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.

Feature- EA announce "online passes"- acceptable or one step too far?

“Project Ten Dollar”, as it is affectionately known, was a way of curtailing the second hand market that we keep being told severely detriments a number of game companies and market shares. Such triple-A releases such as The Sims 3 and Mass Effect 2 have already featured a one-off code within new boxed copies that grants the bearer magical gifts in the usual form of a future DLC package- effectively punishing frugal gamers whose only source of games is their local second-hand retailer! It marks a frustrating time in the gaming sphere, where companies are looking towards outlandish and over-thought, nonsense strategies to halt the second-hand market and the burden of piracy that is still strife all round. Ubisoft started the “always online” format of DRM management- their games on the PC now require the user to be signed onto their on-line service as its legitimacy is constantly checked, meaning the game is, in effect, useless off-line. I'm all for stopping piracy and the like, but come on! Surely upon purchasing a legit copy, gamer's can choose to play that game on-line or off, why limit the end user? Even off-line games such as Assassins Creed II require the use of the system which is just baffling to say the least.

“Project Ten Dollar” was met with similar scepticism although it can be understood- it's neither invasive nor absolutely required. DLC should be used as an extension to a complete game in which development was required outside of the full development cycle (there are exceptions, I'm looking at you; Resident Evil 5 and Bioshock 2, but don't get me started on those!) Thus, the way in which gamers are granted access to 'extra' content for buying the game full price makes certain sense, rewarding and not hindering, first-time buyers. And if you do pick it up on the used shelf at the local store, the DLC is still available for $10 if you so wish to play to purchase it, meaning the publisher still gets its fair slice of the money pie, as it were.

Activision's rise to its status as behemoth publisher (and consequently a growing of an abnormally large head from its leading figures) has seen EA shepherded into a more comfortable position. Activision's constant aggravation towards gamers have made EA's previous grievances seem tame in comparison. But alas, EA couldn't resist and have taken an extremely annoying step towards, supposedly, curtailing the second-hand market even further. The news from earlier in the week that EA were now to use “online passes” in their 'EA Sports' games is a punch to the stomach for gamer's such as myself. Yes, I enjoy a game of Fifa as much as the next person, but now I'll have to pay for my on-line service from Microsoft, and a new copy of the game (or $10) to enable networked features within the game. Really, when is it going to stop!? For one, the online integration is already there, available on the disc and ready to use. I can understand that the addition of extra DLC requires extra work on behalf of developers, thus costs need to be covered. But to need use of a one-time code to simply “allow access” is beyond a joke in my opinion. EA are proving once again, sheer greed is the aim of the game. This isn't a step towards rinsing the proliferation of the second hand market- the 'EA Sports' brand is one of the most successful brands in gaming, year on year delivering huge sales figures. The giant seems to be taking a bite of Activision's apple, delivering radical steps to the detriment of core gamers because they both know how successful these brands have become and people will pay for content, regardless of their thoughts towards it. The casual market is also going to take a massive hit- much more susceptible to buying second hand copies of games. It's going to be a shock when they get home, put the disc in, and are told another wad of cash is required for online play.

Ultimately, it's us as consumers that are getting the hard deal. Such games are now going to be worth much less value if you wish to trade or sell and the code has already been scratched off. I can't see the lower value being transferred over to the next person somehow, instead I expect further exploitation of the trade-in market that can only harm us in the end.

"Bargain Bin" Review- Brutal Legend [PS3]

Publisher: EA

Developer: Double Fine Productions

Released: 16^th October 2009

Other Formats: Xbox 360

Bioshock's final boss fight, Mass Effect 2's mining, Far Cry 2's re-spawning enemies. What do they have in common? They are all great games let down by tiny aspects of design that hinder the overall experience. But where a boss fight at the end of a truly atmospheric, hugely accomplished title can be seen as a little misstep on what is considered one of the greatest games of the generation, it is a little harder to forgive Brutal Legend's use of its real-time strategy hybrid 'Stage Battles', time and time again. In fact, it acts as a significant portion of the game. But more on this later...

From Tim Schafer, of Grim Fandango and Monkey Island fame, Brutal Legend is first and foremost, an action-adventure game with an infusion of RTS-style mechanics. Schafer's hand lends itself to the writing, creative direction and design of the game, which uses its heavy metal inspiration to deliver a story of roadie Eddie Riggs, voiced by Jack Black, who has been sent to an unnamed fantasy world of rock to overthrow the evil forces at work.

The world, first and foremost, is fantastically crafted. Taking its inspiration from heavy metal, this is a world where awesome solos are used as literal face-melting attacks and guitar's are used as overpowered weaponry. The open-world is filled with landmarks such as 'Devil Thorns', locations such as the 'Dry Ice Mines' and 'Bladehenge' and populated by fantastical beasts of rock. It's refreshing to see a game's design so involved in a singular vision, the heavy metal inspiration is everywhere, from the character models to the superbly integrated soundtrack and the art style of bone, stone and metal. It even lends itself to the combat, a mix of axe and guitar combos and special moves. Solos, a necessity to perform such actions as summoning your customisable hot rod or perform special attacks, can be activated with a click of the right trigger and the completion of a short rhythm-action inspired guitar riff.

The plot unfolds through a series of linear levels that are activated within the main open-world. The story is well written and well presented, delivering a unique assortment of characters, a unique sense of humour and, thanks to the profanity selection, gives plenty of blood, gore and strong language. In addition to Jack Black's over-exuberant tones, Tim Curry, Kyle Gass and Ozzy Osbourne also lend a hand to voice duties. The latter's appearance is also used as the 'Guardian of Metal'- a provider of all upgrades within the game which keeps things feeling fresh and powerful throughout. Mission types are positively varied and well sustained whilst secondary objectives are somewhat more restricted. I'd be tempted to avoid these altogether were it not for the award of 'fire tributes' which are the currency lent to upgradeable items and combos.

Moving on to the aforementioned RTS-hybrid 'stage battles', which act as stop-gaps between important events within the narrative. A sort of replacement of the boss battle, as it were. The concept is to attack the enemies' stage whilst protecting your own, all with the help of several unit types. The three basic; 'head bangers', 'razor girls' and 'thunder hogs', accompanied with more specialised squads such as the 'roadies' which are used to destroy towers. Afforded the luxury of flying during these sections, tactics amount to little more than taking over 'fan geysers' which essentially provide you with fans/resources to build unit types and upgrade items, and then marching your troops to the enemies stage in a full blown attack. To tell you the 'stage battles' don't quite work would be an understatement. Frankly, their existence within the game breaks any pace that the story had going and delivers frustration and difficulty in ordering squads in equal measure. Not to say it doesn't get easier to get to grips with, because it does, but it would have been nice to have seen a more whole-hearted RTS design or just remove it altogether. Having to mix combat with RTS management is difficult and unappealing. The whole design choice that means commands are only applicable to those within an immediate vicinity or “voice distance” away from Eddie means that tactics, even if you have any, are frustratingly difficult to fulfil since units on the other side of the map need to be flown to, meaning your strategy is probably already dead on its feet before you give the proper orders! The use of stronger 'double-team' moves with any of the squad types is helpful in delivering stronger attacks, however, the 'stage battle' experience, ultimately, is a strange design choice, and means the game suffers because of it.

It's hard not to be ultimately disappointed by Brutal Legend. From a team of this calibre, it's clear for all to see the effort and singularity in vision that is afforded to the game. This, in a market full of FPS-clones and casual titles, is great to see. But then, were it not for the strange mix of real-time strategy into the core of the game, it might be easier to rate amongst the very best this generation has to offer. As it is, the game is easy to recommend, especially for heavy metal fans, just don't go expecting the game that it could have been.

Review- Battlefield: Bad Company 2 [PS3]

Publisher: EA

Developer: DICE
Released: 5^th March 2010

Other Formats: PC, Xbox 360

Inviting direct comparison to the most successful video game of all time is a risky strategy no doubt. But, Battlefield: Bad Company 2 embraces it; interjecting sharp, cutting remarks via “Bad Company's” bravado dialogue, “snowmobiles are for cissies”. DICE have undertaken a major job in trying to deliver a comparable experience to the might of Infinity Ward's epic shooter Modern Warfare 2, and therefore it's extremely humbling to say that they have delivered with aplomb.

The comparison to MW2 lays with the initial FPS game mechanics, which are positively fantastic. The shooting mechanics are tight, delivering a great sense of force to the weapons. The Modern Warfare-approved cross-hair also makes an appearance upon accurate fire, meaning there is a constant feedback loop that works extremely well. And where MW2 in particular was fiercely criticised, its handling of story- with characters swapped to-and-fro and a highly convoluted plot. Bad Company 2, in contrast, excels, following the misfit “Bad Company” once again- the group of rag-tag characters that form the central core of the game. Delivering comedic dialogue and likeable personalities mean characters are developed well whilst also allowing DICE to craft an engaging narrative (the soldiers are tasked to seek out a secret weapon, codenamed “Aurora”) that entertains to the end. And whilst this means that Bad Company 2 can not quite match its competition's set piece count or style (due to its rooting in a central location), it does have a few neat tricks of its own (the aircraft finale, for example) to keep it feeling inspired and fresh.

The improvement of DICE's own engine, “Frostbite”, has meant that the game is also visually excellent. The dank darkness that opens Bad Company 2's campaign soon envelops to the openness of the bright jungle setting, giving the engine a chance to shine. The visuals are crisp, colourful and incredibly detailed. The upheaval in technology to the engine has also meant DICE have delivered on their promise of true destruction. No other game, other than last year's Red Faction Guerilla have been so successful in doing similar tricks that can alter the way in which the game is played. The original Bad Company's 'hole in the wall' effects have been stripped. Here, witnessing the destruction physics in motion is breathtaking, whilst it also means combat is rich and varied in variety. No longer can the player stay in one place for the duration of a battle, as cover can be decimated in front of you as quickly as you pulling the trigger. On the other hand, it offers great tactical awareness in terms of offing the enemy forces- pick off them one-by-one with a trusty pistol or risk using a valuable RPG in the hope the collapsed building does the work for you? The variety afforded to the player is also improved with the vast openness of the level design on show, only squandered in the final third as the levels tighten and become much more linear. In conjunction with the brilliant visual clarity and particle effects, BC2 also delivers an immensely satisfying masquerade to the senses with its sound. From the metallic clinking of the gun to the low thud of bullets hitting enemies.

The featured single player campaign of Bad Company 2 is a resounding success for DICE and EA. The blend of believable (whilst slightly stereotyped) characters, an involving plot, a good sense of variety in level structure and location and short, snappy and well scripted cut scenes all mean that the experience is incredibly satisfying.

Multiplayer acts as a team-based, tactical FPS experience. Players can choose from any of four weapon kits before each spawn (Medic, Engineer, Assault or Recon), all with an initial primary weapon and a pair of gadgets unique to that class. Experience points are awarded during play, with a level cap of 50 on offer. Game types include a defend/attack objective mode, 'Rush', a capture-the-flag mode, named 'Conquest', 'Squad Death match' and 'Squad Rush'.

Overall, Battlefield: Bad Company 2 deserves to stand on its own two feet, not under the shadow of behemoth Modern Warfare 2. Rather it is, in actuality, a more fulfilling game in many instances. The conclusion to the campaign points straight towards a sequel, and frankly, if the step up from the first to second game is anything to go by, it's going to be fantastic.

Extended Preview- Crysis 2

Release Date: Holiday 2010

Format(s): PC, PS3, Xbox 360

Developer: Crytek

Publisher: EA

Released late-2007, the original Crysis by Crytek was a monumental achievement for a video game. Not only did it perform exceptionally well critically, the game was so technically demanding that to run at its highest resolution was unfeasible, even for the most high-end of rigs. Still the most graphically demanding video game for PC hardware, Crysis continues to be used to test PC efficiency.

A little over two years later, the sequel is well on its way to release for a 'Holiday 2010' launch for Xbox 360, PS3 and PC. Not to beat about the bush, Crytek have been treading the fine line between hype, 'PA' talk, harsh appraisal and extreme gloating or arrogance.

Lead programmer for the PS3, Michael Gluck, has been raising awareness of the game's graphical output, stating that it will set a new benchmark in terms of visual quality. Speaking with 'Play Magazine' he proposed, “I think with Crysis 2 you will see the quality bar being set at a very high level that games will struggle to excel”.

Similarly, in a remarkable display of one-upmanship, award-winning novelist and lead writer on Crysis 2, Richard Morgan, in an interview with 'NowGamer', has been criticising the most successful video games of recent years, including last year's BAFTA-winning Batman: Arkham Asylum and fan-favourite Halo- to which he says includes “bull*h** characters” and having “no real emotional impact”. Morgan went on to claim that his involvement in the latest Crysis has meant characters have been crafted “with weight and gravitas”.

Crytek have announced that the second in the series is somewhat a “resetting of the franchise”. Set in New York City, evacuated due to alien infestation, 'Nomad' returns to his role as lead protagonist. In addition to a broader freedom provided to the player, the 'urban jungle' setting also allows for improved tactical manoeuvrability and, due to the technical excellence of its game engine, CryEngine 3*, will feature destructible environments- like that seen in Battlefield: Bad Company 2. Crytek have also stated that combat will be “beautiful” with the new and improved 'Nanosuit 2' taking centre stage.

With so many first-person shooters already on the market, and with the weight of such huge releases as Modern Warfare 2 just past, can we really expect so much from Crysis 2? The talk may reek of arrogance but perhaps the current climate in where first-person shooters over-saturate the market, Crytek have had to stand their ground and be as aggressive. One thing's for sure, if it doesn't live up to the hype, they're sure going to know about it. I, for one, am not overly excited about the game. With little announced in terms of actual game play and still a long way off release, I'm hoping it is something more than a visual feast for the eyes and a press release comes along that announces a new game mechanic that will separate this from the competition. Until then, I couldn't really care.

(*Take a look at the 'CryEngine3' demo video on the 'Game Videos' page that showed at this year's GDC to get a feel of what the engine is capable of.)