Yeah Yeah Yeahs' "Maps." Classic rock fans will delight in being able to rock their way through Black Sabbath's "Paranoid," The Rolling Stones' "Gimme Shelter," and KISS's "Detroit Rock City." Other, less specifically denominational yet altogether awesome songs include The Ramones' "Blitzkrieg Bop," Rush's "Tom Sawyer," and Metallica's "Enter Sandman."
The vast majority of these songs are original tracks from the artists, with only a few covers scattered throughout the tracklist. Only a few of the covers really stick out much. The Geddy Lee on "Tom Sawyer" is a bit overblown, and the singer of Mountain's "Mississippi Queen" is a bit odd sounding as well. But by and large, the covers blend in nicely, and whoever did the vocals for Steven Tyler and Bruce Dickinson on the Aerosmith and Iron Maiden songs respectively deserve some kind of vocalist soundalike merit badge.
The only real problem with the tracklist is that some of the songs aren't the kind of immediately recognizable stuff you would expect in a game that's all about a bunch of people getting together and making elaborate band karaoke. Quick, off the top of your head, immediately think up the melody to The Police's "Next to You," or Molly Hatchet's "Flirtin' With Disaster." None of these songs are unpleasant to play or anything, but they don't quite fit into the scheme of songs anyone can just pick up and rock to, especially on vocals. Heck, just about anyone can probably whine their way through "Cherub Rock" or snarl through "Enter Sandman" on the lower difficulty levels. But Aerosmith's "Train Kept a Rollin'"? Maybe not so much, but perhaps that just depends on you and your friends' personal tastes in music.
Clearly Rock Band's focus and ultimate strength is as a multiplayer game, specifically a cooperative one. This is also evidenced by the game's somewhat less captivating single-player element, at least compared with its multiplayer game. You can play solo in quick play, or in one of the three solo career modes, one for guitar, one for vocals, and one for drums. These all follow the basic formula laid down by Guitar Hero, with tiers that unlock in order of increasing difficulty. One nice thing is that each instrument's career offers a totally different track order, scaled to the difficulty for that specific instrument. The other cool thing is the fact that you can customize your own rocker for each instrument. You start out with some basic edits, and then as you go, the cash you earn in the career mode lets you buy all sorts of wicked rock garb, tattoos, haircuts, and the like. But as far as the progression of the career itself is concerned, it's pretty boilerplate. Nothing of note really happens during the course of the career, and it ultimately lacks the dynamism of the band world tour mode.
;)
Band world tour is the co-op career mode. Two to four players can create their own rockers and start rocking right away, and band members can jump in or drop out at any time, so long as the profile of the band founder is always signed in and playing. The mode is essentially a much more fleshed-out version of the same sort of tiered career mode as the solo tour. You start out as a nobody band, playing the teensiest club in your hometown. As you play gigs and perform well, you'll earn more fans, which helps propel your band ever forward toward rock stardom. You also earn stars in each gig, and the more stars you collect, the more gigs that will unlock in each available city.
This mode is, in a word, addictive. Working to gather as many fans and stars as you can becomes almost compulsive after a while. If you've got friends with you willing to stick it out, you could potentially lose a lot of hours of your life touring the world. Another thing that makes band world tour so cool is the presentation of it all. As you grow your fan base, you'll earn the opportunity to get a crappy van, then a tour bus, and even a jet. You'll have the chance to win another band's roadies, hire a sound guy, get signed to a label, and eventually work your way into the hall of fame. It's an awesome experience, to be sure.
The mode itself never actually ends, letting you continue to earn fans and keep playing gigs, though after a while you will forced into the higher difficulty settings, which potentially spells trouble if you start running into songs you don't really know yet, and you eventually start to run into a fair amount of song repetition, especially if you haven't already unlocked all the game's songs in the solo tour. Starting out fresh guarantees you'll be playing a lot of the same songs again and again from the very beginning. If you unlock everything in solo, the tour opens up a great deal. While 58 songs might seem like a lot to pick from, you're still going to end up repeating songs a fair amount, especially when you do the special challenges, which automatically pick random songs for you.
It is perhaps a good thing, then, that Rock Band is supported with lots of downloadable content. Several song packs (including artist packs for bands like Queens of the Stone Age and Metallica), single-song downloads, and full-album downloads (The Who's "Who's Next" will be the first) have been announced thus far. Pricing on these songs is slightly cheaper than the Guitar Hero song packs, but not so much cheaper that you won't notice the hurt on your wallet if you start splurging for every song that comes along. Still, the idea of getting regular downloadable content is great (Harmonix and MTV are apparently going to start out by releasing songs on a weekly schedule), and the full-album download idea is awesome. Even better, any song you download makes its way into the rotation in the band world tour, which should alleviate some of the repetition over the long haul.
The one truly unfortunate thing about the band world tour mode is that it isn't online. That might be a dicey prospect for those without regularly available friends with a similar love of music games. The good news is that there is an online co-op quick play option, so if you and your buddies just want to get together and play single songs as a band for fun and high scores, you can. The online also includes competitive options, such as a basic score duel (same instrument, same difficulty, play the entire song) and a tug-of-war mode (same instrument, any difficulty level, trade off sections of the song, try to win the crowd over to your side by performing the best). These modes are about as enjoyable as Guitar Hero III's online component, so if you dug that stuff, you'll definitely dig this. The online modes also performed well across the board, with no noticeable lag while playing.
Perhaps one of the best things about Rock Band is its presentation. The in-game visuals are of very high quality, with great character modeling, top-notch animation work on each musician, and lots of neat lighting and visual effects during the course of the performance. And the best thing about all of that? None of it causes the game to slow down whatsoever. The note charts stay steady no matter how much craziness is going on in the background. If there's any flaw to be found in the visuals at all, it's that the notes on the note charts are a little on the small side. It's not a big deal in one- or two-player play, but when you have both guitars and drums going at once, it can sometimes be tough to make out whether you've hit a note or not. Also, if you're trying to figure out which version of the game to get, visuals won't make much difference. Both the Xbox 360 and PS3 versions of the game look pretty much identical to one another.
;)
The presentational quality goes well beyond the visuals. Everything about Rock Band just feels authentic. It's the little details, like how some arenas will put your band's name in big lights behind you on stage, or how when you're performing well the crowd will start singing along with the vocalist. Awesome stuff. Heck, even the game's loading screens are cool, offering up some neat band trivia, as well as dynamically generated band photos featuring your created musicians in a variety of delightfully exaggerated rock poses.
All told, Rock Band turns in an absolutely stellar performance. And much like any real band worth its salt, it's not just because of one or two things that it does well while the rest fall by the wayside. Each individual component of the game is good on its own, but it's when you put those things together into a collective whole that the game truly shines. Ultimately, the $170 investment is bound to be a sticking point for some, especially those who don't have readily available friends who can come over and rock whenever the itch needs to be scratched. But even with that caveat in mind, Rock Band is easily one of the most ambitious music games ever produced, and that it is so successful in its ambition makes it something really special.
By Alex Navarro, GameSpotTurning Point: Fall of Liberty Hands-On
LAS VEGAS--Turning Point: Fall of Liberty revolves around the premise that Winston Churchill died when he was hit by a taxi in 1931 (in reality, he lived, but had to use a cane the rest of his life). With one of Hitler's most stalwart foes out of the way, the Third Reich conquers all of Europe and then sets its sights on the US. So this is very much an alternative history first-person shooter, one that tasks you with being an ordinary Joe who must help defeat the invading German horde.
With Turning Point due to ship at the end of February for the PC, PlayStation 3, and Xbox 360, we got a chance to play through the first mission of the game. This is a mission that portrays the invasion of New York City by German airborne forces. Your character is a construction worker on a high-rise project downtown when the Nazi bombers arrive on the scene. The opening mission requires you to escape in a highly scripted sequence full of moments like steel trusses being knocked out moments before you're about to cross them, explosions opening up new avenues for you to navigate, and environmental interaction where you activate sprinklers to put out a fire that's blocking your way.
In the middle of the escape sequence, German paratroopers arrive on the scene. One of them lands directly in front of you, but he has his back to you while he struggles with pulling in his parachute. This provides an opportune moment for you to grab him from behind in a grapple hold and dispatch him using a number of different moves. The bonus out of this is that by killing him, you get to pick up his weapon. So, yes, you have a machine gun, too. Have fun killing Nazis with that.
Because the game is set in 1953, it doesn't feature a lot of conventional and familiar World War II weapons and vehicles. Instead, there are a lot of weird, prototype weapons that were on the drawing board when the Third Reich got crushed, such as jet bombers and zeppelin troop transports. So Turning Point manages to avoid the burden of being yet another World War II first-person shooter and instead promises something interesting and different. We'll see how it pans out next month.
Friday, February 1, 2008
Burnout Paradise 9-10 Rating
Is there any developer buzz term more meaningless these days than "open-world gameplay"? Let's face it, it's kind of been done to death at this point, so you have to look on with a bit of skepticism when a developer touts the concept as the next big thing for its franchise. It's understandable, then, if Burnout Paradise's concept freaks you out a little bit. Burnout has, by tradition, been a fairly structured arcade racing game up to this point, and one would have to wonder exactly how well an open environment would serve the series' crash-happy gameplay methodology. Evidently, the answer is quite well. Developer Criterion has invented a world wonderfully suited to Burnout's nature, a city built exclusively to cater to your destructive whims. And while a few design hitches here and there get in the way now and again, by and large Burnout Paradise delivers an experience that is both true to the Burnout name and wonderfully fresh-feeling all at once.
;)
The star of the show is Paradise City itself. Coming complete with the titular Guns 'N Roses song (because Burnout: Night Train or Burnout: Mr. Brownstone probably wouldn't have been as catchy), Paradise City is, at first blush, a pretty standard racing game city, complete with all the usual landmark locations and boring background traffic. But it quickly becomes evident that Paradise City is meant for a greater purpose than just being a simple city to race around in. In effect, the city is a blank slate, a pristine canvas on which to paint your own obliterative masterpiece. The simple act of driving aimlessly around the city constantly presents new roads, shortcuts, and destructible objects for you to experience and, often, destroy. Nearly every intersection of road hosts a new event of some kind, and even after you've worked your way through the game's progression of driver's licenses (the only specifically linear portion of the game design), you'll still be finding new things you didn't even know were there.
That might sound a little overwhelming, especially if you've grown accustomed to the rather specific brand of racing that Burnout has always subscribed to. And at first, it most definitely is. Though the in-game tutorials do a decent job of explaining the event types and basic mechanics, you're initially left to your own devices and only have the small minimap to guide you through the many twists and turns of the city as you race--unless of course you want to hit the pause button regularly and use the larger map, which is a bit annoying to do. Those well accustomed to Burnout's previously track-based racing model might find having to explore to find the best route to the finish a bit frightening, but the good news is that it doesn't take a great deal of time to get a feel for the city's various ins and outs.
Until that time, you will experience some trial and error (with a heavier focus on the error), but the funny thing about that is that while you may initially find yourself failing races, it's not often you have to just go back and keep doing that same race again and again. The focus of Burnout Paradise isn't on doing specific events so much as it is about doing whatever you feel like. If you fail a race, odds are that there are roughly a dozen starting points for other races near the finish line of that previous race, and unless you've done them all, you can just hit up any one of them to get another notch on your license. Toward the very end of the game, when you've bested the bulk of the game's events, you may find yourself lamenting the lack of a quick return feature to get back to a race's starting point. But for the majority of the game, it's not really an issue.
It's a strange design to get used to initially, but once you do, it becomes incredibly rewarding. You can spend hours at a time just dawdling around the city and still make forward progress within the game. Don't feel like racing? Just go break through shortcut gates or bust up billboards, which are tallied up as you break each one. Or, track down one of the cars you unlocked on the road and take it down to add it to your collection. Or, you can opt to pick a road and attempt to "own" it. There are two types of events associated with each of the major roads in the game. Time trials are as you'd expect--you simply start at one end of the road and start driving down it, attempting to get the fastest time you can. Secondly, there are showtime events, which are the game's effective replacement for the crash mode found in previous installments of the series. Whereas crash mode was sort of like a puzzle mode in the way it made you create elaborate car crashes out of painstakingly built traffic designs, showtime is the polar opposite. These are elaborate car crashes born from little more than a bunch of nearby cars and your ability to control what is, in essence, a sentient car wreck.
In a word, showtime mode is absurd. The goal is similar to crash mode in that you're aiming to create as much damage as humanly possible, with various types of cars offering up different cash bonuses that feed into your final score. All the while, you can move your busted husk of a car around by pressing the boost button, which causes you to bounce around like a rubber ball. Again, totally absurd, but also totally awesome. It might lack the puzzling nature of the crash mode, but for pure visceral thrill and laughs-a-minute wrecking, showtime mode delivers in spades. It would have been nice if Criterion had found a way to have both the crash mode and showtime mode coexisting, as neither would make a particularly good replacement for the other; but on its own, showtime is a great deal of fun.
;)
A number of other elements from previous Burnouts are also missing or altered here. The lack of aftertouch (the mechanic that let you steer your wreck into opponents during races and take them out) is a real bummer, as it makes wrecking during races a pure nuisance rather than an opportunity for more destructive glee. Traffic checking is absent as well, though it isn't sorely missed. The racing artificial intelligence has seen a bit of tweaking here and there. You still get the sense of rubber banding that the series has always employed, but as the game goes on and the racers get tougher, your opponents become more aggressive and don't just tank right before the finish line. By and large, the game is actually a bit easier than the last couple of Burnout games, but the challenge toward the later stages of the game definitely ramps up significantly.
The racing itself is as exciting as it's ever been. Standard races are intense and thrilling, road rage events are full of wreckful delights, stunt runs have you jumping, barrel rolling, and flat spinning all over the place, marked man races are tense fights to the finish line as multiple enemy cars bop you around trying to wreck you beyond repair, and burning routes have you taking on challenging time trials to earn new cars. If there's any flaw to be noted with the core game design, it's maybe that there aren't enough event types. There's no shortage of events and random stuff to do, but running the same event types, and even some of the same specific events again and again, can grow a bit tiresome after a while. After each license upgrade, all the events you've raced (except for burning routes) reset, so you end up doing a lot of them over and over again. This wouldn't even be an issue if there were a greater variety of event types, but as it stands, there are only those few, and you may wear out on doing races and marked man events again and again.
If you do get a bit bored with the single-player action, you can always hop online and race against others. Doing so is quite seamless. Simply press right on the D pad to bring up the online menu, and then decide if you want to join up with other existing games or create your own. Online in Burnout Paradise is quite a different animal than that of previous Burnout games. You don't just hop into a lobby menu and pick races to engage in. Instead, the city itself is the lobby, and while the host decides what he wants to unleash upon you, you can just mess around and do whatever you like.
When hosting, you have the ability to both race and take on challenges. Races are of your own design, with you setting the beginning and ending points anywhere in the city. Challenges are set, and there are literally hundreds of them. The trick is that there are a limited number of challenges depending on how many players are in a group. There are 50 challenges for two players, 50 for eight players, and 50 for each denomination in between. This means that once you've exhausted all the challenges for two players, you'll have to get three, then four, and so on and so on if you want to complete them all. That might prove unwieldy for those who don't have a lot of friends online to play the game, but at least the challenges themselves are creative and fun. The challenges range from competitive bouts of drifting, crashing, and jumping to cooperative versions of all the same stuff. It's an inventive mode to be sure and an exceptionally fun one when you've got a good crew of friends to play with.
It also bears mention that while online, you can use the PlayStation Eye or Xbox Live Vision Camera to take shots of your rivals online. When you take down a rival player that has a camera hooked up, the cam will take a mugshot of that player's reaction. It's kind of a neat feature that, unfortunately, will probably be abused by all manner of nudity over the course of the game's lifespan, but that's inevitably what happens when you let people do things with cameras.
Paradise's visual presentation is precisely the kind of top-notch work you've come to expect from the series. Once again, the game sets a standard for how a sense of speed should feel in an arcade racer. This game is lightning fast, and the frame rate in both the Xbox 360 and PlayStation 3 versions of the game holds up regardless of the chaos onscreen. The car crashes in this game are absolutely fantastic, thanks to some dynamite particle effects and camera work in each and every mangled wreck. Cars deform to wonderful effect, scrunching up like an accordion in head-on collisions and bending and twisting nicely in other situations. The only thing that continues to look a little weird is the total lack of drivers in all the cars around the city. It's understandable that Criterion would leave out mangled corpses or what have you for the sake of an E 10+ rating, but it still looks strange seeing all these disembodied cars driving around like a society of Turbo Teens.
It's also worth noting that Burnout Paradise is a game that commands an HD display, and not just for full graphical effect. On the standard-definition TVs we tried, we found the minimap to be borderline useless unless we squinted like crazy. On an HD set, the minimap is detailed and blown up enough to rely on, but when playing in standard definition, it simply became a hassle to use.
;)
If you're looking for differences between the two versions, you won't find many. The PlayStation 3 version looks maybe a hair crisper than the 360 version, but that's about the only visual difference to speak of. On the flipside, the 360 version has a slight edge in that you can use custom soundtracks to drown out the miserable collection of songs EA has amassed for the game. There are a few highlights that fit well with the theme of high-energy racing, but the vast bulk of the music consists of irritating modern rock that's about as ill-fitting as humanly possible. Avril Lavigne's "Girlfriend" might, itself, be a car wreck of a song, but it doesn't fit the vibe of the game at all. Add in the collection of original Criterion-produced guitar rock tracks from previous Burnout games that sound like they were culled from Joe Satriani's nightmares, and you have a pretty unpleasant musical experience all around. The annoying radio DJ who pops up now and again to give hints, mock you obnoxiously when you fail, and make one glib comment or another about something going on in the city doesn't help matters. He's merely an annoyance that probably wouldn't even be worth mentioning save for the fact that you cannot turn him off. At least the sound effects are still top-flight in every regard. Crashes thunder, engines roar, and tires screech with terrific clarity all throughout the game. If you've got a surround-speaker setup, it's all the better.
It's entirely possible that some people might not enjoy Burnout Paradise's significant shift in direction, specifically those who simply wanted another incremental Burnout sequel. Indeed, Paradise is anything but incremental, and while it might prove a polarizing experience for some, most will likely appreciate what a radical overhaul this game really is. The open-world design isn't just a lazy gimmick--it's a wonderfully executed concept that doesn't rob the game of the series' most beloved tenet: the act of driving fast and wrecking hard. If you're one of the people who tried the Burnout Paradise demo and formed a rather negative opinion of the game, you're not alone. But if you have any affection for the series, you really owe it to yourself to give the full game a look. The demo did little to truly represent what a superbly fun racer this game can be.
Call of Duty 4 Review Gamespot 9-10
It took awhile, but Infinity Ward finally got the message that World War II is played out. With modern times and international affairs becoming more and more, shall we say, interesting in recent years, the 1940s just don't carry as much weight as they used to. Perhaps that's why Call of Duty 4 has a new subtitle, Modern Warfare. By bringing things into a fictionalized story that still seems fairly plausible, the developer has made a much heavier game. But COD 4 is more than just an updated setting. It's also an amazing multiplayer first-person shooter and a great but brief single-player campaign with the visual chops to make it a standout shooter in an era filled with seemingly dozens of standout shooters.
;)
The only real catch is that the single-player is almost shockingly short. If you've been keeping up with this style of game, you'll probably shoot your way to the credits in under five hours. While you can raise the difficulty to give yourself more of a challenge, the main thing this does is make the enemies frustratingly deadly, which sort of detracts from the fun.
While it may have a lack of single-player quantity, it makes up for most of it with its quality. The game tells its story from multiple perspectives, and you'll play as a new British SAS operative as well as a US Marine. The campaign takes you from a rainy night out at sea on a boat that's in the process of sinking to a missile silo where it's on you to save millions from an unsavory nuclear-powered death. Along the way, there are plenty of jaw-dropping moments where you'll look around the room for someone to whom you can say, "I can't believe that just happened." In a world filled with war games in which the good guys come out unscathed and the world is left at total peace, Call of Duty 4 will wake you up like a face full of ice water.
The action in the campaign is usually very straightforward. You have a compass at the bottom of your screen, and the direction of your current objective is very plainly marked. But getting from point A to point B is never as simple as running in a straight line, as you'll be conducting full-scale assaults in Middle Eastern countries by moving from house to house, taking out what seems like a never-ending stream of enemy troops along the way. You'll also get an opportunity to raid Russian farmhouses in search of terrorist leaders, disguise yourself as the enemy, and, in one sequence, don a brushlike ghillie suit and crawl through the brush as enemy troops and tanks roll right past you. It's a breathtaking moment in a campaign filled with breathtaking moments. Unfortunately, it's about half as long as the average shooter, and there are plenty of sequences where you wish there were just one or two more hills to take.
Of course, if you're looking for longevity, that's where the multiplayer comes in. Up to 18 players can get online and get into a match on one of 16 different maps. Many of the levels are taken from portions of the single-player and they offer a healthy mix of wide-open, sniper-friendly areas and tight, almost cramped spaces where grenades and shotguns are the order of the day. There are six game modes to choose from. The old standby is team deathmatch, though you can also play in a free-for-all deathmatch, which isn't as much fun as the team modes. The other modes are more objective-oriented, and a couple of those have you lugging bombs across the map to blow up enemy equipment, or preventing the enemy from blowing up your base. Others have you capturing control points. Lastly, you can change up the game rules a bit with a hardcore setting that makes weapons more realistically damaging or an old-school mode that puts weapons on the ground as pickups and generally moves away from the simulation side of things.
;)
In addition to just firing your weapon or tossing grenades, you earn some more interesting tactical moves for skilled play. If you can shoot three opponents without dying, you're able to call in a UAV drone, which basically is an upgraded radar that makes enemy positions show up on your onscreen map for 30 seconds at any time. Normally, enemies blip up onto the map only if they fire their weapon to make their location known. If you can go on a five-kill streak, you can call in an air strike, which brings up a shot of the entire level map and lets you place the air strike wherever you like. When combined with a UAV sweep, this can be really devastating. If you can make it all the way to seven kills--which is actually easier than it sounds--you can call in a helicopter for support. It'll buzz around the map and automatically open fire on enemies, though enemies can shoot it down, too. These additions to the normal first-person shooter gameplay really open up the game a lot and make it superexciting to play.
You'll also always have something to work toward, regardless of mode, because in standard, public matches, you earn experience points for just about everything you do. Capturing control points, getting kills, calling in support, all of these things give you points that go toward your rank. Ranking up unlocks most of the game's multiplayer content.
The class system in Call of Duty 4 is also very interesting. Each class has a different weapon loadout and different traits, called perks. As you rank up, you eventually unlock all five of the preset classes and the ability to create your own class. This lets you pick your own main weapon, your sidearm, attachments for both weapons, what sort of special grenades you want to carry, and three perks. The perks are broken up into three groups to help keep things balanced, and as you continue to level, you'll unlock additional perks. These class traits are one of the game's neatest tricks and, again, really helps to set COD 4 apart from the pack.
;)
Perks in the Perk 1 group are more focused on explosives, letting you get more flashbangs if you like, or letting you lug around a rocket launcher, which is great for taking out enemy choppers. The other two perk groups have traits like juggernaut, which increases your health. There's also last stand, which activates when you are killed by dropping you to the ground and switching you to a pistol, giving you a moment to kill the guy who took you out before he realizes you're still squirming around and finishes the job. Our current favorite is martyrdom, which causes you to drop a live grenade when killed. It adds a healthy dose of mayhem to the proceedings. The perks and other unlockables feel nicely balanced, too, so you probably won't run into situations where one class is just better than the other. As it should be, your ability to point the red dot at the head of your enemy and squeeze the trigger before he does the same is still the deciding factor.
While there are a ton of compelling gameplay reasons to play Call of Duty 4, it also has top-notch presentation. The graphics are fantastic throughout, and they do a great job of rendering wide-open fields, tight buildings or houses, smoke-belching silos, and lots more. Some of the multiplayer maps look like they've already seen a lot of action, with blast craters, destroyed tanks, and other things that you can hide in or behind. It also has terrific lighting, so everything looks as it should. Everything sounds right, too. When you hear a battle raging in the distance, it sounds appropriately muffled, and up close, the crack of an M16 or the full-auto barrage from an AK-47 are appropriately loud and angry sounding. There is also quite a bit of voice work throughout the game, and it's all nicely done. The music, for the most part, is the typical sort of action-movie music you've come to expect from a first-person shooter, except for a rap over the end credits that seems to simultaneously detail the game's story while also acting as a subliminal diss record with some slick talk about how this is the third chapter by Infinity Ward, perhaps lightly inferring that you should ignore Treyarch's contribution to the series, Call of Duty 3. It's great.
;)
COD 4 is available on the PlayStation 3, Xbox 360, and PC, and each version holds up admirably. The differences between the two console versions feel mostly negligible. Both systems deliver good frame rates and have good, easy-to-use multiplayer setups that most closely resemble Halo 2 and 3's party system and matchmaking playlists. The PC version of the game uses a more traditional server browser to get you into games. Both systems work just fine on their respective platforms. The PC version has the ability to run in a higher resolution, if you're equipped with a PC that can handle it, but it seems to scale quite well. You can also create servers that allow up to 32 players to play at once on the PC, as opposed to a limit of 18 in the console versions, but given the size of the multiplayer maps, putting 32 players in them makes things a little too crowded. Despite listing 1080p support on the back of the box, COD 4 appears to prefer 720p on the PlayStation 3. The only way to get it to run in 1080p is to tell your PS3 that your TV doesn't support 720p or 1080i, but the difference seems minor. Either way, you'd be hard-pressed to tell it apart from its Xbox 360 counterpart. And all versions control just fine, making the decision over which version to buy totally dependent on which controller you like the most.
It's a shame that the single-player is so brief, but you should only skip out on Call of Duty 4 if you're the sort of person who doesn't appreciate great first-person shooter multiplayer. The quality of the content in the campaign is totally top-shelf, and the multiplayer is some of the best around, making this a truly superb package.
Subscribe to:
Comments (Atom)