Review- Blur [Xbox 360]

Developer: Bizarre Creations
Publisher: Activision
Released: 28th May 2010
Other Formats: PS3, PC


Straight from the Project Gotham Racing series, Bizarre Creations have taken inspiration from the unlikeliest of sorts by placing their latest 'realistic' racer in power-upped flashes of insanity in the same vein of Mario Kart. In fact, Bizarre were no holds barred in their admittance of such a design choices, basing a whole advertising campaign on it, seeing a cutesy Nintendo-like character contemplating what lay beyond the fencing from his colourful, cartoon world as real-life cars sped past in a swathe of intense neon projectiles and colour.


It's Project Gotham meets Mario Kart certainly, and make no qualms about it, Blur is worthy of such comparisons to either of the stalwart series. Similar to Project Gotham in nearly all aspects of its design, from the 'Kudos'-like system of 'Fans' to the similarity of 'Lights' to PGR's medal types. Working in favour of the overall experience, Bizarre have brought an understanding of what made the PGR experience so great to begin with whilst putting that added layer of power-up mayhem that their new footing gives. 


You'll see no weapon-drops or items that you've not seen before, lets be honest, so everything from rocket-type shock projectiles, 'Nitro' and 'Mines' are all here, although Blur manages to add enough new design choices that the racing somehow feels fresh and skilful, allowing players to use each power-up differently and to their own preferred style. An example of such a statement derives when 'Nitro' is equipped. Sure, you can go ahead and use the power for an added speed boost (and sensational blurring of the screen), or choose to speed into a corner, only to hold back on the directional pad and use it for an 'air brake', slow-motion approach into the corner. Another example would be the use of 'Mines' where they can be dropped behind you in a normal fashion for static bombs on track, or be fired as a missile in front. It's such instances that Blur exceeds expectations and lifts itself from being another hackneyed power-based arcade racer into a true, skill-based racing game. The handling system rarely equates to anything on their realism levels of Project Gotham, although it needn't be. The handling feels responsive and weighty enough to make perfect racing lines remain the best way to first place, although there is enough room to allow the perfectly balanced and multi-coloured weapons to be effective, while not make racing an impossibility, nigh, an utter nightmare. In actuality, being hit from an opponent's weapon is so deftly handled in a short animation that the frequency of such occurrences never get too much and you'll be up to speed in no time. The only handling aspect I feel Bizarre could have refined is the drifting mechanic, which feels much too weighted down and difficult to pull off. With Blur pulling out a number of varying challenges to reach its 'One-on-One' meetings with the 'bosses' at the end of each section within career mode, the game is also deftly handled for each race to remain interesting and insane fun. In addition to building up stacks of 'Lights' in order to unlock further instances in career and more 'Mods' that alter power-ups, the four meta-game style challenges to get the chance to race/defeat each driver for another 8 lights range from nitro-ramming five cars (using nitro to shunt opponents) to drifting for a total of 1,500m. And it doesn't stop there, for the 'Fans' system will also award fans within each race for individual 'Fan Challenges' that lay about the track and might request that you exceed a certain speed or destroy a car whilst drifting, for example. Between the meta-game devices, fan challenges and the fan multiplier scoring system, you'd be hard pressed to find a more engaging racer. In my hours invested in the game, I've found myself so engrossed in the short and sweet modes that I've lost all track of time, only to look up and it being several hours later without me realising. If only Bizarre could have bolstered the number of modes (Race, Destruction, One-on-One and Checkpoint), then I'd have even more reasons to praise Blur than that which I already have.

The racing is nothing short of remarkable to say the least, where you'll often have to have eyes in the back of your head to maintain composure. The rear-view mirror and 'Shield' will often be your unlikely saviours when the homing missile-type red orb comes into blistering view of your screen. Also adding variation, such powers as 'Barge' (which releases a burst of energy circumvented around your car) also protect if released at the right time. There's none more satisfying a feeling than stopping the race leader in his tracks with a well timed projectile shot, or wrecking other opponents into crumpled heaps of metal (each car has a life bar that depletes through hits until either destroyed altogether or repaired through the 'Repair' pick-up) that come from the game's key mechanics.


The contrast between real-life cars (of which there are a bountiful array, ranging from sturdy Range Rovers to the more rallying supercars) and swathes of neon from weapon drops is bizarre yet extraordinary to look at and Blur is one of the more graphically impressive racers on the market to date. Such tracks as 'Brighton'- that models itself on its pier- also demonstrate Bizarre's intention in delivering fun within course design. Basked in unnatural light, Brighton is one example of the approach of the team, ensuring each track is entirely suited to the dynamism of the game. In spite of their experience in modelling tracks on famous cities, Blur still features real-world locations (such as Brighton and LA), although the developer has chosen to relax their stringent approach on sticking to each relative twist and turn, instead favouring a more altered track design which ensures each are ideally suited to play whilst still maintaining a familiar feel. Short-cuts are obviously an introduction to the PGR-like racing approach, and the tracks are much wider and less akin to tight and twisty sections, much more aligned to 90-degree turns and sweeping left and rights which further lend credence to Blur's racing style.


Bizarre might have left their preceding racer series to the confines of memory, but they have already informed us that Blur is only the start of a brand new franchise. Is it as good as Project Gotham? Without question! Blur has as much excitement as the aforementioned series to home in on racing fans, as well as the thrill and fun that comes with having brilliantly implemented power-ups and frenetic driving action, only bolstered when in multiplayer. Blur is without doubt one of the racing games of this generation.

Review- Split/Second: Velocity [PS3]

Publisher: Disney Interactive Studios

Developer: Black Rock Studio

Released: 21^st May 2010

Other Formats: Xbox 360, PC, iPhone

Like a Michael Bay production with added vehicular destruction, or a pyrotechnics wet dream, Split/Second:Velocity pulls no punches in following the crowd with simple arcade racing fare. Instead, the race for the chequered (yet slightly singed) flag will come from negotiating your way around the fully destructible tracks on offer, where towers crumble to the floor in an explosive heap of concrete, where aircraft land precariously over the race track and whole raceways fall under the weight of revving engines. This is something barely witnessed before. Sure, games have messed with destruction in the racing genre (Motorstorm: Pacific Rift comes to mind specifically), but rarely has a game's core concept been driven around such a gimmick.

And don't let the word 'gimmick' put you off either, for Split/Second's reality TV show destruction package is as near you'll get for some time to a racer so action packed and utterly enjoyable as this. Similar in style to Criterion's excellent racer Burnout 3: Takedown but with added 'oomph', shall we say, SS's premise is made possible through each driver's use of the so-called “powerplay” action moves that enable triggered and pre-scripted explosions on-track to blast their way into the game's racing carnage with aplomb- a mixture of extraordinary graphical fidelity (some of the best explosions ever witnessed) to brilliant audio cues (a lull of silence before a huge eruption resounds from speakers)- in filling up the “powerplay meter”.

Split into three sections, the meter slowly fills through drifting, drafting and jumping and, depending on how much is filled, will also allow you to trigger one of two powerplay events. Whilst the first two sections allow for small explosions (I say small, I mean 'small' compared to others!) and the ability to open short cuts, the latter section can devastate opponents' plans for first in enormous and hugely impressive moments in which you'll (figuratively speaking, of course) literally have to pick your jaw up from the floor. Not only can such events crush opponent's into mere folds of scraping metal, the track can also progressively change depending on which event was triggered. One such example on the 'Airport' level sees a tower crashing down onto the previously untouched asphalt, only to open a huge expanse of open runway (in which the aforementioned jumbo jet will no doubt crash land onto your shiny, glittering body work that is showcased beautifully with Split/Second's gorgeous visuals- Black Rock also cleverly incorporating the HUD (containing the meter, position etc.) under the rear bumper of the car. Such design choices are minute and yet extremely beneficial where such elements would otherwise obscure the blinding thrills, something so simple but an idea which I'm sure other developers will likely use in following games.

Moving on to Velocity's arcade racing, and again, Black Rock have delivered in abundance. Vehicles are marked out in favour of drifting, speed, strength and acceleration levels, although of all vehicles that I managed to try out, all felt remarkably weighty and pleasant to drive. You'll no doubt find an ideal motor that suits your style of play and the embellished game mode, with speed sacrificed for stability (vital for powerful explosions and the 'Survival' mode- where a truck drops explosive barrels in front), stability sacrificed for speed (more useful for races and 'Devastator'- a take on time trial where explosive events trigger automatically). The latter mode being the most useful in seeing all that each track has to offer, with the excellent 'Airport' a stepping stone on the way to the tricky and awesome, fiery and hazardous charge of 'Airplane Graveyard' where no jet engine is stable. Progressing through the season mode within the game is expertly handled, in which points are awarded based on your finishing position, thus contributing to a 'episode' finale showdown with the fastest drivers to qualify for the superseding episode (a total of 12). In paying attention to the lull that can be a staple of the racing genre, Black Rock consistently vary game types throughout and keep things rolling at a fair old rate. No event is too long and neither are two ever the same, with a number of events; 'Race', 'Devastator', 'Survival', 'Air Strike' and 'Air Revenge' all contributing to the persistent, dependable, unabashed and unshakeable revolve of action sequences. And although others can complain that the game suffers after the initial exhilaration phase of seeing powerplays for the first time, I can conclude the exact opposite. Yes, the first time around a track is a delight, but in learning each track corner by corner, play by play, can the game only really come alive. It's where the game turns from gimmick into a true arcade racer, where skill is as important as tactics.

There seem to be only a few minor faults that resonant to me about the game. I can't help but be wary of first position- not only does Split/Second ultimately punish those in first with the inability to use powerplays at all (only short cuts can be activated), meaning action at the front of the pack is often the more dull, strange considering the 'racing' aspect of the game. I'd like to have seen some way in which opponent's can still be, maybe indirectly even, given a harder route to your rear bumper (rubber banding accounting for such instances), perhaps incorporating the excellent slow-mo replays to what is happening elsewhere as a result of your actions. Also particularly noticeable in multiplayer was the way in which first place, if not stopped early on, can ultimately win the race with opponent's almost helpless in pursuing since powerplays are limited to what the player can see and only those directly in front. I'd also have loved to see a similar mechanic to Criterion's Takedown in which opponent's can be pushed into obstacles and the like to result in a “wreck” (in addition to the destructive powerplays), which could have added another dynamic to the play and going on to improve the arcade feeling of the game as a whole.

Featuring two player split screen multiplayer, as well as rousing online play, a full career mode and quick play, Split/Second is a joy to play. In concentrating on the explosive set pieces, Black Rock have engorged us on an arcade racer that deserves its place alongside the greats of Burnout and Outrun. Guaranteeing enormous re playability and a whole load of throwaway fun, this is a racer worthy of your time.

Take a look at my preview of Split/Second here.

Review- DJ Hero [Xbox 360]

Publisher: Activision

Developer: FreeStyleGames

Released: 29^th October 2009

Other Formats: PS2, PS3, Wii

Like most gamers, upon the announcement of DJ Hero, I shook my head, went about my daily business, and laughed at the mere mention of the game. Well, how wrong could I have been!? It's difficult to think of a game recently that has really had be so enveloped in its up-taking. From my first scratch on the plastic turntable, to my first successful and tricky cross-fade at the left of the controller, every portion of the game has taken me by storm, literally.

It's not that the soundtrack had me particularly rushing out to go pick up the game, because most of it is dross and way out of sync to my musical tastes, although it has to be said that some mixes are superb and hugely playable! From Black Eyed Peas and Jackson 5, to Eminem, via David Guetta, it's all here- dance to hip hop, R n' B to pop. Some tunes are actually insanely catchy once replayed, yearning for the five gold stars, that actually the original track listings that had you wincing, will (after a sustained period of time), have you bobbing your head to its rhythmic beats and ear-deafening bass.

Like Guitar Hero that came before it, playing DJ Hero for the first time is a fantastic experience. The turntable in fact is so well designed and easy to use that it will immediately become apparent what is required to really get the most out of the game. The 'note highway' is justified in being uniquely similar to its instrumental counterpart, although now the cross-fader acts as a switch between the two tracks within each mix- a line will mark where this needs to be adjusted (resulting in an endlessly satisfying silence as one track resonates!) Difficult to handle at first, the slider is one of DJ Hero's most entertaining skill aspects to hone for its sheer simplistic nature that is rewarding to pull off yet tremendously difficult to master. Of course, when one thinks of being a DJ, the record scratch always comes to mind- this is a large part of the game also, with the revolving turntable (also host to the three coloured buttons), having to be 'scratched' where a continuous line joins the highway. More forgiving on Medium difficulty (where the deck can be scratched either way), the game gets much more difficult through 'Hard' and the outrageous 'Expert' modes- where the turntable will need to be scratched in specific directions! The 'Euphoria' button acts as Guitar Hero's equivalent 'Star Power', where the multiplier doubles for a short amount of time for the best scores to be achieved, although the addition of a 'rewind' mechanic (through a anti-clockwise turn of the decks), also has the same impact, playing the same piece of the track back again for dramatic score bonuses. It's when you really become accustomed to the DJ controller that the game comes into its own, where every scratch, slide, and rewind blend into a superior experience than what can be given by its full band counterpart. As much as I enjoy Rock Band and Guitar Hero, nothing has connected with me quite so much as getting to grips with the controller, where I retry thumping track after track for a high score- often resulting in lost hours of time and aching fingers to boot.

Progression through the career unlocks further venues and set-lists through the granting of stars (a total of 5 per track). The recent band games have instead opted for an 'all is unlocked' approached from the very beginning of each of their new titles, which I feel is a huge misstep. Not only do players instead get to experience all that the licensed tracks have to give, but the overbearing sense of skill progression is also extremely better off. The developers seem to have taken notice of many flaws of other rhythm-action titles, where severe difficulty spikes hinder the overall experience- instead, FreeStyleGames give a more suited playing field for players to accustom themselves to the controller, from the first scratch to 'Expert' difficulty, a smooth transition.

In other aspects of the game, the presentation is top-notch and seething with quality. From the clean and clear ability to flick through un-fussy menus, to the strobe lighting effects and graphical package of the on-stage DJ set, everything just seems to coalesce into a complete, and exceptional whole. In addition to the wealth of modes, from its single player career, to competitive and cooperative online and offline modes (including a 'DJ vs. DJ' mode), DJ Hero also gives players the option to plug in a guitar for mixes that enable the riff between DJ and guitar (a total of 10 songs), or a microphone for your non-scoring pleasure.

My final verdict comes as no surprise, DJ Hero is undoubtedly worthy of a buy. At £30, I'm certainly not complaining- in fact, it stands far above and beyond what I was expecting for the price. I'd heard good things, but nothing can truly match the feeling when you first put the game into the drive and unravel all that the game has to offer.

Review- Mass Effect 2 [Xbox 360]

Publisher: Electronic Arts

Developer: Bioware

Released: 26^th January 2010

Other Formats: PC

Sequels, don't you just love 'em? It gives chance for developers to refine their techniques with the engine, further expanding on their game worlds or creating more fluid and dynamic game mechanics. It's the reason why Nathan Drake's second adventure went from being a flawed gem with Drake's Fortune to one of the most ambitious and entertaining rides yet for the PS3. Another game, Assassin's Creed, was met with scepticism and polarity in critical response for its mundane repetitive nature of tasks, however upon laying down the sequel's design, Ubisoft Montreal dually noted down what needed to change, and again, a much more fulfilling experience could be had. It shows studio experience and fan feedback working at its best and it's here that the team at Bioware can be given credit in making Mass Effect 2 everything that Mass Effect could have been, and more.

By no means a bad first effort, Mass Effect was a strong title, albeit slightly let down in a few areas. To name but a few; the dull task of exploring planets with the 'Mako', the stunted cover system, and the long trips at the umbrage of the elevator (which is neatly poked fun at throughout the game). In laying down the sequel, the Mako has been trashed, loading screens have replaced the idle animation of the elevator, and the cover system has been refined into something equal to the quality of triple-A shooters- fluid, dynamic and appealing.

With the original game featuring around 20 cover animation moves for Shepherd, the much more substantial set of 200 for the sequel has meant the cover system feels smooth and well handled. Sliding into cover smartly with the 'A' button is no longer frustrating, whilst the gun play feels forever powerful and easy to get to grips with, the 'over-the-shoulder' system giving suitable power to the action. Heavy weapons are also now an included part of your weapon set, with grenades being replaced, whilst the “tech powers” system is smoothly integrated via a hold of 'RB' required to select the appropriate power (anything from the powerful “Concussive shot” to ammo which can affect the damage of bullets.) It's the expected depth that science fiction can provide such a shooter and Bioware works with it well, all powers also upgradeable through the application of “skill points” which are awarded on completion of missions. Weapons, armour, and the trusty Normandy- with Joker still at the helm- can also be upgraded with tech blueprints that scatter the planets in Mass Effect's rich universe, and will indeed need to be sufficiently researched if you wish to have a successful conclusion to the epic storyline.

Things that were excellent within the first game remain and are still fantastic. Hence, the complex dialogue system is still core to Mass Effect as a whole, lending suitable weight and gravity to the choices that you make throughout, whilst the inclusion of the “interrupt” system that allows the player to alter the progression of a scene in relation to their paragon or renegade standing is brilliantly implemented and cinematic in of itself, even if it is under-used. New characters are introduced and old faces return (you can also import your ME1 character where choices made in the first game are referenced), Bioware again showing skill in delivering a superb cast, each given often tragic, flawed back-stories that lend suitable gravitas to each personality on show- from Grunt's exclusion at the behest of his kind, or Jack's troubling childhood. You will feel for these characters, you will care what happens- Bioware's experience keenly in conjunction.

A more streamlined experience can be had at the hands of Mass Effect 2 than was afforded in the first. In removal of core RPG mechanics- the array of ammo types have been replaced with a sole ammunition, in addition to the newly-redesigned health system, which goes for a more modern game design approach with a re-generating health bar, in removal of ME's “medi-gel” option (here only used to revive squad members), the game as a whole feels much more forgiving and accomplished than the first, although I'm sure many RPG fans will disagree! I was also surprised at how well implemented the new 'mining' addition was handled, which allows the Normandy to gather minerals from planet surfaces- requiring the user to scan the planet with the cursor until waves on the oscilloscope flux, thus releasing probes in order to collect the aforementioned minerals. Disregarding the negativity scaled at its inclusion, I felt that it had its room within the game and was a simple and necessary distraction.

Dripping with cinematic dexterity, Bioware have done their best to lift the action quota in the sequel. The film-like surface, with added camera angles in dialogue adding tension and weight to the gargantuan and absorbing narrative- this being the second in the planned trilogy- that sees Shepherd recruited by the mysterious “Cerberus” network, tasked with halting the plans of the brutal “Collectors”. The richly developed and intriguing characters (the mysterious “Illusive Man” a particular highlight) keenly lent a hand with the impressive voice acting on show (with a reported 25,000 lines of dialogue, no less). No less deserving of its plaudits is the beautifully crafted and eloquent orchestral score, composed by Jack Wall, infusing the action on display with suitable backing- continually triumphant in matching the required tone.

Yes, Mass Effect 2 is one of the games of the year, released in the first month of said year. It has refined and succeeded the first with passing colours, delivering a truly remarkable experience. The rich philosophy and insanely detailed universe is still there for all to consume in the reams of “codex” pages, whilst the story is sublime in setting up its conclusion. Bring on the third, I can't wait.

Review- Heavy Rain [PS3]

Publisher: Sony Computer Entertainment

Developer: Quantic Dream

Released: 26^th February 2010

It's not very often that a video game comes along that delivers something so unique, innovative and fresh that gamers can only help but take notice. French developer Quantic Dream's Heavy Rain is one such example. Written and directed by CEO David Cage, who has been at the forefront of lavishing as much attention to his game as possible, and rightfully so, the “interactive drama video game” is a tense and dramatic thriller with its footing in brand new territory in terms of interactive entertainment.

A highly unusual and original spin on a control scheme, Heavy Rain requires players to perform actions that are displayed on screen; through button prompts, controller motions and movements of the right thumb stick. Displayed through non-intrusive symbols integrated into the scene, such prompts guide you through the narrative in the way in which you wish to progress and ultimately, delivering on its uptake of the tag-line “How far would you go to save someone you love?”. Far more than a mere input device, the irregular control method is completely brilliant in the way it amps up the tension in scenes. At times making the player hold a hand-cramping combination of buttons, only reflecting the struggle on screen- it's a mechanic like no other that works on a number of levels. The way in which prompts shake and become indistinguishable from each other in moments of panic or anxiety on behalf of the character also renders an almost joint experience between the virtual experience and reality- such anxiety most likely resulting in a bad 'choice' through a misjudged button press, and is yet another example of the intelligent design philosophy that lies at the heart of the game's already impressive engine.

Yes, moral choices and key moments influence the eventual conclusion to the story. For example of such choices, one instance that occurs in the game involves a convenience store robbery- choosing to intervene is your choice and as such, will affect the way in which the story unfolds. Do you stand at the back of the store and wait for the crook to leave? Or do you sneak up on him and save the shopkeeper? Convince the robber to put the gun down slowly, or aggressively force him to? Of course, the choices which you will eventually come across are both meaningful and difficult, shaping the experience from the traditional narrative storytelling roots into something completely different and (mostly) unique to the player. In what Quantic Dream purports to be wholly open however, at times I was led to certain eventualities no matter what I did, which is understandable but does break the spell somewhat.

Built around the interweaving narrative threads of four characters (each played in short snippets of action) and the search for identity of the mysterious “Origami killer”, Heavy Rain is reminiscent stylistically of films of David Fincher (Zodiac, Se7en)- a world of gloomy motels, strange deaths, dark and dank apartments and corrupt cops. The film noire underbelly meanwhile, establishing its themes of love, betrayal, loss and torment in a just manner. The four main characters (father Ethan Mars, journalist Madison Page, FBI profiler Norman Jayden and private detective Scott Shelby) all adding a little something different to the overall experience and provide glimpses of the plot as a whole- of which it could otherwise become much less involving (many of the game's key scenes involve the contrasting motives of the intersecting characters). Brought to life through stunning motion capture technology and gorgeously realised character models (not that the “uncanny valley” ever disappears!), it's perhaps disappointing to hear the atrocious voice acting on display. In a game so enveloped in its expectation to deliver dramatic punches to the chest it's really quite odd that this isn't addressed, the voice work is often poor and lacklustre whilst the somewhat dodgy dialogue (“It's a pain killer, it'll help reduce the pain”) are awkward in what is otherwise a triple-A cinematic experience. Its top-notch cinematography, pacing and design flourishes (use of split-screens), along with the hugely impressive score, only further reinforcing its dramatic ambition.

In what feels like one long cut-scene with almost seamless revival of player interaction, Heavy Rain's abundance of graphical fidelity and fluid animation is somewhat elsewhere let down by its awkward character control (holding R2 to walk, left stick to control where the character is looking). The camera is also undeniably frustrating at times, with only two camera angles to choose from, it often makes searching around the scene unnecessarily irksome. On a more positive note, the decision to read the characters' thoughts through a hold of 'L2' is another ambitious design choice but one which is justifiably successful in reminding the player of key pieces of any key information/ objectives in a non-intrusive manner, delivered instead through voice-over.

On the whole, Heavy Rain is a tremendous success in the broadest of senses. It's given us a whole new control scheme with its game engine (of which I can't wait but see what comes of it) and a suitably engaging and thrilling story to boot. Packing emotional punches and drama aplenty, its moral choice design philosophy further instils the drama with even more resonance and weight. At times it is breathtaking, at others slightly irritating and disappointing, but in the end, I can't recommend it enough. You will have a unique and beautiful game experience, no question.

Review- Red Dead Redemption [Xbox 360]

Publisher: Rockstar Games

Developer: Rockstar San Diego

Released: 21^st May 2010

Other Formats: PS3

The American Old West, home of the cowboy, ranchers, county sheriff's and the ubiquitous noble steed. The dusty plains of the Western desert of late 19^th century-early 1900s have barely been touched within video games, even with the recent Gun and Call of Juarez series mantle that there's much fun to be had within the setting. Red Dead Redemption is Rockstar's attempt- the latest sandbox entry from the studio that brought us the 'Rage' Engine that powered GTA IV. The stunning technology here used to craft one of the most stunning settings yet seen in a videogame of any type. The dry desert plains unsurpassed as far as the eye can see, the mountain ranges, the exquisitely detailed towns, cacti and other flora all visually sumptuous and intricately used to bring the first true, open expanse of the wild west yet seen on consoles. Similarly, the country and western soundtrack lays a backing track over the high definition picture and is potently memorable when used, with added environmental sounds, from the crow of circling vultures seeking their prey, to the rhythmic thump of horse hooves enveloping the desert floor all adding that something extra to the experience. Populated by Rockstar's truly memorable and lovingly crafted characters- from corrupt government officials, brutal and dirty criminals, overenthusiastic Mexicans, dependable sheriffs and cannibalistic miscreants, Red Dead Redemption is another frank reminder of the way that videogames can be used for storytelling in as much of a capacity as film. Whilst the plot isn't particularly strong (our hero, the gruff and dishevelled John Marston, seeking to redeem his previous life of gang-hood), the wealth of intriguing character personalities is enough to carry it through and is remarkably strong as a result. Whilst I don't feel that Marston is strong in terms of depth of character or personality, making it difficult to empathise with him, he was nevertheless a joy to play. Not that the voice work is to blame however, which is again absolutely sublime and well acted.

The environment is meticulously detailed and visually intriguing. Staples from across the Western genre are used throughout. Towns, such as the main hub of Armadillo are built upon foundations of the saloon where residents drink aplenty, blacksmiths, general store (where items can be bought and sold), and doctors, as well as the train station in which the steam train chugs to from across the landscape in a billow of dense, black smoke. The main hubs of the world that govern the sprawling wilderness are also where your safe houses are likely located, bought for a sizeable sum of money, the use of which allows you to save the game or change one of the many different outfits that grant different abilities (one may make the law kinder to you, for instance). From the friendly province of MacFarlane's Ranch to the more cautious Mexicans over the river, citizens speak their pieces, and interact on a superficial manner whilst you walk idly through the maze of wooden buildings.

Comparisons have already, as expected, been drawn with GTA IV for obvious reasons. The analogy of “GTA on horses” is perhaps a little belittling however, even as the HUD, map and overbearing structure are all suitably identical to the aforementioned. The clunky and difficult combat system also makes a habit in returning, with Rockstar seemingly keen on its integration (much to the annoyance of many gamer's, no doubt). For the most part, it works on the barest of levels, although the pop in and out of cover is far from a natural fluid movement, resulting in waves of frustrating gun fights, of which there are many. Although the guns of the period feel nicely weighted and powerful, it's the addition of the 'dead-eye' mechanic which is really brilliant (of which there are 3 levels and allows time to be slowed down and targets painted for a quick kill). It's a great step forward and it'll be interesting to see whether this will progress into future games or whether it will stick to the gun-slingers of the West. The way in which weapons are interchanged is also a slight differentiation from Rockstar North's masterpiece- here, a press of 'LB' brings up a radial menu to choose your piece from (taking over from the D-pad quick buttons). It would be a fully successful system were it not for the way play doesn't stop while selecting weapon, meaning death if not quick enough in the selection process. Yes, believe it or not, Red Dead Redemption does have its faults. The insistence on the 'tap A' system to run, sprint, or to spur your otherwise responsive horse on, makes travelling to missions and roaming the countryside often laborious and somewhat of a chore of the highest annoyance and puts me on the fast track to 'Repetitive strain injury' (although it does give chance for some fantastic character dialogue exchange synonymous with Rockstar's back catalogue!)

Further changes, such as the use of an inventory, that holds items and maps is a nice addition and also provides a quick-save mechanic in the form of the camp-site which can be erected for Marston to get a quick rest and a 'save game' in whilst alone in the wilderness. The reassuring glow of the burning camp-fire in stark contrast to the starry night sky. Fast travel can also be used here to skip to points on the map. Red Dead Redemption also makes use of a morality system, governed by the 'Fame' and 'Honor' meters. Positive honor can be attained through positive action in the world, such as saving someone from a kidnapping or rescuing a stolen carriage (such encounters are procedurally generated and none more scripted than your own actions) whilst negative honor arises from negative actions. The 'Fame' meter is an overarching meter that quantifies how renowned to the townsfolk you are as a character. By completing main story missions, undertaking encountered events in the correct way or helping out strangers, ranging from procuring medicine for ailing women to finding a man's lost son, the more likely others are likely to know of Marston and act in accordance to his 'Honor' level- for instance, shopkeepers will likely offer discount if 'Honor' and 'Fame' are both high. The 'Wanted' system has been designed extremely well. Whilst the same GTA-like red circle of danger indicates the area of where those looking for you are placed, upon leaving the circle for a sustained amount of time, instead of everything returning to normal, a bounty is placed on your head for a value in dollars that is reflected in the severity of the crime committed. The bounty can be lifted before a bounty hunter comes to kill you by using a “letter of excuse” or paying the value of the bounty off. It's an intriguing system and works much better than the police wanted level from Liberty City, in laying down a more persistent, realistic law enforcement mechanic.

The procedurally generated events are only the start of what is likely to be experienced from start to finish in Redemption, however. And whilst the use of which acts as a huge leap forward in terms of our attitude towards sandbox gaming as a whole, the rest of the game is just as brilliant- full of rich, dense landscape, diverse characters, locations and attitudes and values whilst the variety in mission design and structure makes it a more fulfilling experience than I have yet seen within a game of this type. Games that are so large in ambition often grow monotonous far too quickly, GTA IV struggled itself with repetitive mission design after all. Here, set piece arrives after set piece meaning the plot gallops along at a fair old pace- a steam train has to be protected from a gun-toting gang on horseback, a hijacked train has to be caught before it careers over a cliff, a 'Troy'-like wooden horse attack on the Fort Mercer stronghold, “The Great Mexican Train Robbery”- never does it seem the team have run out of ideas which is no doubt a result of the fresh genre they have tapped into. The shift in location, from the orange and brown palette of America, to the whiter sands of Mexico and the more civilized world, also ensures the game play never feels stale or dull. Side missions- from card games, “Five finger fillet”, hunting the wildlife that teem the environment, picking plants or finding treasure can also be completed for extra cash and 'honor'. Tearing down 'Wanted' posters from the side of buildings will also allow you to become a bounty hunter, hunting criminals and delivering them to the county jail, alive or dead. The good old Western staple of the 'duel' in the center of town also makes several appearances. Making use of the dead-eye system, opponents can soon be felled to the ground as they challenge you, the “famous John Marston”.

It's a game that works on so many levels. As a Western it's one of the most successful of its type, delivering themes of love, the seek for redemption, honour, political struggle, gang conflict and criminality in its gritty setting. Thoroughly entertaining from start to finish, as a game, it can be heralded as one of the best of the year so far no question. Although it does have its fair share of technical niggles and slight poor design choices, it ultimately never fails to deliver and brings its A-game to the forefront every step of the way. A top game of the highest order.