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.

E3 2010- Microsoft Press Conference

Did the ambitious and hugely entertaining press conference for Microsoft at last year's E3 come too early? The progressive and frankly brilliant announcement of 'Project Natal' last year has been somewhat overshadowed by the constant barrage of negativity regarding Microsoft's inexcusable avoidance of any mention of the product. We've had to wait all 365 days for yet another look at the lovely piece of kit, that truly delivers “hands-free entertainment” for everyday users. I mention the fact since such a wait led me to perhaps supersede any reasonable level of expectation- negativity seemed not to hinder my approach towards 'Natal' (as it was previously code-named, now the much less attractive 'Kinect'!), instead keen on insisting my compatriots to “wait until E3” where I expected insurmountable levels of ambition, uniqueness and innovation. Instead, I was met with casual pet sims, over-the-top party games, rhythm-action dance routines, and mediocre sports titles (the latter coming from the otherwise influential industry stalwart, Rare!)

Big Names, Big Games?

Perhaps we were spoilt last year in E3's tour-de-force return to the big scene after the shambles that was E3 2008, but Microsoft's stage this year failed to match last year's influential list of huge names. No, there were no rumblings from veteran movie directors (Steven Spielberg) or music legends (Sir Paul McCartney, Ringo Starr) this time round. Instead, this year's show seemed somewhat muted in contrast, lacking any of the enthusiasm or drama that last year's stage show boasted. We were however greeted by friendly faces from the industry- Metal Gear Solid creator, Hideo Kojima, presenting the spin-off from the main Solid Snake series, with Raiden's-own Metal Gear Solid: Rising, and the ever-charismatic Cliff Blezinski from Epic Games, with debuting game play footage of the much sought after Gears of War 3. Joined on stage by three team-mates, 'Cliffy B'- as he used to refer to himself- showed off the all-new four-player cooperative campaign, showcasing the latest Unreal technology in action with the insanely powerful 'Lambent' mutations in attack. The showing cut to black as the new 'Lambent Beserker' leaped the metal fence that the COGs resided behind, reaching unsurpassed heights of anticipation at what lay in store come April 2011. He also teased the audience with a new mode that is to be featured in the last in the series, entitled “Beast”- now showing on the show floor.

Peter Molyneux was also present once again, introducing Lionhead's Fable III debut trailer- beginning with a vengeful ruler, leading to the picturesque setting of Albion (now much more Industrialised than before), and colourful game play footage. The guys at Bungie Studios also took to the stage in what will be their final hurrah as developers developing exclusively for Microsoft's system, with Halo prequel- Halo: Reach. What followed was typical Halo 'run-and-gun' fare, with added suit powers. I'm slightly disappointed of the game's showing, if I'm brutally honest, but hey, multiplayer is and always will be Bungie's strong suit- it's for that reason why my pre-order for Reach was taken a few months back! I'm also reluctant to go into too much detail in regards to Treyarch's showing of the latest in Activision's cranked-out super-franchise Call of Duty with Call of Duty: Black Ops. Overkill or not, I fail to see myself getting excited about this in any fashion, although it did look impressive nonetheless, with a set piece sequence involving a gun-toting helicopter sweeping its way through the lush and fully destructible jungles of Vietnam. You'll buy it though, you all know you will.

The only 'surprise' came from Crytek, with a trailer for their latest game that is exclusive to the Xbox 360: Codename Kingdoms. The live-action trailer showed a gladiator, blood dripping from his sword although we'll have to wait for any further details regarding what it really is about, let it be known, however, that Crytek can not be underestimated in any circumstance.

Kinect

The industry-insider audience were hardly interest, you felt, as Microsoft continued to big-up their progressive technology, now re-named 'Kinect'. We are of course all interested in what such a technology can provide, although if the show has anything to say for itself, expect bundles upon bundles of cheap, tacky and outrageously poor mini-game collections (say hello, Nintendo). My lofty ambitions of core game experiences with Kinect at the forefront were quashed, replaced by the the animal kingdom's replacement to Milo with Kinectimals (played out on stage between the cutest girl you ever will see, and a tiger pup named “Skittles”- no, he wasn't real!) It also saddens me to see Rare's initiative, that has given them incredible success for some time, disappear from sight- instead squandered by those at Microsoft, with the cheap mini-game collection look and feel of their Kinect Sports showing. The basic Kinect Adventures also doing little to subside my then subdued positivity further (a variety of mini-games that use whole body movement). One particular demo seemed like 'Hole on the Wall' embedded with Super Mario World- bizarre. Even those making fools on themselves on stage failed to raise a smile on my glum exterior. Oh, and remember that kart game featuring your customised avatar? What was the name...Joy Ride!? Well, stick a 'Kinect' before the title, add in motion controls, and what do you have? You guessed it, Kinect Joy Ride.

Core gamers had reasons to be fearful initially, but with the announcement of Ubisoft's fitness game Your Shape: Fitness Evolved and Harmonix's rhythm-action dance title Dance Central also shown, we now have every reason to have been sceptical from day one. OK, something inside me makes me want to bust out some moves to the “authentically choreographed 600 dance moves” that are featured within the latter title but don't question me why, I have no reason to- although that guy on stage sure had undeterred fun!

The only integration of the tech into core games came down to the aforementioned Metal Gear Solid: Rising demo, amounting to the slicing and dicing of a watermelon! And a LucasArts “controller free” Star Wars title, which looked incredibly linear, with the lead character (wielding a lightsaber, no less) dodging oncoming bullets from Stormtroopers with frantic motion gestures, using the force, and dashing forward. On the presentation front, it looked like The Force Unleashed blended with third-person, lacklustre green screen. The game is expected in 2011.

The only other look at Kinect came from Turn 10, developers of Forza Motorsport 3, who showed off their new game mode that used Kinect to interact with the steering wheel. The game mode tasks players to overtake as many AI opponents in the time provided by holding out your hands at “2 and 10”, although I didn't get an indication if support would be extended to the rest of the game.

Kinect is set for a US launch of November 4^th. No prices have as yet been confirmed.

Other features?

Other than a look at how Kinect would work with interaction to the Xbox, which admittedly looks fluid and simple (a wave signs you in, flicks of the wrist navigate, speech commands can select menu buttons, pause a movie, etc.), the only other main addition to the Xbox Live service came from two ESPN presenters who were keen in sharing Microsoft's partnership with the sports channel in delivering live games, a stat-tracking online service and more, all from the Xbox.

Anything hiding under that hollow shell of an Xbox 360?

The show ended with Microsoft's main presenter lifting a hollow, external shell of an Xbox 360 that had been on the stage the entirety of the presentation. It was expected, but it came as a nice surprise nevertheless- the much rumoured 'slim Xbox 360'. Boasting a new slim-line, more angular and shinier, black finish, the new Xbox also comes with built in Wi-Fi capabilities and a 250GB hard drive. It truly looks stunning and sleek, supposed to be “whisper quiet”, and is being shipped to US retailers as we speak for the same price tag as the current model. The announcement was met with rapturous hollering and applause from the crowd who were told that each of them were to be sent one of the new systems at the expense of Microsoft. That's great, but what about us!?

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- Bayonetta [PS3]

Publisher: Sega

Developer: Platinum Games

Released: 8^th January 2010

Other Formats: Xbox 360

There are few games that boast such over-the-top action and outlandish characters than Bayonetta, an action brawler with a sexed up, shape-shifting witch as protagonist that kills with her hair- right then... From its opening moments of awe-inspiring action, the pace simply never lets up. This is a game with set piece after glorious, gruesome set piece, and enough boss iteration and flair to sink some of the best that the combo-action brawler genre has to deliver.

The vivid, colourful art style and natural beauty that irradiates from every nuance of its design lend a suitable platform to the visuals- a deft mix of motion blurred colour swipes and beautiful back-drops with more visual flourishes than a Zack Snyder movie. From the stark purple hue that overlays the screen as the “bullet time” mechanic is introduced (a result of a last-minute dodge that reduces time to a stand-still, giving apt time for combo glory!) to the ferocious, kinetic cinematics present within its cut scenes. The comic book aesthetic, with the use of still film cells, helping to further propel its narrative and character interaction- amongst which, love interest “Luka”, rival “Jeanne”, and distinct arch-enemy “Balder”, all adding gravitas to the somewhat confusing and largely ignorable story. The music also does its utmost best to match the gorgeous visuals- a blend of arcade-inspired musical twangs and synth-pop backing tracks laying foundations to the brutal, yet sassy action on display.

The team at Platinum Games can be applauded in crafting a dynamic assault on the 3D action brawler of old, delivering enough variety to keep the pace of the game consistent within its 10-hour or so play through. The suitably stunning and epic boss battles (each of which are memorable and differentiated from each other to keep things feeling fresh and exciting and finished in the suitably titled “Climax” QTE), have been dealt in accordance in bringing a grandiose template to the experience that could otherwise have felt disparagingly alike to others within the crowded genre. Sublime in both scale and design, Bayonetta's bountiful grace juxtaposes the vicious bestial creatures at her behest perfectly. The Devil May Cry- like combo action that forms the might of the game is some of the most fluid and intense I have ever played, with Bayonetta's agility ensuring game play feels smooth, frantic and undeniably fun whilst also providing enough complexity for the most hardcore of gamers to enjoy. The many different combos, mixing ranged (from Bayonetta's choice of angelic-slaughtering guns) to close-quarters melee, each complex in their own right, requiring players to hold buttons for longer amounts of time in different combo nuances. The action is also rich in variety, in the addition of the short animated trinkets of “brutal moves” that deliver a devilish blow to enemy forces. The ability to test your mettle in the over-long loading screens, (in which button presses relay into a presenting of a specified combo), means such extended lulls from the main game are a suitable proving ground in refining technique or learning new attacks and is a brilliant addition, showing the developer is more than willing to put in that little extra effort for a slight digression from what could have been the usual 'Did you Know?' screens we've all seen time and time again. It's a promise also shown in the game's variety of design- the changing environments, from the urban city of Vigrid, to the volcanic catacombs that infuse the religious imagery at the center of the game and the combo action infused with puzzles and explosive vehicular sections, ensuring the pace never lets its foot of the accelerator- only helped by the smooth curve of new abilities provided, and in-game combat choices available (a variety of weapons unlocked with collectible, golden LP's).

In what feels at times like an arcade game, only helped along by its musical influences and multiplier, score-based design (awards are given on the completion of each “verse” within each chapter, ranging from stone to the highs of “pure platinum”), Bayonetta boasts sex, style and an abundance in opportunities to show off (delivered in Bayonetta's seductive poses to camera). The breathtaking set piece sequences are also some of the best that the genre has to offer players. It's a shame then, that the ability to control the camera is slow and sluggish, and at times frustrating in controlling the action. The story is also distinctly poor and underwhelming, led along by brilliant personalities and stylish action, nonetheless. It's a game I can't help but recommend for all the right reasons- a combat system that is refined and effective, explosive action, and an intriguing and fresh angle to the post of protagonist, worthy of its plaudits that was greeted upon its arrival.

Out this Week! 4th June 2010

In one of the strangest of game concepts I've seen in quite some time, Naughty Bear is released this week. With a teddy bear on a bid for revenge at the expense of those that mock him, A2M's game is deceptively violent, with Naughty Bear using the environment to his advantage in delivering brutal execution moves to decimate foes into a dispersed array of cotton. Action can take a number of forms, from silently sneaking up on enemies in stealth mode, engaging in “paw-to-paw” combat, or even luring bears into traps unbeknownst to themselves for a horrific death. It's messed up, that's for sure, but if it takes your fancy, be sure to pick it up this Friday. [PS3, Xbox 360]

I'm afraid to admit it, but yes, I am a fan of The Sims. The Sims 3, in my opinion, was the best of the series so far- of what I'm sure is likely to continue for some time to come! Out this week is another expansion to the original game in Sims 3: Ambitions, which lets you (for the first time ever) control your sims on the job whilst also allowing you to choose the way in which their career progresses, for good or bad. Trying to get away with 'office slacker' is as much an option as striving for absolute perfection and will impact the town and other sims in some way or another. Brand new career paths have been included, in addition to all-new skills, activites and “moodlets”/traits. [PC]

Preview- F1 2010

Released: 24^th September 2010

Format: PS3, Xbox 360, PC

Developer: Codemasters Birmingham

Publisher: Codemasters

F1 titles have been few and far between in the recent past. The distinct lack of titles for one of the world's most popular motorsports is bizarrely odd considering the opportunity afforded to the license bearers. Is it just me or are the F1 games some of the best racing titles out there? I remember playing F1 2000 way back on the Playstation and being possessively mesmerised by the insane sense of speed and the thrill afforded at being behind the wheel, the hard press of the brakes bringing the blurred racetrack back into focus as I career toward the barrier. Good times... Thinking that the memory may have been somewhat rose-tinted, I recently picked up the PS3 F1 title, F1 Championship Edition, that was released back in the early days of the PS3, to re-discover what I loved about the F1 license. In admiration of the gorgeous visuals and stunning racing engine at work, there's something to be said about the ferocious speed at which these cars can travel, the tactics at work on the track, the weather changes, qualifying etc. etc. that is so intrinsic and core to F1 in particular that grabs my attention wholeheartedly in video game form. Granted, I'm not an F1 fan, but this game has me excited...

Developed by Codemasters Birmingham, in conjunction with the 'EGO Engine'- that helped create the superb Colin McRae: DiRT 2 and Race Driver: GRID, F1 2010 is likely to up-the-ante in terms of visuals and physics than previously afforded in an F1 game. The engine is beautiful, as we have already witnessed, and here brings the whole roster of 19 career tracks to stunning re-created glory, with an incredible amount of effort going into delivering an insane level of detail for the globe-trotting career mode, as well as the addition of every team and driver of the 2010 F1 championship. A full online multiplayer with a number of racing modes has also been detailed.

The career mode will allow players to work from the trenches of obscurity to associated fortune that the high life and the sponsorship affords. Whether you hop from team to team, seeking the best deal, or form a wealthy relationship with only one team, the choice is yours to make. What has me excited, however, is the way that objectives change on the fly depending on the team that you race for- Ferrari, for example, will deem a non-podium finish a disappointing finish, whereas a lesser-known team is more likely to appreciate any points on the board at all! It's an interesting addition but one which will only work if there is substantial difference in the feel of the game upon a change in allegiance. Teams are seemingly an integral part to the title as a whole, with media appearances within the game differing in accordance with the team you race for, whilst team members will consistently be tweaking and upgrading the car with new parts as the season gets under-way. The extent of customisation has not been fully revealed as yet, but expect an extremely robust system that goes hand in hand with the stat-heavy racing fans out there. Racing strategy and often superfluous looking tactics will also be intrinsic to the experience.

Another aspect of the game that is being heavily touted is the all new dynamic weather system which is quoted as being “the most complicated weather system even seen in a racing game”. No, the developers haven't stopped at delivering an extensive physics model for each weather type, but instead include the weather's effect on the state of the track. Puddles are likely to be formed in dips and falls in the track, whilst over-hanging trees are going to result in drier parts of the track. As the rain lets off, the “drying line” is also likely to affect the race, with cars dispersing the standing rainfall from the optimum racing line. Staying focused and sticking to the racing line in these instances will likely be the difference between success and failure.

I can play Forza 3 hour after hour, but nothing can truly match the adrenaline that gets pumping from the simulation of the F1 experience. I'm thoroughly looking forward to another racing title from those at Codemasters- they have a great engine in their hands and a superb license to go with it, can they deliver an F1 title to match its ambition?