Review- Tiger Woods PGA Tour 11 [PS3]

Publisher: EA Sports

Developer: EA Tiburon

Released: 8^th June 2010

Other Formats: Xbox 360, Wii, iPhone

How do you go about reviewing a game that year on year is so incrementally different to its precursor. In fact, approaching Tiger Woods PGA Tour 11 with new eyes is difficult, a series that strives for familiarity over vast changes to the core game play mechanics. Sticking with the basics first off, PGA Tour 11 alters the key fundamentals in its golfing game play very little, only refining the upgrading rewards, skill advancement and career progression aspects of the game, making sure the latest update is the best yet.

The 'flick-stick' swing mechanic returns once again (ever difficult to master as always!), whilst the ability to put spin on the ball mid-air, adding extra power through repeatedly tapping 'X' and improving accuracy (reducing the size of the expected drop-zone circle) by pressing 'X' within the shot preview screen are also all here. If you'd rather, you can also click the right stick for a more accurate (and my more preferred) setting to hitting the ball, the precise flick mechanic replaced by a more friendly and accessible cursor mechanic in which you must click to begin the back swing, click for power selection and then click when it approaches the right zone. The amount of 'draw' or 'fade' can also be altered by moving the cursor over where you wish to hit the ball. The basic set-up is as ever, tight and easy to use, however, what the latest offers elsewhere is what the game can be remembered for in differentiation from its rivals. The addition of the versatile and brilliantly implemented 'Focus' meter- its semi-circle folded over the HUD of the ball and club type- will enamour those who loved the previous games' granting of unlimited ball spin or power boost in every shot, whereas here you'll have to take into account what aspects of your game are lacking/which will suit the hole, since using any of the mentioned power boost, spin and putting previews will slowly drain the meter (only filled in slight quantities if un-used for a single shot). The system works so well that in actuality, it gives PGA Tour 11 a new lease of life from those that came before it, which were ever so slowly ebbing towards a stale death. You'll be cursing your impatient use of spin onto the green once you then approach a long putt with little more than the coloured gradient grid to help you along, putt preview an impossibility, yet a necessity, with the focus meter drained of all its accrued matter.

Otherwise, the only other additions come from the inclusion of the prestigious Ryder Cup- the dramatic Europe vs. USA battle for supremacy available either online or offline (good luck in getting the whole set of players together), whilst events including 'fourball' (each member of team has their own ball, the lowest scored hole earns a point), 'alternate shots' (teams of two play alternate shots for lowest shot count) and 'single play' all add variety away from the well handled progression of the career mode. This time centred around earned XP deriving from a number of instances (in-game targets such as sinking a long putt, or progressing through the game's other game modes, such as Tiger Woods' 'Skill Challenges' mode against rival golfers- from Suzann Petterson to Tiger himself), experience points will go some way in making sure your once weak character goes on to rival the cream of the crop, as it were, within the game. Thus, you can choose where to spend your accrued XP points in a number of areas; focusing on 'swing speed' and 'power boost' for added power, or 'balance' for accuracy, among others. Again, bringing into play what aspects of your game you feel you must concentrate on is paramount to how you approach such levelling; should you focus on putting prowess, or supreme power? It'd have been nice to have a few more choices regarding where to apply points, although the spread is large enough and broad enough to remain relevant.

The final addition to the game comes in the form of the new 'True Aim' mode which aims to replicate a more realistic golfing experience for those who want added depth and challenge. Removing the over-layed shot circle, as well as moving into a first-person viewpoint in simulation of tracking the ball as the player, 'True Aim' is likely to be enjoyed by only a select few gamers who will sink their teeth into the expansive game play, whilst others, like myself, can applaud its addition into what is otherwise an already weighty package.

Already incredibly accomplished in its TV-style aesthetic, PGA Tour 11 looks vivid, bright and graphically excellent- golfers are accurately animated and modelled, while each golf course is well realised with the lush, green grass contrasting to the ever-altering light and dark from the ever-changing weather effects. Neat TV tricks such as the pseudo EA 'live' tracker bar for shot updates from other golfers is a nice touch and adds to the competitive feel of the game. The way the camera moves and is worked into the style of the game is also well choreographed; panning, zooming and tracking movements to ensure each snippet of play is captured- although once or twice the ball is difficult to spot in its choice of long shots!

PGA Tour 11 can be considered another major step forward for the series, that has struggled recently towards yearly updates becoming insignificant. The addition of the 'Focus' mechanic is superbly handled, ensuring gamer's can finally be held from exploiting the artificiality of the game. Excellent in multiplayer as it has always been, with modes ranging from 'Target' to 'T.I.G.E.R' and 'Bingo Bango Bongo', it's a shame that EA have chosen to include the online pass system as part of its upkeep, requiring players to purchase a code for online play if not purchased new from retail. All in all, it's well worth a purchase if you're yet to get into the series, and a worthy addition to the mounting pile for fans.

*This review is all features on DPAD Magazine. The review is here.

Review- Darksiders [PS3]

Publisher: THQ

Developer: Vigil Games

Released: 5^th January 2010

Other Formats: Xbox 360, PC

Drawing immediate comparisons to the likes of Sony's flagship God of War series is no mean feat for a game that was overlooked at launch due to Platinum Games' swift, excellent and ravishing combo-heavy Bayonetta, but Darksiders plays akin with some of the most effective and joyful videogame tropes available in an engaging, action-rich experience (albeit with a terrible and clichéd story to back it up!)

Putting its emphasis on an ever popular hack-and-slash combat system may raise eyebrows as being hackneyed, underdeveloped and devoid of ideas (particularly within the Apocalyptic and mythological setting), however Vigil Games manage to keep harsh critical reception at bay in delivering the combat with a unique set of skills to accompany the extremely basic button-tapping monotony that you are likely to endure. With each new ability enabling previous parts of the world to become entwined into game play, Darksiders is particularly clever in how each new skill or item is possessed. Unlocked in regular intervals, the game manages to allow the player to become accustomed to each unique skill in time, never forcing more than one skill into players' hands before the previous feels second-nature. One of the most intriguing aspects of the game, item acquisition ranges from “War” (yes, that is his name) to be granted ability to use cross blades for a blend of weaponry and gadget to activate forlorn switches, for example, or the ability to fire portals in order to teleport from one area to another (an extension of Valve's Portal into the 3D action game space). Not only giving the game apt room in providing a number of different ways to dispatch the horde of dark beings that populate the hellish setting, but also allowing Vigil to craft some of the most devilishly tricky and fantastic 3D puzzles seen in this generation. Lost in most games these days, Darksiders is an ode to platformers of time's past where thwarting enemies is only a small proportion of the vast gaming experience, where exploration within its many (and multi-layered) dungeons and solving puzzles is vital for progression. However, it also brings up one of my key frustrations with the game, that of the dubious map. Extremely irritating to interpret the various levels of the stage, it's a detriment to the often excellent new IP that has been produced, where idly wandering any of the game's dull, lifeless chasms and corridors will become the norm, not alleviated with the lack of colour on the palette or any weight of graphical beauty. When each area looks almost identical to the next, it makes many of the complex puzzles and tasks hard to swallow, although it still has to be said, they are exceptionally well thought-out for the most part.

Built around a huge, open world, the aforementioned acquisition of new skills and weapons allows previously unfounded parts of the map become free to traverse, meaning the game has a distinct 6-part structure- four of which acting as separate entities where War must defeat the end-boss Demon and tear out their heart to return to the Demon Lord 'Samael', who can grant access to the Black Tower where the “Destroyer” lay. I'd loved to have seen each area pose a stylistic switch in design, although this is never really perceived or alluded to. With each distinct segment of the game offering new tasks to complete and new enemies to face, the game never begins to tire in the least, instead opting to constantly throw new ideas at the player (such as the ability to slow down time, or introducing War's valiant steed). It's a nice approach and a neat separation from the weight of other games thrown at us on a weekly basis, where every game play concept is driven in from the second the 'Start' button is pressed.

In a nod to the previously mentioned God of War, Darksiders insistently rips on the three levels of orbs that populate the hugely popular series. Called “souls” within this title; here, green orbs (sorry, “souls”) fill the health bar (also upgraded through progression, akin to GOW), yellow, the 'Wrath' meter (a meter for magic to be performed for added variety in combat) and blue acting as the currency of the game. Used to buy upgrades, combos, additional powers and weapons from the many Vulgrim locations within the game, the idea is another extension of how deep the initial combat system levels. War also has the added ability to transform into his 'Chaos Form' when the 'Chaos' meter fills (from delivering damage), which envelops him in a giant, demonic form for a short duration in which an added damage boost is accustom.

And although many games of its type suffer from an extreme syndrome of repetitiveness, Darksiders can not be considered amongst them- to a degree anyway. Although the world is often distinctly boring, the array of enemy types is a great thing to see. With some requiring you to perform different attacks to defeat them- perhaps best witnessed in the epic boss battles, where the game exceeds expectations in playing out some great ideas- the format is never tired. One boss battle is particularly memorable in which you must manipulate the portals on the floor in order to float onto the enemies back and deliver some devastating blows. In fact, Darksiders is an amalgamation of some of the best game design ideas available, and in that, it may be considered cheap and superficial but it ought not to be. This is a well drawn out and demanding release that is worthy of attention amongst the very best action-adventure games.

Review- Toy Story 3: The Videogame [PS3]

Publisher: Disney Interactive Studios

Developer: Avalanche Software

Released: 16^th July 2010

Other Formats: Xbox 360, Wii, PC

If you hadn't already been made aware, Pixar's crowning glory returns to silver screens this summer in Toy Story 3 (out in the UK on the 19^th July, if you're interested), and with it of course, is the tie-in videogame- this time from developer Avalanche Software and Disney Interactive Studios. Of course, movie tie-ins are often, and unmistakeably, poor. However, it seems obvious how far Avalanche have come in delivering sufficient thought towards the game of the same name, with a rich and colourful visual style that sticks true to the franchise's heritage, whilst the platforming and puzzle mechanics at the heart of the game is deft in applying a good deal of challenge for all ages and being entertaining in equal measure.

Whether you choose to forgo through the story missions that interweave between the narrative of the aforementioned CG offering, (and thus, presenting many of the new cast of characters), or jump on Bullseye for a ride around the open-world toy box, the game very rarely fails to delight. The “ToyBox Mode” open world offering seeing Woody become sheriff of the Western-inspired toy-town, western strings plucking along to the rhythm of game play, as you complete missions and mini-games as you see fit for any of Toy Story's excellent characters. From clearing mine shafts for Stinky Pete, to sprucing up the town for Mayor Hamm and capturing criminals to throw into the town jail, the toy box represents a good deal of game play in only a tiny proportion of the overall package on offer. The area is large and intricately designed enough for the more mundane 'fetch' tasks to remain relevant and adequately challenging, whilst also familiar enough to alleviate unnecessary meanderings. Extra toys, whether vehicles or perfunctory buildings, can be bought from Al's Toy Barn for coins that are awarded for completing missions (each with a fantastic TV style ad to match), to add to the town. The vast weight of the game comes from the story missions that perhaps best demonstrate the game's effective and enjoyable platforming mechanics.

With many missions underwhelming and defunct of ideas in terms of contextualising such instances into the overarching plot, the lay-out of each are surprisingly well thought out for the game to flourish in delivering a superb single player, and even better co-op experience. Revolving mostly around 3D platforming, the controls feel sensitive and in-tune with the very best of platformers, even though the level design could perhaps be improved upon for the game to stand alone on its own terms- many of the levels being a split between 'find the item'/mini-game/platformer. The platform sections work best, infused with puzzles that handle the ability to switch characters (between Woody, Buzz or Jessie, using L1) effectively. Each of their own unique abilities (such as Jessie's ability to land on smaller platforms or Buzz's laser targeting), meaning many of the puzzles that break up the platforming sections are sufficiently challenging and ensuring the game's ability to co-op with other players exceptionally rewarding, with players working together towards the end of the level. Story missions such as 'Junkyard' expel all that is great about the game, with each character's abilities intertwined and interspersed between each other towards a conglomerate resolution of stopping Rex, Slinky and Hamm from entering the mouth of the junk machine- where Jessie landing on valves allows Woody to swing to the next mechanical button, thus allowing Buzz to knock down a piece of junk to Jessie for further progression, a prime example of the developer's quality. It's instances such as these in which the game really gives the shows the best qualities on offer, alleviating it above other movie tie-ins that so often, fail to excite.

Where it falters the most is within its fetch quests, where areas are often idly paced up and down to find something that has been hinted toward- shallow ideas denting the well crafted whole. Some of the missions are also drab and dull, especially where Buzz is involved, with the over-the-shoulder lock-on shooting mechanic poor, making the endless destruction of the waves of enemies forced at him a repetitive slog to the invisible timed marker, with the rich interpretation of Toy Story 2's opening scenes a particularly resonant and stand out moment of the game, but poorly realised due to the underwhelming combat that has been given little thought. It makes me question what could have been achieved had the developer been given enough time to balance and refine the part's of the game which have obviously been rushed towards its release date, where the fetch quests make sense to bulk out the game. Avalanche Software have demonstrated assurance and quality in many instances, with some excellent ideas thrown in.

Otherwise infused with enough replicated Pixar charm and sentimentalities from the films, the game stands up very well visually, retaining playful and insightful characteristics from each of its characters and thus allowing them to each stand out very well within the game, whilst delivering refreshing and delightful colourful sets and game locations. From the dusty plains of the toy box contrasting to the bright neon-lit swathes in space, the beloved Toy Story 3 franchise is expertly brought to screen, imbuing the essence of the game with enough uniquely designed settings to keep the game pacey and interesting for the whole of its stay. The sparsely used but surprisingly adept cut scenes also doing well to add enough humour for the audience, introducing us to new characters (Peas in a Pod a particular highlight), while stitching together a loose plot.

Hugely enjoyable for the most part, Toy Story 3 can be considered amongst the best of film to videogame tie-ins for sure. Demonstrating enough charm and exceptional visuals for fans of the series, with the puzzle and platforming sections of the game doing their very best in giving gamers reason to take notice. It's no classic platformer, but neither can it be considered cheap and defunct of ideas, this movie tie-in is worthy of the Toy Story name and can be appreciated singularly, aside from the film.

*This review can also be found on www.dpadmagazine.com

Review- Splinter Cell: Conviction [Xbox 360]

Publisher: Ubisoft

Developer: Ubisoft Montreal

Released: 13^th April 2010

Other Formats: PC

Ubisoft had a difficult decision in how to approach the latest Splinter Cell game. In fact, after the critically disappointing Double Agent, the follow-up was officially announced in May 2007- set for release later that same year. However, the project was then “put on hold” by Ubisoft who decided to re-think their approach. The game re-surfaced at last year's E3, with an all-new visual style, with Sam Fisher having shaved his dishevelled beard for a cleaner, more casual look.

The wait has been long, but the qualities that seethe from Splinter Cell: Conviction's surface make it abundantly clear from the get-go that this has been a labour of love, a project in which the developer, Ubisoft Montreal, were unwilling to release without it oozing with polish. Coming to play Conviction is joyful and eventful- whether a fan of the previous titles within the series, or as a newbie to the stealth-action franchise.

Linear in its outset, Conviction actually presents more choices to the player than it first appears. In its open level design, progression can come about in a number of variants. In a differentiation from the previous SC titles, Conviction is less insistent on focusing entirely on the tip-towing of its stealth game play mechanics- instead allowing the player to take the fight to the enemy with a more action-orientated design. Not that it's particularly useful, since you will more likely focus on its stealth, cover-to-cover approach for combat to be truly effective since it can be be justifiably overwhelming if employing the role of action hero, with a non-stop barrage and spray of bullets coming from AI operatives. Sticking to the shadows is probably your best bet (neatly visualised with an amalgamation into black-and-white visuals), whilst sticking to cover (by holding the left trigger) and systematically bouncing from cover-to-cover to avoid the onlooking gaze of unaware opponents, with arrows super-imposed over cover objects to indicate where Fisher will end up, making stealth game play smooth, direct and as hassle-free as can be. The aforementioned black and white visuals and pointer arrows are only two of the uniquely distinctive aesthetic tricks that the team employ to give the game its dynamic looks. Objectives are also projected onto the scene, with expositional markers key to the overarching plot also intertwined seamlessly into the environment. Certainly a neat trick but also suitably pointless and unnecessary- I felt the addition of such elements withdrew me from scenes instead of the intended purpose to immerse me, with their distractions pulling me out of the otherwise engaging experience.

The “last known position” 'ghost' is an inclusion, however, that I felt was particularly outstanding, with an outline of Fisher shown where last seen. Key in crafting neat tactical approaches, the ghost ensnares AI to pound that one spot (seemingly unaware that Fisher can, in fact, move!) to flank them from behind. In all respects, it's where the player can plan ahead into unique encounters that the game really works, ensuring thrilling and often nail-biting tension sequences to crop up from minute to minute. The 'ghost' only adding to the already hugely accomplished Splinter Cell tactical style of play that makes the series so successful, with silent take-downs, taking out light sources, and use of gadgets also playing a key role in survival. Gadgets are wondrous if you are to experience Conviction at its best- where a sole flash bang is unlikely to suffice if you wish to take on a whole room of goons. Instead, gadgets can be used in conjunction with each other for constructive progression through levels, where enemies can be tackled head on with EMP blasts that stun them momentarily, whereas a stealth approach can be established with the excellent 'sticky cam'- allowing you to take in your surroundings, or entice enemies nearer to its self-detonation with its “make noise” effect. In balancing all of the abilities available to you (and combining this with the correct equipment of firearm- where a pistol will more than suffice), Conviction puts its lead leg forward, establishing a breathtaking action game. The deadly mechanic of “mark and execute” is also nicely integrated, and results in a devastating fury of succinct bullets bound for each of Fisher's targeted nemeses (highlighted using 'RB')- often seeing room-fulls of enemies dispatched in one clear sweep, and marks Sam out as his natural born killer personality. Not that Michael Ironside otherwise does anything to give Fisher any redeeming qualities as a character, in his droll voice delivery that rambles through the script with a feel of utter boredom and laziness.

The underlying problems with the game can almost be overlooked for the quality that lay elsewhere within. Sometimes frustrating, the game has large sections of game play with little checkpoints between, so savouring cut scenes time after time is likely to grow aggravating when trying to accomplish your task. In one section, I had to walk to a desk every time, talk to the clerk, only then getting into the action. I witnessed this time and time again, no doubt ensuring heightened stress levels, only making progression even harder.

Elsewhere in the game's superb presentation, Kaveh Cohen and Michael Nielsen do their best in composing an uncompromising score- where they leap from slowly drawn out melancholic moments to upbeat, tension-heavy orchestral pieces (often not too dissimilar to the Bourne score). In a story that leaps from set piece to set piece in its short running time, Splinter Cell: Conviction presents a number of remarkable and hugely memorable sequences, such as the foot race around the Washington Monument, or infiltrating the Third Echelon headquarters in nerve-tingling fashion with the help of Sonar goggles. With enough attention to detail to match the most classy of games of this generation, you can't help but feel the extended development time has done no harm to the game whatsoever, with sets vibrant with life and minute constructions. Game play is forever smooth and well worked, with gun play also being well suited to its genre tropes. Definitely worth recommending, Conviction is a blast.

Review- ModNation Racers [PS3]

Publisher: Sony Computer Entertainment

Developer: United Front Games

Released: 21^st May 2010

The ethos behind the 'Play, Create, Share' brand is excellent. Allowing users to easily design, edit and publish such content burgeons originality, creativity and provides a platform for brilliance. Following on from Media Molecule's platformer LittleBigPlanet, ModNation Racers puts the comparisons to Mario Kart behind it and delivers a unique and fresh approach towards the kart racer of old.

Dropped into ModNation's central hub world, 'Modspot', you'll begin to appreciate the beautiful, colourful and expertly presented output of the game. It's cute and charming, reflected further in its character design- of which can be crafted to your specific likening, with a stack-load of options to choose from, whilst being slightly over the top. Succinctly tailored for a younger and more casual-orientated audience than the likes of LittleBigPlanet, ModNation is at times alarmingly annoying for someone like myself to care for. Its news anchors Gary Reasons and Biff Treadwell doing little to alter my perception of the title, instead doing their best to be the most irritating characters ever devised, infusing the career “story mode” with cheap slapstick routines and a whole bout of childish humour. It's not the game's best hand, but then, it's not supposed to be. Perhaps someone ought to have passed the message to the race design department about the game's accessibility, because whatever it fails to match in my expectation of presentation, it more than makes up for in its deceptively tricky career mode, which manages to escape the shackles of its cutesy exterior into a much more daunting and unforgiving experience. I hope you're ready to restart time and time again for a position in the top three, because this will test your skills to the limits.

The career mode, or 'MRC'- the “ModNation Racing Championship”, is split into five distinct 'series' of races, each of which ending in a 'series' race where you will need to finish 1^st to progress to the next tier. The rest of the time, races can be completed if you finish anywhere in the top 3- although the three tiers of racing finishes (“Advance”, “Payoff” and “Bonus”) add further re playability in that they each require you to match specific goals to unlock extra items, whether it be extra clothes for your character or new bodywork for your kart. Such goals add another layer and complexity to what could have been a simple racing championship platform, perhaps requiring you to focus your attacks on a specific opponent or drifting a certain length of time- the variety is nice to see and deeply rewarding for the collectors amongst you.

Of course, presentation and structure can all be for nothing in a game such as this if the racing mechanics fail to match the expected quality. However, United Front Games can be applauded in outputting a simply excellent racing system- easy to pick up and play yet complex enough to appeal to the more discerning palette. The handling feels exceptionally tight and responsive, whilst the game's emphasis on the drift mechanic can be appreciated since it works so well. Activated by holding the 'X' button, drifts can be executed easily, with more boost awarded for longer drifts, where the loosening and tightening of the drift angle using the left stick, is much needed.

The weapon and power-up system is also well thought out and surprisingly deep. In addition to a shunt-like attack, enabled through a flick of the right stick, each weapon type (the expected rockets, electric bolts, speed bursts etc.) each have three distinct stages of attack. Stage one for the bolt attack, for example, is a simple straight electric bolt fired from the front of the kart. However, holding off from firing and choosing to wait until you next drive over a weapons drop will see a much more effective attack to be used (“Chain Bolts”) and so forth, until the third and final attack can be unleashed, the “Bolt Storm”. It's a neat little idea, giving apt opportunity for diverse tactical play- choosing to fire straight away can be effective in the short-term but will have a lessened impact whilst choosing to wait can reap huge benefits, although you'll have to be sure not to be hit by an opponent's attack in the same breath- you may see your item disappear or, instead, drop down an attack level.

Another pleasant design choice is the option to use the boost meter (that fills through drifts, successful attacks on enemies, tricks, and air-time) as both a method to earn a boost through a hold of 'L1' or instead, as a gauge for activating the shield (holding 'Circle'). There's none more satisfying a feeling in the game than when rolling to victory when a last-ditch rocket is fired your way, only for you to deflect with the last ounce of boost bar saved for just that eventuality- others who are more offensive and go for short-term speed increase will not have such a luxury afforded to them. Again, it adds a nice risk/reward strategy and succeeds where other games of the type, such as Mario Kart and Crash Team Racing, fail- often relying more on doses of luck than any keen strategic thinking, not that ModNation ever truly breaks this trend!

At times more than keen on irking excessive amounts of frustration, the game often seems bizarrely unfair in delivering its heightening difficulty curve. Opponents often seem to have unlimited amounts of shield power still stocked away somewhere, shaking off any attack you are willing to let go, or unleash an explosive attack you're sure they didn't have as you approach the finishing line. The genre speciality of “rubber-banding” is also there, although it is much less intrusive than I have seen before.

With each track offering unique differences thematically and stylistically, ModNation's variety of track design is excellent. The nuance that comes with the game's territory seeing such locations filled with an abundance of obstacles to overcome (pits, falling blocks, explosive barrels), enemy bots to avoid, as well as exhilarating jumps and speed pads promising thrilling races and fun aplenty. Ranging from frenetically fast levels such as “Drift Paradise”, which uses its smooth curvaceous asphalt to inject fluidity, speed and lots and lots of tyre smoke, to trickier and tighter tracks such as the tropical island paradise of “Rickety Bridge” and its devilish drops. The description of the excellent “Launchers Rush” perhaps summing up ModNation Racers in the best possible way, promising “big jumps, big drifts and big flames”. The only down-side to the feel of the tracks is the fact that all have the same track width, which can not be changed. It's a strange choice in how obscure and diverse the rest of the game often feels. I'd have loved to have seen broad expanses of tracks inter-cut with single-file type canyons or something of the sort. It makes the pace sometimes feel slightly slow and sluggish- kart racers' tendency to sometimes dismiss the sense of speed shown once again here!

If none of the featured tracks take your fancy, however, you can always create your own or download other users' efforts. The central 'ModSpot' hub does its best to promote the very best created and rated tracks, mods, and karts (in the “Top Tracks”, “Top Mods” and “Top Karts” stations, respectively) that can be driven up to and displayed sufficiently well. It's one area where the game super-cedes LittleBigPlanet in its community aspect- which often struggled to promote the cream of the crop, as it were. You can also choose to search with text, by user, tags, or specific qualities to find the right thing for you.

From the lazy output of some user tracks that suffer from the same trophy-gathering hunt as a lot of the LBP levels also suffered from (“100,000 Drift Points” tracks, for example) to the incredible and ambitious designs of such tracks as the “Modcoaster” (rickety and all), and a Star Wars “Tatooine” effort. Such classics from a certain other successful kart racer are also present and accounted for, “Waluigi Stadium”, “Yoshi Circuit”, “DK Mountain”- naming but a few. The exquisite mods that re-create a number of the Mario Kart crew also complement such tracks, with the Mario and Luigi designs going quickly to the top of the mod pile on day one! The same exceptional quality in user content, like LBP, propels the game to something more than the standard title. It means that the game will be totally different in the years to come as even more tracks flood in, and although the same level of complexity can not be seen within the track creator as Sackboy's 'Pop It' tool, it doesn't need to be, there is something to be had for the insane amount of brilliant tracks that are already available to race on. Requiring the creator to first select a theme (from “Desert”, to “Jungle”), the track creator is manageable and simple to navigate. Upon insignificant alterations of the position of the sun, water level and even the speed of clouds, the track can easily be layed through driving the cement-mixer, altering height with the right thumb stick. The creator will also 'auto-complete' the rest of the track if you decide you just want to get on with populating it with an insurmountable array of power-ups, weaponry and jumps. Landscaping objects and trees can also add to the overall theme of your level, with tracks quickly coming up to an impressive level of sophistication without you realising! A joy to withhold for those who found LBP's creation tools much too overbearing, a nice track can be created in around 15 minutes!

Overall a resounding success and a superb addition to the kart racer genre. The level of complexity afforded with the help of neat tactical racing and superb handling physics is a joy to see, with only those who successfully rely on all their acquired skills ending up completing the career mode. Online multiplayer (featuring a levelling up, experience-based system) and split screen for up to four players is also available and will make ModNation substantial in offering a great alternative to the Mario Kart-ers of you out there.